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Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIOVISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRESS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


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N.  Y.,  N.  J.,  Conn.  Edition 


NEW! 

PERCY  FAITH 

• 

CHARITA  BAUER'S 
GUIDING  LIGHT 


"There's  no  finer  complexion  care!" 

says  Mrs.  Julian  A.  Frank,  a  radiant  Camay  Bride.  Cold  cream  Camay, 
the  beauty  secret  of  so  many  exquisite  brides,  can 
caress  your  skin  to  new  loveliness,  too,  and  leave  it  softer,  smoother. 
Just  change  to  regular  care  .  .  .  Camay's  Caressing  Care. 
With  its  skin-pampering  mildness,  velvety  lather,  and 

exclusive  fragrance,  there's  no  finer  soap  in  all  the  world ! 


THE  SOAP   OF    BEAUTIFUL  WOMEN 


TOOTH  PASTE  DOESN'T  DO  IT... 
No  tooth  paste  gives  you  the  proven 
Listerine  method  of  stopping  bad  breath 
with  antiseptic  germ-killing  action! 


iHB 


LISTERINE  ANTISEPTIGfSfOPS  BAD  BREATH 
4  TIMES  BETTER  THAli  ANY  TOOTH  PASTE 


Germs  are  the  major  cause  of  bad  breath  — 

and  no  tooth  paste  kills  germs  like 

Listerine  .  .  .  instantly,  by  millions 

The  most  common  cause  of  bad  breath  is  the 
fermentation  of  proteins  which  are  always 
present  in  your  mouth.  Germs  in  your  mouth 
attack  proteins,  cause  them  to  ferment,  and  bad 
breath  can  result.  The  more  you  reduce  germs  in 
the  mouth,  the  longer  your  breath  stays  sweeter. 

Listerine  Antiseptic  kills  germs  by  millions! 

Listerine  Antiseptic  kills  germs  by  millions  on 
contact  .  .  .  instantly  halts  the  fermentation 
which  they  cause.  Fifteen  minutes  after  gargling 
with  Listerine,  tests  showed  that  germs  on 
tooth,  mouth  and  throat  surfaces  were  reduced 
up  to  96.7%;  one  hour  afterward  as  much  as 
809?i.  That  explains  why  in  clinical  tests  Listerine 
averaged  four  times  better  in  stopping  bad 
breath  than  the  tooth  pastes  it  was  tested  against. 

Listerine  Antiseptic  acts  on  many  surfaces 

You  see,  tooth  paste  depends  largely  on  mechani- 
cal and  masking  methods  of  removing  un- 
pleasant mouth  odors.  But  Listerine  acts  anti- 
septically  on  many  surfaces  .  .  .  the  teeth,  mouth, 
throat.  It  kills  disease-producing  germs  as  well 
as  many  types  of  odor-producing  germs.  No 
tooth  paste  offers  proof  like  this  of  killing 
germs  that  cause  bad  breath. 


I 

.  the  most  widely  used  antiseptic  in  the  world 


.'*«M*l,ook.' 


All  Drugstores 
have  Midol 


JANUARY,  1956 


W  RADIO 
MIRROR 

N.Y.,  N.J.,  Conn.  Edition 


VOL.  45,  NO.  2 


Ann  Higginbotham,  Editor 


Ann  Mosher,  Executive  Editor 
Teresa  Buxton,  Managing  Editor 
Ellen  Taussig,  Associate  Editor 
Claire  Safran,  Assistant  Editor 


Jack  Zasorin,  Art  Director 
Frances  Maly,  Associate  Art  Director 
Joan  Clarke,  Art  Assistant 
Bud  Goode,  West  Coast  Editor 


people  on  the  air 

What's  New  from  Coast  to  Coast by  Jill  Warren  4 

Welcome  to  a  Star  (winners  in  our  Win  a  Visit  with  a  Star  Contest)  7 

The  Fabulous  Crosbys by  Maxine  Arnold  25 

Great  Day  Coming   (Ralph  Paul) by  Gregory  Merwin  30 

And  So  They  Were  Married  (Eddie  Fisher  and  Debbie  Reynolds) 

by  Alice  Francis  32 

Heart  of  a  Child   (Pinky  Lee) by  Bud  Goode  34 

It's  Fun  to  Be  Famous   (Gisele  MacKenzie) by  Elizabeth  Ball  36 

The  Other  Side  of  Godfrey : by  George  Martinson  38 

Who's  Who  on  You'll  Never  Cet  Rich    (Phil  Silvers  and  his  GT 

friends)    52 

Charita  Bauer's  Guiding  Light by  Philip  Chapman  56 

When  A  Girl  Marries   (Joan  Davis's  new  career  in  the  popular  day- 
time drama) 58 

So  in  Love   (Carl  Betz) by  Helen  Bolstad  60 

Perfect  Harmony  (Percy  Faith) by  Martin  Cohen  62 

features  in  full  color 

Mother  Burton's  Gifts   (Ethel  Owen) by  Gladys  Hall  40 

Close  as  a  Family  Can  Be  (The  Nelsons) by  Fredda  Balling  42 

They  Count  Their  Blessings    (Roy  Rogers  and  Dale  Evans) 

by  Mary  Temple  46 
Happy   Days   Ahead    (Terry   O'Sullivan   and   Jan    Miner) 

by  Frances  Kish  48 


your  local  station 

Capital  Hillbilly   (WMAL-TV) 8 

A  Guy  and  a  Gag  (WMCA) 12 

He's  One  in  a  Million  (WCBS,  WERE) 14 

She's  a  Joy!    (WICH) 18 

your  special  services 

Steve    Allen's    Turntable 10 

Information     Booth 11 

Daytime    Diary 16 

New  Designs  for  Living  (needlework  and  transfer  patterns) 19 

Inside    Radio    (program    listings) 20 

TV   Program  Highlights 22 

New  Patterns  for  You   (smart   wardrobe  suggestions) 23 

Cover  Portrait  of  Bob  and  Cathy  Crosby 
by   Marshutz  from  Sid   Avery  Studio 


buy  your   February   copy   early  •    on   sale   January    5 


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By  JILL  WARREN 


Pet  talk:  Mishel  Piastro's  Amber  attends  all  Symphonette  CBS  broadcasts  ...  J.  Fred  Muggs 
welcomes  Lee  Meriwether  to  NBC-TV's  Today  .  .  .  Lassie  confers  with  CBS-TV  confrere,  Pokey. 


WHAT'S  NEW  FROM 


Check-up  for  Sid  Caesar  as  Medic's  Richard  Boone  gags  up  a  backstage 
visit  to  Caesar's  Hour.  Anxious  Nanette  Fabray  holds  the  patient's  hand. 


The  networks  continue  to  vie  with 
■  each  other  in  presenting  television 
spectaculars,  super-dupers,  one-shot 
specials — or  call  them  what  you  will. 
The  holiday  season  is  no  exception 
and  there  are  many  big  shows  on  the 
schedule. 

NBC  leads  off  their  December  do- 
ings on  the  fourth  with  a  Sunday 
night  spectacular  co-starring  those 
two  talented  Frenchmen,  Maurice 
Chevalier  and  Marcel  Marceau,  the 
Parisian  pantomime  artist.  Jeannie 
Carson  is  featured. 

A  week  later,  December  11,  on 
Hallmark  Hall  Of  Fame,  Maurice 
Evans  will  present  "Dream  Girl," 
starring  Vivian  Blaine.  This  will  be 
adapted  from  the  stage  play  which 
Betty  Field  did  on  Broadway  and 
Betty  Hutton  did  in  the  movies.  The 
late  James  Dean  had  been  signed  for 
this  date  for  "The  Corn  Is  Green," 
but  following  his  tragic  death  it  was 
necessary  to  substitute  "Dream  Girl." 
"Corn  Is  Green"  is  now  slated  to  be 
produced  some  time  in  January,  with 
a  male  star  still  to  be  chosen. 

Producers'  Showcase  is  offering  a 
special     production     featuring    The 


Emcee  Mike  Stokey  of  Pantomime  Quiz  said  "I  do"  to 
Spring  Mitchell.    Dr.  Norman  Vincent  Peale  officiated. 


Mothers  on-camera  and  off,  Peggy  Wood  of  Mama  and 
Spring    Byington   of   December   Bride,   compare    notes. 


COAST  TO  COAST 


Sadlers  Wells  Ballet  Company  in 

"Sleeping  Beauty,"  on  Monday  Night, 
December  12.  The  popular  stars  of 
this  company,  Margot  Fonteyn  and 
Michael  Soames,  will  dance  the 
leads,  and  the  show  will  also  be 
shown  in  color.  The  ballet  will  be 
done  in  its  entirety,  with  only  minor 
cuts  being  made  in  order  to  bring  the 
production  within  the  hour  and  a  half 
limit  of  the  program. 

NBC  has  also  scheduled  an- 
other ballet  production,  "Nutcracker 
Suite"  with  the  New  York  City 
Center  Ballet  company,  for  some 
time  during  the  holiday  week. 

As  a  special  Christmas  present  to 
us  all,  Loretta  Young  will  be  back 
on  her  NBC-TV  show  on  Sunday 
night,  December  25.  Her  first  story 
since  her  near-fatal  illness  will  be 
"Christmas  Stopover." 

And,  once  again,  this  year  Gian- 
Carlo  Menotti's  opera,  "Amahl  and 
the  Night  Visitors,"  will  be  produced 
by  the  NBC  Opera  Theater  on 
Christmas  night.  The  same  cast  that 
has  played  the  musical  fable  since  it 
was  first  introduced  in  1949  is  ex- 
pected to  perform  again  this  year: 


Rosemary  Kuhlman  as  the  mother, 
Andrew  McKinley,  Leon  Lishner 
and  David  Aiken  as  the  three  kings 
and  Francis  Monachino  as  the  ser- 
vant. Amahl  will  be  played  again  by 
Bill  Mclver,  if  his  voice  has  not 
changed  by  rehearsal  time.  The  role 
was  originated  by  Chet  Allen,  who 
did  it  twice  before  his  voice  changed. 

On  CBS's  television  schedule  for 
December,  there  will  be  some  inter- 
esting Christmas  shows.  The  Twen- 
tieth Century -Fox  Hour  has  made  a 
special  film  of  "Miracle  on  Thirty- 
Fourth  Street"  for  their  December  14 
program,  which  will  star  Thomas 
Mitchell,  Teresa  Wright  and  Mac- 
donald  Carey.  This  will  be  a  tele- 
version  of  Twentieth's  movie  hit  of  a  / 
few  years  ago. 

"A  Christmas  Carol"  will  be  pre- 
sented on  Shower  Of  Stars  on  Thurs- 
day night,  December  15,  in  both  color 
and  black  and  white.  This  is  a  filmed 
production  and  a  repeat  showing  from 
last  year,  with  Basil  Rathbone  as 
Marley,  Fredric  March  as  Scrooge, 
Bob  Sweeney  as  Mr.  Cratchit  and 
Ray  Middleton  as  "Christmas  Pres- 
ent."     Incidentally,    there     will    be 


another  film  of  "Christmas  Carol" 
on  the  M-G-M  Parade,  Wednesday 
night,  December  21,  over  ABC -TV, 
but  it  will  be  a  shorter  adaptation  of 
the  Charles  Dickens  classic.  This  one 
will  star  Gene  Lockhart,  Kathleen 
Lockhart,  Reginald  Owen  and 
Terry  Kilburn. 

Studio  One's  Yule  contribution  this 
year  is  an  original  Christmas  play, 
"Birthday  for  Bruce,"  written  by  two 
of  television's  outstanding  play- 
wrights, Kathleen  Howard  and  Rob- 
ert Howard  Lindsay.  It's  set  for 
Monday  night,  December  19,  on 
CBS-TV. 

On  the  same  night  Arthur  Godfrey 
is  cooking  up  a  special  Noel  produc- 
tion on  his  Talent  Scouts  program. 
Maybe  Santa  Claus  will  be  the 
winner. 

Amos  'n'  Andy  will  do  their  ver- 
sion of  The  Lord's  Prayer  on  the 
Music  Hall  show  on  CBS  Radio  some 
time  during  Christmas  week,  the  ex- 
act date  to  be  announced.  This  is  the 
sixteenth  consecutive  year  the  pop- 
ular team  have  done  this  vignette  on 
their  program,  in  which  Amos  in- 
ternrets  The  (Continued  on  page  6) 


WHAT'S  NEW  FROM  COAST  TO  COAST 


Lord's  Prayer  for  his  daughter,  Arbadella. 

"The  Old  Dirt  Dobber,"  Sam  Caldwell, 
has  planned  an  interesting  program  for  his 
Garden  Gate,  on  CBS  Radio,  on  the  Sat- 
urday before  Christmas.  He  will  tell  list- 
eners exactly  how  to  care  for  holiday 
plants  and  blossoms. 

NBC  has  finally  set  a  definite  date  for 
the  long  awaited  repeat  television  per- 
formance of  "Peter  Pan."  It's  Monday 
night,  January  9.  The  two-hour  production 
stars    Mary    Martin    and   Cyril    Ritchard. 

This  V  That: 

CBS  has  some  interesting  plans  in  the 
works  for  a  television  series  based  on  the 
Broadway  hit,  "Arsenic  and  Old  Lace,"  to 
star  the  sisters,  Lillian  and  Dorothy  Gish. 
However,  they  plan  to  re-title  the  play 
and  call  it  Larceny  And  Old  Lace  and,  in- 
stead of  having  the  leading  old  ladies 
poisoning  old  men,  it  is  hoped  to  have 
them  involved  in  some  less  fatal  pastime. 

Songstress  Joanie  O'Brien,  of  the  Ten- 
nessee Ernie  shows,  and  her  husband, 
Billy  Strange,  guitarist  and  singer  on  the 
same  programs,  have  welcomed  their  first 
baby,  a  boy,  Russell  Glenn,  born  in  Holly- 
wood. The  couple  first  met  when  they 
both  were  hired  by  Ernie,  and  Joanie  plans 
to  return  to  her  career  in  a  few  weeks. 

Leo  Durocher  has  signed  a  contract  with 
NBC,  in  an  executive  capacity,  and  at  a 
reported  $50,000  a  year  salary.  The  former 
manager  of  the  New  York  Giants  Base- 
ball Club  will  have  duties  mainly  in  the 
field  of  talent  relations,  including  helping 
to  find  new  talent  for  the  network,  but  it 
is  also  expected  that  he  will  make  guest 
appearances  on  several  NBC  shows. 

Bishop  Fulton  J.  Sheen  has  become  a 
songwriter  and  has  written  the  lyrics  to 
"Your  Whole  Heart,"  to  a  melody  by  Fritz 
Kreisler.  The  song  is  being  used  as  a 
theme  for  Bishop  Sheen's  Life  Is  Worth 
Living  show  on   ABC-TV   and  Radio. 

Frankie  Laine  and  CBS-TV  have  signed 
a  one-year  exclusive  deal,  as  a  follow-up 
to  the  singer's  success  as  Arthur  Godfrey's 


Popular   Loretto    Young    primps   for 
her  Christmas    return   to  television. 


(Continued  from  page  5) 

Wednesday -night  replacement  this  past 
summer.  For  the  time  being  he  will  only 
do  guest  appearances  on  various  CBS 
shows,  such  as  his  recent  one  on  Shower 
Of  Stars,  but  the  web  is  hoping  to  clear 
time  for  a  regular  Laine  program  in  the 
near  future. 

Susan  Douglas,  who  plays  the  part  of 
Margie  Dawson  on  Young  Doctor  Malone, 
is  expecting  a  baby  in  February.  Susan, 
who  is  Mrs.  Jan  Rubes  in  private  life,  will 
continue  on  the  program  for  the  time 
being. 

Also  on  the  expectant  list  for  February 
are  TV  baritone  Bill  Hayes  and  his  wife. 
This  will  make  number  five  for  Bill. 

Joyce  Randolph,  who  does  such  a  good 
job  playing  the  part  of  a  wife,  "Trixie 
Norton,"  on  Jackie  Gleason's  The  Honey- 
mooners,  became  a  real-life  bride  a  few 
weeks  ago  in  Freeport,  Long  Island,  and 
now  answers  to  the  legal  name  of  Mrs. 
Richard  L.  Charles. 

Our  record-page  man,  Steve  Allen,  has 
just  signed  a  long-term  contract  with  NBC, 
which  grants  the  network  exclusive  rights 
to  Steve's  services  as  a  performer  on  both 
radio  and  television.  His  Tonight  TV  show 
recently  celebrated  its  first  birthday  and, 
from  the  way  it's  going,  it  looks  like  Allen 
will  be  spending  his  work  "day"  in  the 
middle  of  the  night  for  a  long  time  to 
come.  By  the  way,  Steve,  who  is  always 
thought  of  in  terms  of  laughs,  has  come 
up  with  his  first  serious  literary  work,  a 
collection  of  interesting  short  stories  called 
Fourteen  for  Tonight,  published  by  Henry 
Holt.  It  was  given  excellent  reviews  by  the 
tough  New  York  book  critics.  So  con- 
gratulations to  our  boy! 

Mulling  The  Mail: 

Mrs.  E.  A.,  Quincy,  Indiana:  Lome 
Lynne  is  the  teen-age  singer  on  the  Pinky 
Lee  show,  and  Pinky  calls  her  "Cindy 
Sue."  She  formerly  was  a  child  actress  in 
New  York,  working  mostly  in  daytime 
dramas.  .  .  .  Mr.  D.  W.,  Moose  Lake,  Min- 
nesota: J  Looked  and  I  Listened  is  a  book 
by  Ben  Gross,  the  TV-Radio  editor  of  the 
New  York  Daily  News,  and  should  be 
available  at  your  local  bookstore.  .  .  .  Miss 
B.  M.,  Wilmington,  North  Carolina:  The 
addresses  you  wish  of  the  major  recording 
companies  could  be  obtained  from  a  New 
York  City  phone  book,  which  you  can  find 
in  your  local  telephone  company  offices. 
.  .  .  Mrs.  H.  G.,  Mt.  Pleasant,  Texas:  Randy 
Merriman  and  Bess  Myerson  of  The  Big 
Payoff  are  no  relation  whatsoever.  .  .  .  Miss 
P.  C,  Mill  Valley,  California:  Hal  March, 
the  $64,000  emcee,  was  at  one  time  part  of 
the  comedy  team  of  Sweeney  and  March, 
which  you  mention.  They  had  a  radio  show 
over  CBS  several  years  ago.  .  .  .  Mr.  T.  H., 
East  Orange,  New  Jersey:  The  disc  jockey 
show  you  refer  to  is  Old  Gold  Time  With 
Jill  Corey,  and  is  heard  only  over  closed 
circuit  networks  of  twenty  colleges 
throughout  the  country.  .  .  .  Miss  Z.  A., 
Ottawa,  Canada:  TV  actor  Paul  Newman 
is  married  and  has  three  children.  ...  To 
all  those  who  wrote  asking  about  Minetta 
Ellen,  of  the  One  Man's  Family  program: 
Eighty-year-old  Miss  Ellen,  who  played 
Mother  Barbour  on  the  program  since  its 
inception  more  than  twenty -three  years 
ago,  has  retired.  No  replacement  has  been 
announced  as  of  this  writing.  Her  with- 
drawal from  the  show,  coupled  with  the 
recent  retirement  of  Michael  Raffetto,  who 
portrayed  the  role  of  Paul,  leaves  only 
three  members  of  the  original  cast — J.  An- 
thony   Smythe     (Father    Barbour),    Page 


Dennis  and   Micki  James  celebrate 
his  first  year  with  On  Your  Account. 


Gilman  (Jack),  and  Bernice  Berwin 
(Hazel)  ....  Mrs.  S.  J.  M.,  Kansas  City, 
Missouri:  Imogene  Coca's  contract  with 
NBC  was  dissolved  at  her  request,  and  she 
and  the  network  parted  company  on  very 
friendly  terms.  At  the  moment  Imogene 
is  happily  concentrating  on  her  new  night- 
club act,  which  she'll  premiere  at  Las 
Vegas  and  then  play  at  other  big  cities 
around  the  country.  .  .  .  Mrs.  R.  H.,  Tulsa, 
Oklahoma:  Mary  Jane  Higby  has  played 
the  role  of  Joan  Davis  in  When  A  Girl 
Marries  for  fifteen  years.  And  incident- 
ally, there's  a  new  script  policy  on  this 
program.  Each  episode  will  be  completed 
in  a  week  or  ten  days,  rather  than  contin- 
uing the  story  line  indefinitely. 

What  Ever  Happened  To  ...  ? 

Bob  Eberly,  baritone,  who  originally 
became  known  through  his  singing  with 
the  old  Jimmy  Dorsey  band,  and  later 
sang  on  several  radio  shows?  For  the  past 
few  years  Bob  has  done  mostly  night-club 
work,  though  he  has  made  television  ap- 
pearances from  time  to  time.  He  was  just 
signed  as  a  permanent  member  of  the  cast 
of  the  George  Skinner  show,  seen  over 
WCBS-TV  in  New  York. 

Freddie  Bartholomew,  the  former  child 
star  of  the  movies,  who  appeared  on  some 
of  the  dramatic  shows  in  the  early  days 
of  television?  Freddie  became  a  TV  di- 
rector and  for  the  past  few  seasons  has 
concentrated  on  this  new  career. 


If  you  have  a  question  about  one  of  your 
favorite  people  or  programs,  or  wonder 
what  has  happened  to  someone  on  radio 
or  television,  drop  me  a  line — Miss  Jill 
Warren,  TV  Radio  Mirror,  205  E.  42nd 
Street,  New  York  17,  New  York,  and  I'll 
try  my  best  to  find  out  for  you  and  put 
the  information  in  the  column.  Unfortu- 
nately, we  don't  have  space  to  answer  all 
questions,  so  I  try  to  cover  those  person- 
alities about  whom  I  receive  the  most  in- 
quiries. Sorry,  no  personal  answers,  so 
kindly  do  not  enclose  stamped  envelopes 
or  postage,  as  they  cannot  be  returned. 


Welcome  to  a  Star 


Announcing  the  lucky  first -prize  winner 

— and  one  hundred  runners-up — 

of  our  Win  a  Visit  with  a  Star  Contest 


A  nnouncing  the  winners!  Our  October  1955  issue 
l\   invited  TV  Radio  Mirror  readers  to  Win  a  Visit 

with  a  Star.  With  as  many  good  reasons  as  there 
are  stars — in  Hollywood,  New  York  or  the  blue  skies 
over  both — readers  told  why  they  would  like  to 
visit  Bert  Parks  in  New  York  or  Lawrence  Welk 
in  Hollywood.  They  also  answered  ten  questions 
chosen  by  Bert  Parks  and  Lawrence  Welk  from  Break 
The  Bank  categories.  The  first-prize  winner  chose 
to  visit  Lawrence  Welk  for  a  fabulous  Hollywood 
weekend  as  the  maestro's  guest.  Runners-up  have  won 
themselves  fifty  second-prizes  of  a  "Break  The  Bank" 
game  and  fifty  third-prizes  of  a  Lawrence  Welk  album. 

The  Lawrence  Welk  Show  is  seen  on  ABC-TV,  Sat.,  9  P.M.  EST. 
Bert  Parks  emcees  Break  The  Bank,  on  ABC-TV,  Wed,  9:30 
P.M.  EST.  Both  programs  sponsored  by  Dodge  Dealers  of  America. 


Lucky   first-prize   winner   will   fly   to    Hollywood    via 
United  Air  Lines  to  be  the  guest  of  Lawrence  Welk. 


FIRST  PRIZE 

-Mrs.    James    W.vss,   Chippewa    Falls.    Wis. 


SECOND   PRIZE 

Miss    Joney    Abernethy,    Iowa    Park,    Tex. 
Grace   Akerly,   Chicago  26,  111. 
Miss  Marieta  Arrasmith,  Spokane.  Wash. 
Mrs.  Durward  W.  Balduf,  Batavia,  N.  Y. 
Helen  C.  Barker,  Los  Angeles  5,  Cal. 
Mrs.  Ann  K.  Bohanan,  Richmond  27,  Va. 
Mrs.   Ethelyn   Brown,   Detroit    19,    Mich. 
Mrs.    Charles    Burris,    East    Alton,    111. 
Mrs.    Lois    Carleman,    Omaha,    Neb. 
Mrs.  Betty   Clark,  Albany  5,  N.  Y. 
Mrs.  Mary  Coughlin,  New  York,   N.  Y. 
Mrs.  John  J.  Cudahy,  Auburn,  N.  Y 
Mrs.    Ada    Davis,    Waco,    Tex. 
Mrs.   Thomas  J.   Deaton,  Anderson,  Ind. 
Mrs.    Pete    Dinger,    Oxnard,    Cal. 
Mrs.  Robert  L.  Dorcy,  Columbus,   Ohio 
Mrs.    Ruby    E.   Evans,    Glendale,    Cal. 
R.    H.    Fowler,    Claremore,    Okla. 
Mrs.   William  Gillan,  Detroit  14,  Mich. 
Mrs.  George  R.  Green,   Seattle  7,  Wash. 
Leila    XV.    Henderson,    Wilmington,    N.    C. 
Mrs.  Richard  L.  Heyl,  Orlando,  Fla. 
Helen    Horrigan,    Chicago    11,    111. 
Mrs.  John   G.  Hubbard,  Indianapolis,  Ind. 
Sirs.  Frank  J.  Inglin.  Petaluma,  Cal. 
Mrs.    Olga   Jason,    New    Bedford,   Mass. 
Miss    Sue    Jeffrey,    Wichita,    Kan. 
Mrs.  B.  M.  Jenkins,  Jacksonville,  Fla. 
Mrs.    Lewis    H.   Johnson,    Greenlee,   Va. 
Mrs.  Beatrice  M.  Keller,  Tonawanda,  N.  Y. 
Mrs.  M.  J.  Kelly,  Batavia,   N.  Y. 
Mrs.  Grace  Kurko,  Hartford,  Conn. 
Miss  Mary  Lawrence,  Memphis  4,  Tenn. 
T.    D.    Lavender,    Memphis    4,    Tenn. 


Mr.    Albert    B.    Manski,    Boston,    Mass. 
Mrs.  Eugene  McCluney,  Fort  Worth,   Tex. 
Mr.    Michael   Merlin,    New    York,    N.   Y. 
Mr.  Marcum  N.  Nance,  Jr.,  Poquonock  Bridge, 

Conn. 
Mrs.  Eva  C.  Oldscheeler,  Detroit  6,  Mich. 
Dorcus    Reeves,   Cranston   5,   R.   I. 
Miss   B.    Schwind,   Milwaukee  8,   Wis. 
Mrs.    Donald    Schull,    Chapman,    Neb. 
Mrs.   C.    Sinclair,   Seattle  4,  Wash. 
Miss   Rickey   Staats,  Richardson  Park  4,  Del. 
Mrs.  John  Stanko,  Pittsburgh  12,  Pa. 
Mrs.  Wesley  M.  Tucker,  Topeka,  Kan. 
Mrs.    Michael    von    Klein,    Venice,    Cal. 
Mrs.    Ozette    Waldrop,    Nashville,    Ark. 
Mrs.  Charles  J.  Wildzunas,  Albany  6,  N.  Y. 
.Mrs.   Marcia   Bierman    Wright,   Atlanta   6,   Ga. 


THIRD   PRIZE 

Henrietta   G.  Anderson,  Minneapolis  6,  Minn. 

Helen  Wills  Asplind,  Columbus  2,  Ohio 

Miss    Clare   Athey,    Coshocton,    Ohio 

Frances    M.    Bailey,    Belfast,    Me. 

Wesley    Sanford    Bird,   Dayton   6,    Ohio  / 

Lillian    Bonnem,    Chicago    18,    111. 

Mrs.  Jennie  A.  Burch,  Fort  Worth  4,  Tex. 

Florence   Dawson,   Newark   N.   J. 

Mrs.  Clifford  Dirmeyer,   Upper  Sandusky, 

Ohio 
M.    Drake,    Passaic,   N.   J. 
Carole  L.  Economy,  Washington  20,  D.  C. 
Mrs.   Tom   Edwards,  Indianapolis,  Ind. 
Mrs.  Percy  XV.  Elmer,  Baltimore  16,  Md. 
Mary    Ann    Frey,    Cleveland    18,    Ohio 
Mr.    James    L.    Gatlin,    Sr,    Madison,    Ga. 


Mr.    Harvey    Hall,    Kansas    City   13,  Mo. 

Miss  Annie  Lou   Hawkins,  Corsicane,  Tex. 

Audrey    X.    Haworth,    Noblesville,    Ind. 

Miss   Mary  E.   Hope,   Burlington,   N.   C. 

Mrs.  John  G.  Hubbard,  Indianapolis  1,  Ind. 

Mrs.  S.   C.  Johnson,  Minneapolis  16,  Minn. 

Mr.    Stan  Kay,   Chicago  28,   111. 

Charlotte   Kennedy,   Wichita   Falls,  Tex. 

Sally    Ruth    Kime,    Scranton    5,    Pa. 

Bernadette    C.    LaMothe,    Dearborn,    Mich. 

Mrs.  Elsa  M.  Lane,  Haverton,  Pa. 

Mrs.    Frances    D.    Lewman,    Joliet,    111. 

Mrs.     Edward     Lipovetz,    Hamden,    Conn. 

Janie    C.   Meek,   Richmond   26,    Va. 

Mrs.    Elsie    Mortensen,    Portland    6,    Ore. 

Mrs.    Charles    Nippert,    Allentown,    Pa. 

Miss    Juliette   Pillot,    San   Jose   10,   Cal. 

Peggy    E.    Powers,    Covington,    Ky. 

Mr.   Charles  E.  Price,  El  Paso,   Tex. 

Jean    M.    Schaefer,   Elgin,   111. 

Margery    Joy    Service,   Berkeley   5.    Cal. 

Mrs.  George  E.   Sheldon,   West  Albany,   N.  Y. 

Mr.  John  XV.   Simpson,   IMainfield,  N.  J. 

Mrs.   Allie    L.   Tobin,    Seattle    15,   Wash. 

Miss  Mary  Tumminello,  Bethlehem,  Pa. 

Mrs.  A.  E.  Turney,  Bucksport.  Me. 

Jean  G.  Wagner,  Bethlehem,  Pa. 

Miss    Margaret    Walsh,    Appleton,    Wis. 

Mrs.    Ruth  Waltemath.  Milwaukee  6,  Wis. 

Miss    Ruth    L.    Wasser,    Toledo   9,    Ohio 

Mrs.  Gwenyth  B.  Weaver,  Tacoma  2,  Wash. 

Vivian    Weil,   Brooklyn    29,    N.    Y. 

."Mrs.     Kay    Whitman,    Avon.     Conn. 

Miss    Jane   L.    Whyte,    Bethlehem,    Pa. 

Mrs.    X.    F.    Wilkerson,    Danville,    Va. 


Capital 
Hillbilly 


Jimmy  lost  his  heart  to  a  Washington 
gal,  Sue.  But  nursery  rhymes  for  young 
Connie  and  Garry  have  a  Texas  twang. 


City  folk  love  country  music  by  Jimmy  and  The  Texas  Wildcats:  Herbie  Jones 
on  guitar,  Buck  Ryan  on  fiddle,  guitarist  fvlarv  Carroll,   Bob  Elliott  on  bass. 

Lanky,  likable  Jimmy  Dean  wows  Washington 
with  his  Western  ivays  and  music  on  WMAL-TV 


The  itching  feet  of  a  young  Texas  lad  have  led  to  much 
toe-tapping  in  the  nation's  capital.  Jimmy  Dean,  the  boy 
from  Plainview,  Texas,  now  makes  his  home  in  Arlington, 
Virginia,  and   commutes   to  work   at  Washington's   Station 
WMAL-TV,  where  he  stars  on  Town  And  Country  Time, 
weekdays  at  6  P.M.,  and  is  an  emcee  of  Town  And  Country 
Jamboree,   telecast   from    Turner's    Arena    on    Saturdays 
from  10  to   1   A.M.   The  daily   hoedown   is  also  seen  in  a 
filmed  version  over  40  stations  from  coast  to  coast.   .  .  . 
Born  and  raised  on  a  ranch,  Jimmy  learned  to  play  the 
piano  when  he  was  ten,  then  switched  to  the  accordion 
because   it   was   more   portable.   When   the   wanderlust   hit 
him  at  sixteen,  Jimmy  joined  the  Merchant  Marine.  At  18, 
he  joined  the  Air  Force  at  Boiling  Field,  just  across  the 
Potomac  from  Washington.  Jimmy  took  his  accordion  with 
him  and  soon  recruited  his  barracks-mates  into  a  Western 
band  which  he  dubbed  The  Texas  Wildcats.  By  the  time  he 
was  discharged,  he'd  decided  he  liked  Washington  so  much 
he'd  stay  on.  He  formed  a  civilian  version  of  his  band  and 
was  soon  booked  into  a  popular  night  spot.  ...  At  this 
point,  Jimmy  met  the  two  people  who  changed  the  course 
of  his   life.   The   first   was   blonde    Sue   Wittauer,    whose 
five-feet-nine  nicely  matched  Jimmy's  six-feet-three.  They 
met  in  January  of  1950,  were  married  in  July  of  the  same 
year.   .   .   .  The  second  meeting   was  with  Connie  B.   Gay, 
whose  rural  music  radio  program  had  expanded  into  "live" 
touring  productions.  Jimmy  was  hired  to  tour  Army  instal- 
lations in  the  Caribbean  and,  in  1953,  in  Europe  as  well,  all 
under  the  banner  of  Connie  B.  Gay's  Town  and  Country 
Time.  Next  Jimmy  won  a  radio  show,  then  his  present  TV 
chores  and  a  recording  contract  with  Mercury.  .  .  .  The 
much-traveled  hillbilly  and  his  belle  now  have  two  children: 
Gary,  4,  and  Connie,  almost  2.  Jimmy  often  hangs  a  "gone 
fishin'  "  sign  on  the  door  of  his  ranch-style  home — or  else 
goes  riding  on  the  sorrel  horse  he  bought  last  fall.  Happy 
at  home  and  work,  easygoing  Jimmy  Dean  is  a  galloping 
success  with  city  folk  in  and  around  Washington,  D.  C. 


Hatched  lovingly  in  Boston  ...  a  ball  in  New  York  . . . 
and  now  a  riot  across  the  country ! 
Every  weekday  listen  to  Bob  &.  Ray 

on  your  local  Mutual  station 


rr^u 


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p\s/\U< 


rf\t*0 


^^ 


-e^ 


STEVE  ALLEN' 
TURNTABLE 


Well,  holiday  time  is  here,  and  I'm 
sure  you're  all  up  to  your  Christmas 
stockings  with  Yuletide  chores  and 
shopping  lists.  But,  before  you  take  off, 
Santa  Allen  has  a  few  gift  suggestions  for 
you — record  gifts,  of  course.  The  platter 
companies  have  done  it  up  bright  this  year 
with  a  wonderful  variety  of  Noel  releases 
— everything  from  hymns  to  hoorahs,  so 
you're  sure  to  find  just  what  you  want. 

Let's  start  with  St.  Nick  himself,  with  the 
label  on  this  one  simply  reading,  "Santa 
Claus  and  His  Helpers."  "Santa"  sings 
new  lyrics  to  the  old  tune,  "The  Happy 
Wanderer,"  and  he  gives  the  "ho-ho-ho, 
ha-ha-ha"  treatment  to  "Santa's  Laughing 
Song."  The  fellow  has  a  deep  basso  voice 
and  really  sounds  like  the  man  with  the 
beard  is  supposed  to.  The  kids  should 
like  this  one.     (Columbia) 

M-G-M  is  re-issuing  "A  Christmas  Car- 
ol," with  the  late,  beloved  Lionel  Barry- 
more  as  "Scrooge."  This  is  the  original 
recording  of  the  world-famous  Charles 
Dickens  story,  which  Barrymore  did  sev- 
eral years  ago.  However,  it  has  been  re- 
packaged into  a  long-playing  album,  with 
the  addition  of  "Beloved  Christmas  Hymns 
and  Carols,"  sung  by  The  Canterbury 
Choir. 

Pinky  Lee,  the  TV  delight  of  the  small- 
fry  population,  has  done  three  records  for 
his  little  fans,  each  in  a  separate  gift  en- 
velope. The  first  combines  his  theme,  "Yoo 
Hoo— It's  Me,"  "I  Like  To  Sing  with  My 
Friends"  and  "Ticky  Ticky  Tembo."  The 
second  is  "The  Silly  Song"  and  "Zap-A- 
Zoo,"  and  the  third,  "The  Little  Doggie 
With  the  Big  Woof-Woof"  coupled  with 
"Lost  a  Scotty  Named  Skippy."  Music  is 
by  organist  Gaylord  Carter,  guitarist  Tony 
Mottola  and  a  children's  vocal  chorus. 
(Decca) 

Another  TV  favorite  with  the  youngsters, 
Paul  Winchell,  has  also  waxed  something 
special  for  his  juvenile  charges.  Winchell, 
with  the  vocal  "help"  of  his  popular  dum- 
my, Jerry  Mahoney,  sings  "TV  Club 
Songs,"  "Friends,  Friends,  Friends"  and 
'Hooray-Hoorah  —  It's  Winchell-Mahoney 
Time."    (Decca) 

The  Voices  of  Walter  Schumann  have 
made  a  new  Victor  album,  appropriately 
titled  "Voices  of  Christmas,"  which  in- 
cludes twenty  selections — everything  from 
"God  Rest  Ye  Merry,  Gentlemen"  to  "Fros- 
T  ty,  The  Snow  Man."  Incidentally,  Capitol 
V  is  also  re-issuing  another  Schumann  set, 
r  recorded  a  few  years  ago,  called  "Christ- 
mas in  the  Air." 

From  across  the  sea  comes  an  interest- 
ing   record   by   baritone   Dickie  Valentine, 


the  crooner  favorite  of  the  English  teen- 
agers. Dickie  sings  a  new  ballad,  "Christ- 
mas Island,"  with  a  Hawaiian  musical 
background,  and  a  cute  rhythm  novelty, 
"Christmas   Alphabet."     (London) 

The  Three  Suns  offer  an  all  instrumental 
album  called  "The  Sounds  of  Christmas." 
The  boys  play  some  twenty  songs,  many 
of  them  familiar  Yuletide  favorites,  and 
some  which  aren't  heard  too  often,  such  as 
"The  Monastery  Bells,"  "Greensleeves"  and 
"Carol  of  the  Birds."     (Victor) 

If  you'd  like  Crosby  for  Christmas,  Bing 
has  an  album  called  "Merry  Christmas." 
There  are  twelve  numbers  in  all,  including 
"White  Christmas,"  of  course,  "Adeste  Fi- 
deles,"  "Silent  Night,"  and  other  Crosby 
Christmas  favorites  of  the  past.     (Decca) 

"On  the  Twelfth  Day"  is  an  original 
sound-track  recording  from  the  semi-re- 
ligious film  of  the  same  title,  which  is 
being  released  at  holiday  time  this  year. 
Muir  Mathieson  directs  the  orchestra  and 
chorus  as  they  perform  the  interesting  Do- 
reen  Carwithen  score.  Incidentally,  George 
K.  Arthur,  who  produced  "On  the  Twelfth 
Day,"  is  the  former  movie  comedian  who 
co-starred  in  silent  pictures  with  Karl 
Dane.   (M-G-M) 

If  Yule  time  means  travel  time  to  you, 
then  you'll  like  Decca's  new  Holiday  Series. 
There  are  nine  albums,  each  one  devoted 
to  the  music  of  a  different  vacation  locale. 
They  are  called  "Your  Musical  Holiday 
in  .  .  ."  and  you  can  choose  Paris,  Rio,  The 
West  Indies,  Vienna,  Hawaii,  The  Alps, 
Havana,  South  America  or  Italy.  The 
whole  series  has  a  wonderful  "let's  get 
away  from  it  all"  feeling,  and  the  music 
has  been  beautifully  arranged  so  as  to 
capture  the  mood  of  each  country. 

Nat  King  Cole's  record  of  "The  Christ- 
mas Song"  and  "All  I  Want  for  Christmas 
Is  My  Two  r  ront  Teeth"  is  available  again. 
Nat  recorded  this  originally  back  in  1947, 
but  every  year  since  Capitol  has  re-issued 
it,  and  it  has  never  failed  to  add  a  few 
shekels  to.  the  Cole  coffers. 

Another  perennial  Yule  favorite  is  Gene 
Autry's  "Rudolph,  The  Red-Nosed  Rein- 
deer." This  year  Columbia  has  included 
the  record  in  an  album  called  "Merry 
Christmas  with  Gene  Autry,"  in  which  the 
singing  cowboy  also  does  "When  Santa 
Claus  Gets  Your  Letter,"  "If  It  Doesn't 
Snow  on  Christmas,"  "Here  Comes  Santa 
Claus,"  "An  Old  Fashioned  Tree"  and 
"Frosty,  The  Snow  Man."  The  little  buck- 
aroos  oughta  like  this  set,  Ma'am.  (Co- 
lumbia) 

And  here's  one  for  grownups  and  young- 
sters alike,  or  for  just  everybody,  for  that 


matter,  whatever  age.  It's  "Merry  Christ- 
mas from  Kukla,  Fran  and  Ollie."  On 
one  side  there's  a  musical  adaptation  of 
"Many  Moons,"  the  James  Thurber  tale 
with  Burr  Tillstrom  speaking  all  the  parts 
in  the  eight-character  story  of  a  young 
princess  who  yearns  to  have  the  moon  as 
her  own.  On  the  backing,  the  Kuklapoli- 
tans  present  a  medley  of  holiday  songs, 
with  delightful  interpretations  by  leading 
lady  Fran  Allison,  Dolores  Dragon,  Fletch- 
er Rabbit,  Beulah  Witch,  Kukla  and  Ollie. 
(Decca) 

"Christmas  Music  from  Around  the 
World"  is  a  most  unique  album  by  Einar 
Hansen  and  his  18th- Century  Glass  In- 
strument. Hansen  produces  the  most 
amazing  musical  sounds  by  rubbing  his 
dampened  fingertips  over  the  rims  of  prop- 
erly-pitched crystal  glasses.  In  this  al- 
bum he  "plays"  Christmas  hymns  and 
carols  from  thirty -seven  countries,  many 
of  which  lend  themselves  beautifully  to  his 
unusual  tone,  which  at  times  almost  has  a 
vocal  quality.  If  you're  looking  for  some- 
thing different  in  Noel  music,  this  is  cer- 
tainly it.     (M-G-M) 

"Nuttin'  For  Christmas"  is  a  novelty 
tune  for  the  children,  and  is  effectively 
sung  by  eleven-year-old  Ricky  Zahnd, 
who  is  a  choir  boy  at  the  Little  Church 
Around  The  Corner  in  New  York  City. 
Ricky  tells  the  story  of  the  lad  who  was  so 
naughty  (and  what  things  he  does!)  that 
he  doesn't  get  any  Christmas  goodies. 
There's  another  cute  tune  on  the  reverse 
side,  "Something  Barked  on  Christmas 
Morning,"  and  you  can  guess  what  that's 
about.  Tony  Mottola's  orchestra  handles 
the  music,  and  for  vocal  assistance  Ricky 
has  a  junior  quartet — two  girls  and  two 
boys  called  The  Blue  Jeaners.  (Columbia) 

And  last  but  not  least  is  a  charming  al- 
bum called  "Happy  Holiday,"  by  Jo  Staff- 
ord, her  husband,  conductor  Paul  Weston, 
and  his  orchestra,  and  their  little  son,  Tim- 
othy, aged  three.  Jo  sings  all  Yule  stand- 
ards and  explains  vocally  to  Timmy  all 
about  snow,  which  he  has  never  seen,  via 
such  favorites  as  "Winter  Weather,"  "Let  It 
Snow"  and  "Winter  Wonderland."  There's 
also  a  version  of  "Night  Before  Christmas," 
and  you'll  hear  tiny  Tim's  voice  as  he 
recites  the  last  word  of  several  lines  of  the 
classic  poem.  The  Starlighters  help  out 
in  the  background,  but  it's  really  a  Weston 
family  affair,  and  a  delightful  one.  (Co- 
lumbia) 

My  space  is  up,  so  I'll  just  say  Merry 
Jingle  Bells  to  you  and  I  hope  you  all  have 
a  Happy  Christmas  Time.  See  you  next 
year — and,  oh,  yes,  Happy  New  1956,  too! 


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Tonight  He  Sings 

/  would  like  to  know  something  about 
Andy  Williams,  the  singer  on  Steve  Allen's 
NBC-TV  show,  Tonight. 

L.   G.,   Atlantic  Highlands,  N.  J. 

If  the  Presbyterian  Church  in  Wall 
Lake,  Iowa,  hadn't  needed  a  choir — and  if 
the  J.  E.  Williams  family  hadn't  decided 
to  convert  themselves  into  a  musical  group 
— young  Andy  Williams  might  still  be  in 
Iowa,  instead  of  pleasing  audiences  on 
Steve  Allen's  NBC-TV  Tonight  show.  .  .  . 
Andy's  Dad  played  twelve  instruments 
and,  with  five  children  who  could  sing, 
making  music  was  the  grandest  thing  any 
of  the  Williams  family  could  think  of.  .  .  . 
Pretty  soon,  Bob,  Dick,  Don  and  Andy 
Williams  developed  into  a  nice  little  quar- 
tet and  their  father  decided  to  write  a  let- 
ter to  WHO  in  Des  Moines.  Soon,  this 
"stage  father"  looked  toward  Chicago, 
lining  up  a  job  for  his  youngsters  with 
WLS.  Then  WLW,  Cincinnati,  beckoned. 
.  .  .  After  a  short  time,  the  boys  decided  to 
try  their  luck  in  Hollywood.  Radio  jobs 
began  to  materialize  in  California  and  an 
M-G-M  contract  to  do  musicals  was  almost 
the  crowning  touch,  but  not  quite.  For  the 
Williams'  boys,  one  by  one,  entered  the 
Army.  .  .  .  When  they  returned  from 
World  War  II,  Kay  Thompson,  former 
head  of  the  vocal  department  at  M-G-M, 
asked  the  boys  to  join  her  in  a  night-club 
act.  For  two  years,  Kay  Thompson  and 
the  Williams  Brothers  toured  the  United 
States,  London  and  Paris.  By  1953,  the  act 
broke  up  and  Andy,  with  recording  con- 
tract in  hand,  began  a  city-to-city  tour  to 
plug  his  latest  releases.  ...  In  New  York, 
he  called  on  his  friend,  Bill  Harbach,  who 
had  just  been  chosen  to  produce  Steve 
Allen's  Tonight  show.  Harbach  greeted 
Andy  with  a  hasty  urging  to  get  down  to 
the  Hudson  Theater.  Within  a  week,  Andy 
Williams  was  singing  coast  to  coast. 


Andy  Williams 


Betty  Johnson 

Homespun  To  Satin 

/  would  like  to  have  some  information 
on  Betty  Johnson,  the  singer  on  Don  Mc- 
Neill's Breakfast  Club  on  ABC-Radio. 

R.  R.,  Lexington,  N.  C. 

The  new  singing  sweetheart  of  Don 
McNeill's  Breakfast  Club  has  a  success 
story  which  lifted  her  from  singing  for  her 
supper  at  country  crossroads  to  a  top  sing- 
ing role  on  radio.  And  even  now,  when 
she's  right  up  there,  she  isn't  just  coasting 
in  her  Cinderella  coach.  Between  pro- 
grams, she's  enrolled  in  added  college 
courses  at  Northwestern  University  in 
Evanston,  Illinois.  .  .  .  She  was  born  in 
Cat  Square,  North  Carolina,  grew  up  on  a 
farm  near  Possum  Walk  Road  in  the  foot- 
hills of  the  Great  Smokies,  and  later  at- 
tended high  school  at  Paw  Creek.  With  her 
father,  mother,  and  older  brother  Ken, 
Betty  started  singing  at  church  functions 
when  she  was  five.  ...  In  the  closing  years 
of  the  Depression  in  1938,  Papa  Johnson 
built  a  house  trailer,  hooked  it  to  a  broken- 
down  jalopy  and  set  off  on  a  family  sing- 
ing safari.  On  the  road,  they  would  put 
on  a  "sing" — then  pass  the  hat.  It  paid 
for  meals  and  gas.  In  1940,  when  they 
stopped  in  Charlotte,  the  family  got  a  job 
singing  on  Station  WBT.  .  .  .  The  family 
then  settled  down  on  a  farm  and  Betty 
paid  her  way  at  Queens  and  Davidson  Col- 
leges in  Charlotte  by  working  as  a  switcH- 
board  operator,  a  sleep-in  governess,  and 
as  a  singer  on  two  radio  programs.  ...  In 
1952,  Betty  appeared  on  Arthur  God- 
frey's Talent  Scouts  on  TV  and  won  a  six- 
week  engagement  at  the  Copacabana.  She 
was  chosen  to  be  the  "Borden  Girl,"  then 
won  singing  roles  on  There's  Music  In  The 
Air,  On  A  Sunday  Afternoon  and  the 
Galen  Drake  show.  .  .  .  This  bright-eyed 
miss  is  now  seen  on  the  Eddy  Arnold 
Show,  on  which   she   plays   and   sings   for 


the  "Tennessee  plowboy."  And  she  starts 
everybody's  radio  day  with  a  song  on 
Breakfast  Club.  .  .  .  Betty's  success  means 
the  farm  is  just  about  paid  for,  Daddy  has 
seventeen  Redbone  coon  dogs  on  the  place, 
and  brother  Kenneth  is  at  Duke  University. 
As  for  Betty,  life  is  pleasant  and  promising. 

Boone  Is  Booming 

Would  you  please  tell  me  something 
about  Pat  Boone,  radio,  TV  and  recording 
star? 

P.  C,  Toledo,  Ohio. 

He's  young,  he's  handsome,  he's  Texan, 
with  a  sparkling  personality  and  rich  bari- 
tone voice.  That's  Pat  Boone,  born  20  years 
ago  in  Jacksonville,  Florida,  reared  in 
Nashville,  Tennessee,  whole-heartedly 
adopted  by  Denton,  Texas.  At  the  age  of 
10,  Pat  knew  he  wanted  to  be  a  singer  and 
performed  at  church  socials,  picnics, 
school  assemblies,  anywhere  and  every- 
where. At  17,  he  had  his  own  radio  show 
on  WSM,  an  NBC  affiliate.  This  was  such 
a  hit  that  Pat  soon  had  his  own  television 
show  seen  on  WSIX-TV  in  Nashville.  .  .  . 
During  this  time,  Pat  was  matriculating  at 
David  Lipscomb  High  School  and  later 
enrolled  at  David  Lipscomb  College  in 
Nashville.  After  a  year,  he  transferred  to 
North  Texas  State  College  where  he  ma- 
jored in  speech  and  dramatics.  .  .  .  Dur- 
ing his  summer  vacation,  Pat  made  a  trip 
to  New  York  where  he  auditioned  and  was 
eventually  chosen  a  three-time  winner  on 
the  Ted  Mack  Amateur  Hour.  Then  Pat 
took  one  of  his  recordings  to  WBAP  in 
Fort  Worth  and  the  station  manager, 
thinking  he  was  a  hillbilly  singer,  signed 
him  for  their  local  barn-dance  show.  Pat 
was  chosen  to  be  host  on  this  show  and  for 
two  years  he  had  his  own  radio  show  for 
teenagers.  .  .  .  Next  rung  on  his  ladder  to 
(Continued   on  page   13) 


Pat  Boone 


n 


A  GUY  AND  A  GAG 


Quiet,  please — the  Society  for  the 
Prevention  of  Cruelty  to  Hush-Puppies 
is  on  the  air — Murray  Kaufman, 
WMCA  deejay,  presiding 


Top  stars  have  recorded  the  songs  Murray  and  Claire 
write  as  a  hobby.  Below,  they  join  sons  Jeff  and 
Keith    and    housekeeper    Jane    in    making  hush-puppies. 


12 


A  carpetbagger  is  a  Northerner  who  made  himself 
unwelcome  down  South.  But  what  do  you  call  a 
Virginian  who  travels  North  to  make  himself  so  wel- 
come that  some  108,000  Yankees  join  fan  clubs  for  him — 
and  even  the  huge  Palisades  Amusement  Park  breaks 
all  its  attendance  records  and  still  must  turn  away 
50,000  of  his  boosters?  .  .  .  Until  a  revised  dictionary 
comes  out,  just  call  such  a  person  Murray  Kaufman. 
He's  the  smooth-talking  comedy-deejay  on  The  Murray 
Kaufman  Show,  heard  on  New  York's  Station  WMCA, 
Monday  through  Saturday  from  11  to  midnight.  He's 
also  the  fellow  who  parlayed  a  casual  gag  about  an  old 
Southern  dish  into  200  chapters  of  The  Society  for  the 
Prevention  of  Cruelty  to  Hush-Puppies.  The  recipe  for 
hush-puppies  is  distributed  to  all  his  fans,  and  Murray 
has  traced  the  delicacy's  name  back  to  old  plantation 
days  when  the  women  threw  them  to  the  dogs  barking 
outside  the  kitchen  and  cautioned,  "Hush,  puppy."  .  .  . 
Murray  is  frequently  joined  on  his  show  by  his  wife 
Claire,  a  beauteous  ex-musical  comedy  singer  who  takes 
advantage  of  her  Hungarian  ancestry  to  do  take-offs  in 
the  name  of  "Eva  Grabor."  Another  feature  is  the 
Record  Review  Board,  run  entirely  by  teenagers.  .  .  . 
Born  in  Richmond,  Murray  attended  Peekskill  Military 
Academy,  then  majored  in  advertising  at  UCLA.  After 
deejay  stints  at  Pasaderp  and  KFI,  he  joined  the  Air 


Force.  .  .  .  Back  in  mufti,  Murray  remembers  that  he 
became  a  leading  radio  personality  "by  accident" — a 
chance  meeting  with  an  old  friend,  a  radio  producer, 
which  led  to  Full  Speed  Ahead,  a  variety  show  on  the 
Mutual  network.  Next  he  presided  over  Wishbone 
Party,  a  WHN  program  for  amateur  songwriters,  in 
whose  ranks  both  Murray  and  Claire  may  be  included. 
Murray  co-emceed  the  Laraine  Day  show  on  WMGM, 
then  did  likewise  for  the  Eva  Gabor  and  Virginia 
Graham  shows  on  the  ABC  network.  He  has  also  found 
time  to  manage  some  twenty  ballplayers  on  personal 
appearances,  co-author  How  to  Hit  with  Johnny  Mize, 
go  into  the  music-publishing  business,  and  also  make 
recordings  as  "Ludwig  Von  Kaufman."  .  .  .  The  Kauf- 
mans met  when  Murray  spotted  a  pretty  girl  in  a  Broad- 
way musical  and  asked  for  an  introduction.  He  was 
introduced  to  the  wrong  girl  but,  after  one  look  at 
Claire,  he  never  asked  to  have  the  mistake  corrected. 
Both  Claire  and  Murray  are  "midnight  movie  owls,"  but 
Claire  admits  she  usually  falls  asleep.  Murray's  favorite 
relaxation  is  baseball  at  the  park  with  his  sons  Jeffrey, 
11 V2,  and  Keith,  5.  .  .  .  Murray,  who  may  soon  add  TV  to 
his  many  activities,  advises:  "Worry  about  something  to- 
morrow, so  you  can  live  through  today."  But  who's 
worried,  except  that  sometimes  you  can't  hear  the  music 
for  your  own  laughter  on  The  Murray  Kaufman  Show. 


information   booth 

(Continued  from  page  11) 

fame  was  an  appearance  on  Arthur  God- 
frey's Talent  Scouts  which  he  won  easily. 
Shortly  thereafter  Pat  recorded  his  famed 
"Two  Hearts"  for  Dot  Records.  .  .  .  Pat  is 
a  six-footer,  weighs  182  pounds,  has  brown 
eyes  and  hair.  His  real  name  is  Charles 
Eugene  Boone.  An  enthusiastic  sports 
fan,  he  likes  to  play  as  well  as  watch.  He's 
got  a  younger  brother  and  two  younger 
sisters.  Pat  plays  the  uke  for  his  own  en- 
joyment. He's  the  great-great-great-grand- 
son of  Daniel  Boone.  He's  great. 

Calling  All  Fans 

The  following  clubs  invite  new  members. 
If  you  are  interested  in  joining,  write  to 
the  address  given  and  not  to  TV  Radio 
Mirror. 

Dick  Contino  Fan  Club,  c/o  Miss  Mag- 
gie Rose,  7655  Sunset  Blvd.,  Hollywood 
46.  Calif. 

Oop  Shoopers  (The  Crew  Cuts),  c/o 
Judy  Duda,  3357  Newland,  Chicago  34, 
111. 

John  Cassavetes  Fan  Club,  c/o  Man- 
Ann  Ehle,  792  President  St.,  Brooklyn  15, 
N.  Y. 

Nation's  History  Teacher 

Would  you  please  give  me  some  infor- 
mation about  Walter  Cronkite,  the  CBS- 
TV  news  analyst?  E.  B.,  Chicago,  III. 

The  popular  and  profound  award-win- 
ning news  analyst  seen  on  CBS-TV's  You 
Are  There,  The  Sunday  News  Special,  and 
now  the  Morning  Show,  came  into  his  own 
during  the  1952  elections  when  he  worked 
as  "anchor  man"  for  the  network.  Now 
his  expert  job  on  the  You  Are  There  show 
lias  earned  him  the  title  of  "History 
Teacher  to  the  Nation."  .  .  .  Walter  hails 
from  St.  Joseph.  Missouri,  where  his 
father,  Dr.  Walter  L.  Cronkite,  Sr„  still 
practices  medicine.  Born  on  November  4, 
1916.  Walter  attended  the  University  of 
Texas,  studying  social  science  and  eco- 
nomics. He  was  also  campus  correspon- 
dent for  the  Houston  Post,  and  a  radio 
sports  announcer.  His  first  job  was  with 
the  Houston  Press.  .  .  .  For  a  year  he  was 
a  sports  announcer  in  Kansas  City, 
Missouri,  and,  for  eleven  years,  he  was  a 
war  correspondent  for  United  Press.  . 
Mrs.  Cronkite  is  the  former  Mary  Eliza- 
beth Maxwell  of  Kansas  City.  They  were 
married  on  March  30,  1940.  They  have 
two  children,  Nancy  Elizabeth  and  Mary 
Kathleen.  Always  a  newsman,  Cronkite 
says  of  Nancy,  "She  was  born  on  the  day 
of  the  Inchon  landing!" 


FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  we  can, 
provided  your  question  is  of  general  inter- 
est. Answers  will  appear  in  this  column— 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


Whats  New  in 
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THE  TOP  THREE  BRANDS   AFTER  COLGATE'S 


Cleans  Your  Breath  T  Guards  Your  Teeth 


13 


•  By  ELLEN  TAUSSIG 


Everything  about  dynamic  Bill  Ranalle 

is  unusual — except  the  great 

success  and  popularity  he  now  enjoys 


Singing  stars  such  as  Lu  Ann  Simms  respect  Bill  for  his 
keen  knowledge  and  strong  influence  on  musical  trends. 


E*S    ONE    IN   A 


T 

v        Bill  has  a  scientific  method   for  making  his  musical   selec- 
tions, based  on  figures  culled  from  3000  "listening  posts." 


14 


Success  and  popularity  are  the  most  sought-after 
will-o'-the-wisp  partners  in  show  business.  Seldom 
are  they  easily  attained  and  never,  in  the  up-and-down 
entertainment  world,  do  they  provide  any  guarantee  of 
durability.  One  young  man  who  has  lived  and  learned 
this  is  Bill  Randle,  popular  disc  jockey  of  Station 
WCBS,  New  York,  and  Station  WERE,  Cleveland. 

Currently,  Bill  pursues  a  marathon  weekly  schedule 
which  includes  close  to  forty  hours  of  broadcasting.  On 
Station  WERE,  The  Bill  Randle  Show  is  heard  daily 
from  2  to  7  P.M.,  Saturday  from  10  P.M.  to  2  A.M.,  and 
Sunday  from  1  to  7  P.M.  On  WCBS,  The  Bill  Randle 
Disc  Jockey  Show  is  heard  Saturday,  from  1:30  to 
5:45  P.M.  Since  all  his  shows  are  "live,"  Bill  has  to  fly 
to  New  York  each  Saturday  morn,  then  wing  his  way 
back  to  Cleveland  Saturday  evening. 

Although  his  programs  feature  hits  and  upcoming 
hits  of  the  day,  they  cannot  be  classed  as  "just  another 
deejay  show,"  for  Bill,  as  one  of  radio's  most  esteemed 
prophets  of  songs  and  performers,  adds  a  touch  of 
excitement,  as  well  as  a  strong  measure  of  authority. 
"Cry,"  "Melody  of  Love"  and  "Yellow  Rose  of  Texas" 
were  a  few  of  his  hit  predictions.  Johnnie  Ray,  the 
Crew  Cuts  and  Bill  Haley  are  some  of  the  top  per- 
formers he  helped  "discover." 

A  man  of  many  interests.  Bill  has  done  a  lot  of  living 
in  his  thirty-one  years.  He  was  born  in  Detroit  and, 
after  high  school,  studied  at  Wayne  University  one 
year,  then  decided  to  visit  Mexico.  "I  went  for  a  couple 
of  weeks,"  he  says,  "and  stayed  a  year."  During  that 
time,  he  lived  with  a  Mexican  family  and  studied  at  the 
University  of  Mexico. 

Returning  to  Detroit,  Bill  re-entered  Wayne  Uni- 
versity, then  looked  for  a  part-time  job  to  pay  his  way. 
Someone  had  once  told  him  he  had  a  good  voice  for 
radio,  so  he  decided  to  give  it  a  try.  When  an  announc- 
er left  Station  WJLB,  Bill  was  asked  to  step  in.  Totally 
inexperienced,  Bill  says,  "I  really  was  a  panic.  My  first 
ten  minutes  on  the  air,  I  made  every  mistake  possible." 
Bill  continued  as  an  announcer  until  1943,  when  he  was 
given  his  own  show,  featuring  jazz  only. 

In  1946,  Bill  transferred  to  WXYZ,  Detroit,  where— 
for  the  first  time — "I  ran  across  having  writers,  direc- 
tors and  other  people  telling  me  what  to  do."  It  didn't 
take  long  for  him  to  realize  that  ad-libbing  was  his 
forte.  "I  couldn't  read  copy,"  he  says,  "and  still  can't." 


Appearing  at  numerous  teen-age  gatherings,  Bill  is  often 
asked  to  sign  records  he  rightly  said  would  become  hits. 


Bill  and  Anna  Lee  met  in   1949,  after  she  left  her  glasses 
at  a  jazz  concert.    Now,  with  Patricia  Lee,  they  are  three. 


MILLION 


Consequently,  he  recalls,  his  show  was  "a  real  bomb." 

After  doing  some  free-lance  announcing,  Bill  re- 
sumed his  jazz  show  at  WJLB.  Even  though  his  lis- 
teners began  requesting  pop  tunes,  Bill  insisted  upon 
playing  jazz  only.  "I  really  had  an  ego,"  he  grins.  So, 
in  1949 — "the  station  fired  me,  and  I  went  from 
obscurity  into  oblivion." 

Bill  then  decided  to  take  a  year  off  from  radio  and 
find  out  what  listeners  really  wanted  in  a  music  show. 
He  went  to  work  for  a  chain  of  movie  theaters  which 
had  a  system  for  judging  what  its  patrons  wanted  to 
see.  Bill  studied  the  system  and  from  it  devised  his 
own  method  for  radio-listener  use.  In  1950,  he  joined 
newly-opened  WERE  in  Cleveland  and  put  his  system 
to  work.  "I  knew,"  Bill  says,  "that  if  I  hit  at  all  I'd  hit 
right  away."  Then  he  adds  modestly,  "I  got  lucky.  I 
got  a  good  audience." 

Paralleling  Bill's  extraordinary  radio  schedule  are 
his  off-the-air  activities,  public  and  private.  He  has 
staged  hundreds  of  teen-age  shows — -"about  one  a  day 
during  the  winter" — helped  numerous  charity  drives, 
and  originated  a  scholarship  fund  for  nurses.  His  per- 
sonal interests  include  his  wife  Anna  Lee  and  their 
nine-month-old  daughter  Patricia  Lee,  plus  tennis, 
sport-car  racing,  and  judo.  The  Randies  live  in  a  lake- 
shore  apartment  which  features  "lots  of  bookcases, 
record  cabinets  and  more  cabinets."  Bill's  record  col- 
lection of  mostly  jazz  and  modern  classics  totals  20,000. 
In  addition  to  earning  his  B.A.  at  Wayne,  he  studied  at 
the  University  of  Chicago,  Western  Reserve  and  West- 
ern Reserve  Graduate  School.  Last  year,  he  entered 
Western  Reserve  Law  School,  but  had  to  quit  when  he 
began  commuting  to  New  York. 

Last  winter,  while  competing  in  a  midget  auto  race 
in  Cleveland,  Bill  was  coming  around  a  curve  at  65 
miles  an  hour,  when  a  front  wheel  tore  off  his  car.  The 
car  lurched  into  the  air,  throwing  Bill  on  the  track, 
then  came  bounding  down  on  top  of  him.  "I  was  lucky 
I  wasn't  knocked  out,"  he  says,  "but  I  was  sore  for  a 
month."  Actually,  he  suffered  three  cracked  ribs. 

Bill's  reaction  to  this  terrifying  incident,  though  un- 
usual, is  typical.  For  he  has  always  met  every  ob- 
stacle head-on.  Come  what  may,  Bill  will  be  ready. 
And,  if  past  and  present  performances  are  a  means  of 
judging  the  future,  continued  success  and  popularity 
seem    assured    for    Bill    Randle,    man    in    a    million. 


"Relaxing"  at  home,  Bill  continues  to  study  psychology  and 
sociology.  He  hopes  to  teach  at  a  university  before  long. 


Poised  in  an  MG,  one  of  his  five  racing  cars,  Bill  gets  set 
for  the  Zanesville,   Ohio,   race,   in   which   he  placed  first. 


15 


Daytime  Diary 


i«  wjffMiyftwweww'gi 


/4/Z  programs  are  heard  Monday  through   Friday;    consult  local  papers  jor  time  and  station. 


BACKSTAGE  WIFE  Mary  Noble  has 
thrown  off  the  crushing  despair  she  knew 
when  her  matinee  idol  husband,  Larry, 
asked  for  a  divorce,  and  is  fighting  back  to 
save  her  marriage.  When  actress  Elise 
Shephard  was  her  only  enemy,  Mary  felt 
on  safer  ground.  But  with  the  new,  strange 
influence  of  the  fortune-teller,  Madame 
Moleska,  operating  against  her,  she  is  un- 
certain how  to  proceed.  Why  is  Moleska 
Mary's  bitter  adversary?   CBS  Radio. 

THE   BRIGHTER   BAY   Max   Canfield, 

victim  of  one  unhappy  marriage,  bitterly 
faces  the  wreck  of  his  romance  with  Lydia 
Harrick,  not  realizing  that  her  devotion 
to  her  brother-in-law  is  the  result  of  a 
carefully-planned  trap  in  which  Donald 
Harrick  is  determined  to  keep  Lydia  en- 
slaved for  his  own  comfort.  What  will  hap- 
pen when  she  learns  that  Donald  is  not 
really  a  cripple,  as  he  pretends?  Will  she 
turn  to  Reverend  Dennis  for  help?  CBS- 
TV   and  CBS  Radio. 

THE  BOCTOR'S  WIFE  Every  doctor— 
and  Dr.  Dan  Palmer  is  no  exception — 
dreams  of  one  day  giving  up  the  demands 
of  general  practice  for  the  kind  of  medical 
work  that  will  mean  no  more  midnight 
calls,  more  regular  hours,  a  chance  to  take 
vacations.  But  when  Dan's  big  chance 
comes  along,  with  Dr.  Sanders  to  back  him 
as  head  of  Stanton  General  Hospital,  Julie 
has  a  few  misgivings  about  Dan's  enthusi- 
asm. Is  there  such  a  thing  as  a  general 
practitioner's  soul?   NBC  Radio. 

FIRST  LOVE  How  effective  can  a  very 
little  girl  be  if  she  wants  to  stop  her 
father  from  remarrying?  Laurie's  friend 
Amy  is  finding  out,  though  it  seems  im- 
possible that  a  child  as  young  as  Jenny  can 
be  so  determined  to  keep  her  father  to 
herself.  Can  Amy  win  Jenny  over?  And 
what  about  Laurie's  precarious  pregnancy? 
Wanting  a  baby  as  much  as  she  does,  can 
she  possibly  arm  herself  against  tragic 
disappointment?  NBC-TV. 

THE   G\ [JIBING   EIGHT   Reinstated   in 
his  career  as  a  brilliant  plastic  surgeon,  Dr. 
Dick   Grant   refuses   to   examine   the   true 
character    of    his    feeling    for    the    young 
artist,  Marie  Wallace,  beyond  calling  him- 
self   her    friend.    Marie    also    denies    any 
T    romantic   attachment  to   Dick — but  if  the 
V    fear  for  her  eyesight  is  removed  will  she 
R    be  more  inclined  to  admit  what  she  knows 
in  her  heart  to  be  true?  And  if  she  dares 
to  hope,  will  she  face  heartbreak?  CBS-TV 
and   CBS   Radio. 
16 


LOVE  OF  LIFE  Paul  Raven's  effort  to 
found  a  career  in  Barrowsville  is  made 
more  difficult  when  he  and  Vanessa  de- 
cide to  keep  the  child,  Carol,  despite  all 
the  trouble  her  warped  emotional  con- 
dition has  already  caused.  Will  their  af- 
fection and  Dr.  Stark's  advice  really  help 
her  regain  her  speech?  Or  is  she  in  more 
psychological  difficulty  than  they  suspect? 
How  will  Van's  sister  Meg  affect  the  out- 
come?   CBS-TV. 

MA  PERKINS  Despite  the  anguish  the 
Marshes  have  caused  her  loved  ones,  Ma 
now  understands  the  tragic  need  that 
drove  them  to  kidnap  baby  Janey.  The 
desperate  confusion  of  a  woman  who 
thought  she  could  never  have  a  child  en- 
lists all  Ma's  deepest  sympathy,  and  with 
the  marriage  of  Gladys  and  Joe  no  longer 
in  danger,  Ma  can  turn  whole-heartedly 
to  Mrs.  Marsh,  adding  another  human 
problem  to  the  hundreds  she  has  helped 
solve.  CBS  Radio. 

ONE  MAN'S  FAMILY  Standards  that 
have  served  Father  Barbour  so  well  for 
all  his  years  are  a  bit  too  inflexible  for  the 
younger  Barbours  to  adhere  to  all  the 
time,  as  Father  realizes  when  the  question 
of  divorce  comes  up.  Is  he  being  too  dog- 
matic when  he  insists  that  divorce  is  never 
an  answer  to  a  marital  problem?  Will  he 
find  he  must  give  way  to  something  he 
cannot  believe  in?  Or  will  his  standards 
prove  right  in  the  end?   NBC  Radio. 

OUR  GAL  SUNBAY  Though  Sunday's 
marriage  to  Lord  Henry  Brinthrope  has 
been  threatened  in  the  past,  she  faces  the 
most  serious  threat  of  all  as  Leonora  Daw- 
son re-enters  Henry's  life.  This  attractive 
woman,  to  whom  Henry  was  engaged  long 
before  he  met  Sunday,  has  the  support  of 
Henry's  aunt,  Mrs  Sarah  Thornton,  in  her 
effort  to  break  up  the  Brinthrope  marriage. 
Can  Sunday's  love  and  faith  withstand 
such  enemies?   CBS  Radio. 

PEPPER  YOUNG'S  FAMILY  The  long 
months  of  Peggy's  ordeal  as  she  and  her 
family  desperately  searched  for  her  miss- 
ing husband,  Carter,  take  their  toll  in  more 
ways  than  at  first  appear.  Carter's  own 
confused  efforts  to  spare  Peggy  by  setting 
up  a  new  life  for  himself  in  New  York  are 
bound  to  affect  the  future,  no  matter  what 
the  future  may  hold.  Will  either  of  them 
be  quite  the  same  after  the  long  separa- 
tion?  NBC  Radio. 


ing  as  Sam  Merriweather's  daughter,  is  a 
key  figure  in  Ed  Bailey's  plan  to  gain  con- 
trol of  Merriweather's  interests.  But  she 
does  not  realize  how  completely  she  is  also 
Bailey's  tool.  As  the  neurotic  Eve  begins 
to  crack,  will  Bailey  dispose  of  her  before 
Perry  Mason  learns  all  the  facts  he  needs 
to  prove  that  Lois  Monahan  is  Sam's  real 
daughter — and  to  forestall  Bailey's  vicious 
scheme?  CBS  Radio. 

THE  RIGHT  TO  HAPPINESS  Caro- 
lyn Nelson's  refusal  to  use  for  her  own 
benefit  the  money  she  has  inherited  has 
created  a  grave  problem  with  her  resent- 
ful young  son  Skip,  who  cannot  understand 
Carolyn's  reasons  for  withholding  luxuries 
they  might  now  so  easily  afford.  Mean- 
while, other  eyes  have  turned  toward 
Carolyn's  money — covetous,  scheming,  un- 
scrupulous eyes  belonging  to  a  young  man 
who  may  deceive  Carolyn  into  trusting 
him.   NBC  Radio. 

THE  ROAB  OF  LIFE  When  Sibyl  Over- 
ton Fuller's  careful  plotting  resulted  in 
his  wife  Jocelyn's  deportation,  Dr.  Jim 
Brent  was  willing  to  work  slowly  and 
carefully  to  gain  Sibyl's  confidence,  hop- 
ing for  a  complete  admission  of  her  treach- 
ery. But  the  knowledge  that  Jocelyn  is 
soon  to  have  a  baby  wipes  out  his  caution. 
Will  his  passionate  determination  that  the 
child  must  be  born  in  the  United  States 
force  a  tragic  climax?  CBS  Radio. 

THE  ROMANCE  OF  HELEN  TRENT 

With  Gil  Whitney's  wife  Cynthia  actually 
planning  divorce,  Helen  and  Gil  dare  to 
look  forward  to  a  future  together.  But 
Helen  is  certain  that,  until  the  threat  of- 
fered by  Fay  Granville  is  disposed  of,  there 
can  be  no  happiness  for  her  and  Gil.  Will 
Gil's  jealousy  get  in  the  way  of  Helen's 
discovering  the  devastating  truth  about 
Fay  Granville — the  truth  that  could  for- 
ever destroy  her  influence  over  Gil?  CBS 
Radio. 

SEARCH   FOR   TOMORROW   Joanne 

and  Arthur  Tate  are  stunned  as  they  watch 
the  near-disintegration  of  a  marriage  that 
never  before  showed  the  faintest  sign  of 
strain.  Can  an  ambitious  Southern  girl  and 
her  scheming  mother  really  separate  Stu 
and  Marge  Bergman,  as  devoted  a  couple 
as  any  in  Henderson?  Will  Stu  realize  in 
time  how  he  is  being  maneuvered — or  will 
Jo,  unable  to  see  her  friend  suffer,  take  a 
decisive  step?  CBS-TV. 


PERRY  MASON  Eve  Merriweather,  pos-       THE  SECONB  MRS.  BURTON  While 


Stan  Burton's  wealthy,  autocratic  mother 
was  busy  changing  her  mind  about  whether 
she  would  or  wouldn't  marry  Buck  Halli- 
day,  he  solved  the  problem  by  marrying 
someone  else — leaving  Stan  and  his  wife, 
and  his  sister  Marcia  and  her  husband, 
with  the  more  trying  problem  of  helping 
Mother  Burton  reestablish  her  shattered 
social  position  in  Dickston.  Will  they  be 
better  off  if  a  new  romance  enters  her 
life?  CBS  Radio. 

THE  SECRET  STORM  Although  Peter 
Ames'  sister-in-law,  Pauline  Harris,  has 
sincerely  repented  her  efforts  to  ruin  his 
life,  she  cannot  escape  retribution  for  some 
of  the  other  vicious,  selfish  acts  she  com- 
mitted in  the  past.  As  the  rift  between 
Peter  and  Jane  widens  because  of  Jane's 
stern  refusal  to  involve  him  in  her  unset- 
tled affairs,  will  Pauline  strengthen  her 
hold  on  Peter  through  her  need  of  his 
protection?    CBS-TV. 

STELLA  DALLAS  Although  Stella's  long 
fight  to  save  her  daughter's  marriage  has 
apparently  ended  in  failure,  Stella  refuses 
to  recognize  the  finality  of  Dick  Grosve- 
nor's  Mexican  divorce  from  Laurel.  If 
Dick  marries  Janice  Bennett,  or  if  Laurel 
succumbs  to  Stanley  Warrick's  attentions, 
Stella  will  be  forced  to  bow  to  the  in- 
evitable. But  is  there  anything  she  can  do 
to  keep  Laurel  from  what  she  feels  will  be 
a  tragic  error?  NBC  Radio. 

THIS  IS  NORA  DRAKE  David  Brown's 
mental  collapse  is  made  worse,  rather 
than  better,  when  his  dim  suspicions  are 
confirmed  by  his  foster-mother's  revela- 
tion that  his  true  parents  have  been  re- 
cently released  after  serving  a  long  term 
for  murder.  Will  the  truth  help  Nora  to 
lead  David  back  to  mental  health,  or  will 
his  sister  Lorraine  triumph  as  she  tries  to 
convince  him  neither  of  them  can  lead 
normal  lives?  CBS  Radio. 

VALIANT  LADY  Helen  Emerson's  per- 
sonal crisis  is  intensified  as  she  frantically 
searches  for  her  daughter  Diane,  whose 
disappearance  from  New  York  is  compli- 
cated by  many  false  trails.  Helen's  fears 
are  justified  by  her  knowledge  of  Diane's 
headstrong  stubbornness,  but  not  even  she 


can  imagine  the  peculiar  danger  into  which 
Diane  has  actually  fallen.  Will  the  re- 
porter, Elliott,  prove  to  be  Helen's  most 
valuable  friend  through  this  ordeal?  CBS- 
TV. 

WENDY  WARREN  AND  THE  NEWS 

Through  the  growing  friendship  between 
Wendy  and  Linda,  wife  of  Dr.  Peter  Dal- 
ton,  Wendy  knows  that,  whatever  secrets 
are  hidden  in  Linda's  past,  she  now  wants 
only  to  be  what  Peter  believes  her  to  be 
— a  loyal  and  sincere  wife.  But  are  Linda's 
involvements  the  kind  that  can  be  shaken 
off  so  easily?  How  far-reaching  is  the  plot 
in  which  she  was  once  so  ready  to  take  a 
leading  role?   CBS  Radio. 

THE  WOMAN  IN  MY  HOUSE  Sandy 
Carter  has  always  lived  with  a  certain 
dash  and  recklessness,  and  even  her  mar- 
riage to  Mike  doesn't  seem  to  have  sobered 
her  too  much.  But  the  extreme  oddness  of 
her  activities  lately  has  puzzled  even  her 
mother,  who  knows  her  pretty  well.  And 
her  father  is  on  the  verge  of  laying  down 
the  law,  though  he  knows  that  in  Sandy's 
case  this  would  be  a  mistake.  Just  what  is 
Sandy  up  to — and  what  about  Mike? 
NBC  Radio. 

YOUNG  DR.  MALONE  Since  the  death 
of  her  mother,  Jill  Malone's  closeness  to 
her  father  has  been  marred  only  by  her 
own  unexpected  development  as  a  rather 
selfish  and  frivolous-minded  youngster. 
But,  with  Jerry's  marriage  to  Tracey,  a 
new  and  more  serious  strain  sets  in.  De- 
fending Jerry  against  Jill's  selfish  demands, 
Tracey  risks  her  own  hard-won  friend- 
ship with  the  girl.  Will  Jerry's  adopted 
son,  David,  provide  the  way  to  under- 
standing? CBS  Radio. 

YOUNG  WIDDER  DROWN  Although 
Millicent  Loring's  death  releases  Dr.  An- 
thony Loring  from  his  loveless  marriage, 
he  and  Ellen  cannot  take  up  their  broken 
romance  where  Millicent's  scheme  inter- 
rupted it  so  long  ago.  For,  instead  of  clear- 
ing the  way  for  their  happiness,  her  mur- 
der may  mean  the  end  to  any  possible 
hope  as  both  Anthony  and  Ellen  stand  in 
danger  of  being  accused  of  a  crime  they 
never  dreamed  of  committing.  NBC  Radio. 


STATEMENT  OF  THE  OWNERSHIP.  MANAGEMENT.  AND  CIRCULATION  REQUIRED  BY  THE  ACT 
OF  CONGRESS  OF  AUGUST  24.  1912.  AS  AMENDED  BY  THE  ACTS  OF  MARCH  3.  1933,  AND 
JULY  2,  1946  (Title  39,  United  States  Code,  Section  233)  Of  TV  RADIO  MIRROR,  published  Monthly  at 
New   York,    N.    Y.,    for   October   1,    1955. 

1.  The  names  and  addresses  of  the  publisher,  editor,  managing  editor,  and  business  managers  are:  Publisher, 
Macfadden  Publications,  Inc.,  205  East  42nd  St.,  New  York  17.  N.  Y. ;  Editor.  Ann  Higginbotham.  205  East 
42nd  St.,  New  York  17,  N.  Y. ;  Managing  Editor,  Ann  Mosher,  205  East  42nd  St.,  New  York  17,  N.  Y.; 
Secretary-Treasurer.   Meyer  Dworkin,  205  East  42nd  St.,  New  York  17,  N.  Y. 

2.  The  owner  is:  (if  owned  by  a  corporation,  its  name  and  address  must  be  stated  and  also  immediately 
thereunder  the  names  and  addresses  of  stockholders  owning  or  holding  1  percent  or  more  of  total  amount 
of  stock.  If  not  owned  by  a  corporation,  the  names  and  addresses  of  the  individual  owners  must  be  given. 
If  owned  by  a  partnership  or  other  unincorporated  firm,  its  name  and  address,  as  well  as  that  of  each 
individual  member,  must  he  given.)  Macfadden  Publications,  Inc.,  205  East  42nd  St.,  New  York  17,  N.  Y. ; 
Abraham  &  Co..  120  Broadway,  New  York  5,  N.  Y. :  Meyer  Dworkin,  c/o  Macfadden  Publications,  Inc.,  205 
East  42nd  St.,  New  York  17,  N.  Y. ;  (Mrs.)  Anna  Feldman,  835  Main  St.,  Peekskill,  N.  Y. ;  Henry  Lieferant, 
The  Hotel  Hamilton.,  Apt.  1205,  141  West  73rd  St.,  New  York  23,  N.  Y. ;  (Mrs.)  Elizabeth  Machlin,  c/o  Art 
Color  Printing  Co.,  Dunellen,  N.  J.;  Irving  S.  Manheimer,  205  East  42nd  St.,  New  York  17,  N.  Y. ;  (Mrs.)  Ruth 
B.  Manheimer,  Somerstown  Rd.,  Ossining,  N.  Y. ;  (Mrs.)  Margaret  E.  Rueckert,  c/o  Frederick  Machlin. 
The  Armstrong  Rubber  Co..  West  Haven  16,  Conn.;  Samuel  Scheff,  1841  Broadway,  New  York  23,  N.  Y. ; 
Joseph  Schultz.  205  East  42nd  St.,  New  York  17,  N.  Y. ;  Arnold  A.  Schwartz,  c/o  A.  A.  Whitford,  Inc., 
705  Park  Ave.,  Plainfield.  N.  J.;  Charles  H.  Shattuck,  Box  422,  Pharr,  Texas;  Walston  &  Co.,  120  Broadway, 
New  York,  N.  Y. ;  Harold  A.   Wise   (deceased),  R.  F.  D.  1,  Box  159,  Onancock,  Va. 

3.  The  known  bondholders,  mortgagees,  and  other  security  holders  owning  or  holding  1  percent  or  more 
of  total  amount  of  bonds,  mortgages,  or  other  securities  are:  (If  there  are  none,  so  state.)  William  E.  Archer 
and  Mrs.  Celia  C.  Archer,  435  Del  Rey  Avenue,  Pasadena  8,  Calif. ;  Walter  E.  Christensen.  R.  F.  D.  No.  2, 
Linesville,  Pa.;  City  Bank  Farmers  Trust  Co.,  Trustee  for  Mary  Macfadden,  22  William  St.,  New  York  15, 
N.  Y. ;  Walter  W.  Flint.  Cottonwood,  Idaho;  James  John  Johnson,  Box  115,  Suring,  Wisconsin;  (Mrs.)  Mary 
Macfadden.  406  E.  Linden  Ave.,  Englewood.  N.  J.;  O'Neill  &  Co.,  P.  O.  Box  28,  Wall  Street  Station,  New 
York  5,  N.  Y. ;  (Mrs.)  Braunda  Macfadden  St.  Phillip.  400  Linden  Ave.,  Englewood,  N.  J.;  Arnold  A.  Schwartz, 
c/o  A.   A.   Whitford.   Inc.,   705   Park  Ave.,   Plainfield,   N.   J. 

4.  Paragraphs  2  and  3  include,  in  cases  where  the  stockholder  or  security  holder  appears  upon  the  books 
of  the  company  as  trustee  or  in  any  other  fiduciary  relation,  the  name  of  the  person  or  corporation  for  whom 
such  trustee  is  acting;  also  the  statements  in  the  two  paragraphs  show  the  affiant's  full  knowledge  and  belief 
as  to  the  circumstances  and  conditions  under  which  stockholders  and  security  holders  who  do  not  appear  upon 
the  books  of  the  company  as  trustees,  hold  stock  and  securities  in  a  capacity  other  than  that  of 
a  bona  fide  owner. 

5.  The  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed,  through  the  mails 
or  otherwise,  to  paid  subscribers  during  the  12  months  preceding  the  date  shown  above  was;  (This 
information  is  required  from  daily,  weekly,  semiweekly,  and  triweekly  newspapers  only.) 

(Signed)    MEYER   DWORKIN,   Secretary-Treasurer 

Sworn  to  and  subscribed  before  me  this  27th  day  of  September,   1955. 

(SEAL)  TULLIO  MUCELLI 

Notary  Public,  State  of  New  York 

No.  03-8045500 

Qualified  in  Bronx  County 

Commission  Expires   March  30.  1956 


LOOK 


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17 


_ 


SHE'S  A  JOY! 


True  to  her  name,  Joy  SomerviUe 

adds  fun  to  life  as  she  passes  along  news  and 

homemaking  tips  to  WICH  listeners 


Beaming  Joy  is  the  gal  with  the  "kind  of  voice  that  makes  you  know 
there  is  a  friendly  personality  behind  it,"  as  her  faithful  fans  exclaim. 


18 


Guests  come  from  far,  and  from  many  fields,  to  visit  Joy.    Jim  Trimm 
is  in  the  publishing  business,  Jack  Porter  is  a  waiter  in  New  London. 


If  you've   got   something   on  your 
mind   that  needs  talking  out,  Joy 
Somerville  is  the  gal  to  call.  You 
will  find  her  in  between  12:30  and 
12:45    P.M.    on    Homemakers    Ex- 
change,  Station   WICH   in   Norwich, 
Connecticut,  and  she'll  lend  a  wise 
and  sympathetic  ear.  Joy  chats  with 
her  at-home  audience  over  the  tele- 
phone about  the  everyday  problems 
they    encounter.    And,    when    you 
want  to  be  informed  about  the  world 
around  you,  she's  got  more  welcome 
pointers    on    Joy's    Country    Studio, 
which,  heard  at  9: 15  A.M.,  features 
fashion  notes,  women's  news,  and  in- 
terviews with  interesting  celebrities. 
Recalling    her    most    enjoyable    talk, 
with    Victor    Jory,    she    says,    "He 
looked  me  straight  in  the  eye  all  the 
time  we  were  talking  and  seemed 
genuinely  interested  in  the  things  we 
were  discussing."  ...  At  25,  attrac- 
tive Joy  is  secretive  about  any  plans 
for    matrimony.    Carving    out    her 
niche  in  radio  is,  for  now,  uppermost 
in  her  mind.  It  all  started  when  she 
graduated  from  the  Katherine  Gibbs 
School  in  Boston  with  a  wish  to  get 
"some  kind  of  job."  That  turned  out 
to  be  bookkeeping  for  WICH.  Her 
first  air  appearance  was  on  the  show, 
After  Breakfast  With  Ann  And  Jack 
(Mr.  and  Mrs.  Purrington),  on  which 
local    events    were    discussed.    Joy 
gave  a  plug  to  a  meeting  of  her  so- 
rority and  that  got  the  ball  rolling. 
She  soon  had  her  own  fifteen -minute 
show,  "a  sort  of  a  filler,  but  at  least 
it  was  a  start."  Within  a  year,  Joy 
attracted  such  a  following  that  the 
management  gave  her  the  two  shows 
she  now  has.  .  .  .  Actually,  Joy,  a 
native  of  Norwich,  has  come  a  long 
way  in  two  years,  even  though  her 
debut  as  a  radio  personality  was  un- 
expected.  Gaining   recognition  was 
the  result  of  a  happy  combination  of 
charm,   perseverance    and    indubit- 
able talent,  certainly  not  because  of  ye 
olde  family  tradition.  In  fact,  Joy's 
background  is  far  from  show  business. 
Her  folks  are  in  the  shoe  business. 
An  only  child,  Joy  lives  with  her  par- 
ents and  enjoys  "frilly"  home  cook- 
ing. .  .  .  It's  not  all  work  for  Joy — even 
though  work  be  such  fun.  Her  in- 
terests are  limitless.  Dancing,  dating, 
bowling,  painting  and  sculpture  rate 
high    on    her    leisure    list.    Traveling 
also  intrigues  her.  A  most  memor- 
able  trip  was  to  Mexico.  The   grace 
of  the  toreador  in  the  one  bullfight 
she   saw   particularly   impressed   her. 
.  .  .  Joy's  future,  like  her  personal- 
ity, is  bright.  She's  now  toying  with 
the   idea   of   television.   After   that, 
she  may  get  around  to  putting  into 
actual  practice  the  many  household 
hints  she's  picked  up  as  Connecticut's 
popular  homemaker  of  the  air. 


NEW  DESIGNS  FOR  LIVING 


<§^SM^^ 


696 — Transfer  of  16  embroidery  motifs — 
ballerinas  from  3  to  11  inches  tall — three 
different  sizes  for  dramatic  arrangements 
on  towels,  cloths,   napkins,   curtains.  25c 

7121 — Jiffy-knit  this  flattering  jacket — 
it's  so-o-o  simple!  Stockinette  stitch; 
crochet  trim.  Misses'  Sizes  32-34;  36-38. 
Use  knitting   worsted,  large  needles.  25c 

652 — For  school  or  parties — this  young 
dress  is  prettiest!  She'll  love  the  dainty 
embroidery,  eyelet  trim,  "heart"  pocket. 
Child's  Sizes  2,  4,  6,  8,  10.  Tissue  pattern, 
transfers,   directions.   State   size.   25(j: 

7210 — Sew  this  gay  "girl"  apron,  16 
inches  long,  to  keep  you  neat  and  pretty ! 
Fun  to  make.  Use  scraps.  Embroidery  and 
applique  transfers,  easy  directions  for 
this  cute  apron.  25^ 

7394 — Three  little  doilies  in  one  pat- 
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ful, so  easy  to  make !  Fast,  easy-to-follow 
crochet   directions  are   included.  25^' 

7318 — You'll  have  baby's  new  booties, 
bonnet,  jacket  finished  in  a  jiffy.  Made 
in  open  and  closed  shell-stitch,  3-ply  baby 
yarn.    Crochet    directions    included.    25c 

7265 — Crochet  roses  in  color.  They  stand 
up  in  lifelike  form  on  this  beautiful  TV 
cover.  Use  No.  30  mercerized  cotton  for 
26-inch;  No.  50  for  smaller.  25<i 


7265 


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19 


I 


aside  Radio 

All  Times  Listed  Are  Eastern  Standard  Time. 


Monday  through  Friday 


NBC 


MBS 


ABC 


CBS 


Morning  Programs 

8:30 

Local  Program 

8:45 

John  MacVane 

9:00 

Robert  Hurleigh 

Breakfast  Club 

News  Of  America 

9:15 

Easy  Does  It 

9:30 

News,  Cecil  Brown 

9:45 

9:35  Easy  Does  It 
(con.) 

10:00 

Mary  Margaret 

McBride 
10:05  Norman 

Vincent  Peale 

Cecil  Brown 

My  True  Story 

Arthur  Godfrey  Time 

10:15 

Weekday 

Guest  Time* 

10:25  Whispering 

10:30 

News 
10:35  Johnny 

Streets 

10:45 

Olsen  Show 

When  A  Girl  Marries 

11:00 

Weekday 

Story  Time 

Companion— 
Dr.  Mace 

Arthur  Godfrey 
(con.) 

11:15 

11:25  Holland  Engle 

Paging  The  New 

11:30 

Queen  For  A  Day 

News,    Les   Griffith 
11:35  Albert  Warner 

Make  Up  Your  Mind 

11:45 

Fibber  McGee  & 

Your  Neighbor's 

Howard  Miller  Show 

Molly 

;Wed.,    Faith    In 
Our  Time 

Voice 

Afternoon    Programs 


12:00 

12:15 
12:30 
12:45 

Weekday 

Noon  News 
12:05    Here's 
Hollywood 

Valentino 
Frank  Farrell 

Wendy  Warren  & 

The  News 
Backstage  Wife 
Helen  Trent 
Our  Gal  Sunday 

1:00 
1:15 
1:30 
1:45 

Weekday 

News,  Cedric  Foster 
Luncheon  At  Sardi's 
Letter  To  Lee 
Graham 

Paul  Harvey,  News 
Ted  Malone 

Road  Of  Life 
Ma  Perkins 
Young  Dr.  Malone 
The  Guiding  Light 

2:00 
2:15 

2:30 
2:45 

Weekday 

News,  Sam  Hayes 
2:05  Luncheon  With 

Lopez 
America's  Front 

Door 

Martin  Block 

Second  Mrs.  Burton 
Perry  Mason 

This   Is   Nora   Drake 
The  Brighter  Day 

3:00 
3:15 
3:30 
3:45 

Weekday 

Hotel  For  Pets 
Doctor's  Wife 

Ruby  Mercer  Show 

Martin  Block  (con.) 

Linkletter's  House 

Party 
Fred  Robbins  Show 

4:00 
4:15 
4:30 
4:45 

Right  To  Happiness 
Stella  Dallas 
Young  Widder  Brown 
Pepper  Young's 
Family 

Bruce  &  Dan 

Broadway  Matinee 

Treasury  Band- 
stand 

5:00 
5:15 
5:30 
5:45 

Woman  In  My  House 
Claude  Rains 
Lone  Ranger 
5:55  Dan'l  Boone 

Bob  And  Ray 
5:55  Cecil  Brown 

Musical  Express 
Bobby  Hammack 
Gloria  Parker 
Vincent  Lopez 

6:00 
6:15 
6:30 
6:45 

7:00 
7:15 

7:30 
7:45 


8:00 
8:15 


8:30 
8:45 


9:00 


9:15 
9:30 
9:45 


10:00 
10:15 

10:30 


Monday 


Three  Star  Extra 


Evening  Programs 


Alex  Dreier,  Man 
On  The  Go 

News  Of  The  World 
One   Man's    Family 


Henry    Taylor 
Boston  Symphony 
Orchestra 


Telephone  Hour 


Band  Of  America 


Fibber  McGee  & 

Molly 
News 
1020  Heart  Of  The 

News 
Stars  In  Action 


Local  Program 


Fulton  Lewis,  Jr. 
Dinner  Date 

Gabriel  Heatter 
Les  Paul  &  Mary  Ford 


True   Detective 


John  Steele, 
Adventurer 


News,  Lyle  Van 
9:05  Footnotes  to 

History 
Spotlight  Story 
Reporters'  Roundup 


Virgil  Pinkley 
Orchestra 

Distinguished  Artists 


ABC  Reporter 

Bill  Stern,  Sports 
George  Hicks,  News 


Vandercook,  News 
Quincy  Howe 

Events  Of  The  Day 


New  Sounds  For  You 


8:25  News 
Voice  Of  Firestone 


News 

9:05  Sound  Mirror 


9:25  News 
Offbeat 


9:55  News 


News,  Edward  P. 

Morgan 
How  To  Fix  It 


Martha  Lou  Harp 


Jackson  &  The  News 


Lowell  Thomas 


Scoreboard 
7:05  Tennessee 

Ernie 
Bing  Crosby 
Edward  R.  Murrow 


My  Son,  Jeep 
Yours  Truly, 

Johnny  Dollar 
Arthur  Godfrey's 

Talent  Scouts 


News 

9:05  Jack  Carson 


Amos  'n'  Andy  Music 

Hall 
9:55  News 


Dance  Orchestra 


Tuesday 


Evening   Programs 


6:00 
6:30 
6:45 

NBC 
Three  Star  Extra 

MBS 
Local  Program 

ABC 
Bill  Stern,  Sports 

CBS 
Jackson  &  The  News 

Lowell  Thomas 

7:00 
7:15 
7:30 
7:45 

Alex  Dreier, 

Man  On  The  Go 
News  Of  The  World 
One  Man's  Family 

Fulton  Lewis,  Jr. 
Dinner  Date 
Gabriel    Heatter 
Eddie  Fisher 

Vandercook,  News 
Quincy  Howe 
Events  Of  The  Day 

Scoreboard 
7:05  Tennessee  Emit 
Bing  Crosby 
Edward  R.  Murrow 

8:00 
8:15 
8:30 

People  Are  Funny 
Dragnet 

Treasury  Agent 

New  Sounds  For  You 
8:25  News 
Bishop  Sheen 

My  Son,  Jeep 
Johnny  Dollar 
Suspense 

9:00 

9:15 
9:30 
9:45 

News 

9:05  Your  Radio 

Theater— Herbert 

Marshall* 

News,  Lyle  Van 
9:05   Footnotes  To 

History 
Spotlight  Story 
Army  Hour 

Sound  Mirror 

9:25    News 
Offbeat 
9:55  News 

News 

9:05  Jack  Carson 

Amos  V  Andy  Musi 
Hall 

10:00 
10:15 
10:30 

Fibber  McGee  & 

Molly 
News 

10:20  J.  C.  Harsh 
Treasury  Of  Stars 

Virgil  Pinkley 
Men's  Corner 
Dance  Music 

News,  Edward  P. 

Morgan 
How  To  Fix  It 

Take  Thirty 

$64,000  Question 

Dec.  27,  Biography  In  Sound— Dr.  Albert  Schweitzer 


Wednesday 

Evening    Programs 

6:00 
6:30 
6:45 

Three  Star  Extra 

Local  Program 

Bill  Stern,  Sports 

Jackson  &  The  New 
Lowell  Thomas 

7:00 
7:15 

7:30 
7:45 

Alex  Dreier, 
Man  On  The  Go 

News  Of  The  World 
One  Man's  Family 

Fulton  Lewis,  Jr. 
Dinner  Date 

Gabriel  Heatter 
Les  Paul  &  Mary  Ford 

Vandercook,  News 
Quincy  Howe 

Events  Of  The  Day 

Scoreboard 
7:05  Tennessee 

Ernie 
Bing    Crosby 
Edward  R.  Murrow 

8:00 
8:15 
8:30 

College  Variety 

College  Quiz  Bowl 
8:55  News 

Gangbusters 
Public  Prosecutor 

New  Sounds  For  You 
8:25  News 

Your  Better  Tomorrow 

My  Son,  Jeep 
Johnny  Dollar 
FBI  In  Peace  And 
War 

9:00 
9:15 
9:30 

9:45 

You  Bet  Your  Life 
— Groucho  Marx 

Truth  Or 

Consequences 

9:55  Travel  Bureau 

News,  Lyle  Van 
Success  Story 
Family  Theater 

Sound  Mirror 
9:25  News 
Offbeat 

News 

9:05  Jack  Carson 

Amos  'n'  Andy  Musi 

Hall 
9:55  News 

10:00 
10:15 

10:30 

Fibber  McGee  & 

Molly 
News 
10:20  This   Is 

Moscow 
Citizens  In  Action 

Virgil   Pinkley 
Sounding  Board 

News,  Edward  P. 

Morgan 
How  To  Fix  It 

Relaxin'  Time 

Newsmakers 
Presidential  Report 

6:00 
6:30 
6:45 


7:00 
7:15 


7:30 
7:45 


8:00 


8:15 
8:30 


9:00 


9:15 
9:30 
9:45 


10:00 
10:15 

10:30 


6:00 
6:1a 
6:30 
6:45 


Thursday 


Three  Star  Extra 


Alex  Dreier, 
Man  On  The  Go 

News  Of  The  World 
One  Man's  Family 


News 
8:05  Great 

Gildersleeve 
The  Goon  Show 


News 

9:05  X  Minus  One 


Conversation 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 
10:30 


Fibber   McGee   & 

Molly 
News 
10:20  Heart  Of  The 

News 
Jane  Pickens  Show 


Friday 


Joseph  C.  Harsh 
Three  Star  Extra 


Evening 

Local  Program 


Fulton  Lewis,  Jr. 
Behind  The  Iron 

Curtain 
Gabriel  Heatter 
Eddie  Fisher 


Official   Detective 


Crime  Fighter 


News,  Lyle  Van 
9:05  Footnotes  to 

History 
Spotlight  Story 
State  Of  The  Nation 


Virgil    Pinkley 
Book  Hunter 


Programs 

Bill  Stern,  Sports 


Vandercook,  News 
Quincy  Howe 

Events  Of  The  Day 


New  Sounds  For  You 

8:25  News 

Your  Better  Tomorrow 
8:55    News,    Griffith 


Sound  Mirror 


9:25  News 

Offbeat 

9:55  News 


News,  Edward  P. 

Morgan 
How  To  Fix  It 


Alex   Dreier, 
Man  On  The  Go 

News  Of  The  World 
One  Man's  Family 


News 

8:05  National  Radio 
Fan  Club 


News 

9:05  Radio  Fan  Club 
(con.) 

9:55  News 


Cavalcade  Of  Sports 
Sports  Digest 


Henry  Jerome  Orch.    Platterbrains 

Evening   Programs 

Local  Program 

Bill  Stern,  Sports 


Jackson  &  The  News 
Lowell  Thomas 


Scoreboard 
7:05  Tennessee 

Ernie 
Bing  Crosby 
Edward  R.  Murrow 


My  Son,  Jeep 

Johnny  Dollar 
Godfrey  Digest 


News 

9:05  Jack  Carson 

Bing  Crosby 
Amos  V  Andy  Musi 
Hall 


Dance  Orchestra 


Fulton  Lewis,  Jr. 
Dinner  Date 

Gabriel  Heatter 
Les  Paul  &  Mary  Ford 


Counter-Spy 
City  Editor 


News,  Lyle  Van 
9:05   Football   From 
Orange  Bowl 


Virgil  Pinkley 
Forbes  Report 
London  Studios 


Vandercook,  News 
Quincy  Howe 

Events  Of  The  Day 


New  Sounds  For  You 
6:25  News 
YourBetterTomorrow 


Sound  Mirror 
Listen 


News.  Morgan 
How  To  Fix  It 
Vincent  Lopez 


Jackson  &  The  New 


Lowell   Thomas 


Scoreboard 
7:05  Tennessee 

Ernie 
Bing  Crosby 
Edward  R.  Murrow 


My  Son,  Jeep 
Johnny  Dollar 
Godfrey  Digest 


News 

9:05  Jack  Carson 
Bing  Crosby 
Amos  'n'  Andy  Musi 
Hall 


Dance  Orchestra 


I 


nside  Radio 


Saturday 


NBC 


MBS 


ABC 


CBS 


Morning  Programs 


8:30 

World   News 

Local  Program 

Van  Voorhis,  News 

News 

8:45 

Roundup 

8:35  Ooug  Browning 
Show 

9:00 

Farming  Business 

No  School  Today 

News  Of  America 

9:15 

Farm  News 

9:30 

Monitor 

9:45 

Garden  Gate 

10:00 

Monitor 

No  School 

News 

10:15 

Today  (con.) 

10:05  Galen  Drake 

10:30 

American  Travel 

Moppets  &  Melody 

Show 

10:45 

Guide 

10:55  News 

11:00 
11:15 

Monitor 

Lucky  Pierre 

News 

News 

11:05  Inner  Circle 

11:05  Robert  0. 

[11:30 

Johnny  Desmond 
Show 

Van  Voorhis,  News 

Lewis  Show 

11:45 

11:55  Les  Paul  & 

11:35  All  League 

Mary  Ford 

Clubhouse 

Afternoon  Programs 


12:00 

12:15 
12:30 
12:45 

National   Farm   8. 
Home  Hour 

Monitor 

Tex  Fletcher 
Wagon  Show 

News 

12:05  How  To  Fix  It 
101   Ranch  Boys 
Van  Voorhis,  News 
12:35  American 
Farmer 

Noon  News 
12:05  Romance 

Gunsmoke 

1:00 
1:15 
1:30 
1:45 

Monitor 

Van  Voorhis,  News 

City  Hospital 
1:25   News 
Kathy  Godfrey 

2:00 
2:15 
2:30 
2:45 

Monitor 

Metropolitan    Opera 

News 

3:00 
3:15 
3:30 
3:45 

Monitor 

Opera  (con.) 

News 

4:00 
4:15 
4:30 
4:45 

Monitor 

Opera  (con.) 

5:00 
5:15 
5:30 
5:45 

Monitor 

Teenagers,   U.S.A. 

5:55  Les  Paul  & 
Mary  Ford 

Opera  (con.) 

Evening  Programs 


6:00 

6:15 
6:30 

6:45 

Monitor 

John  T.  Flynn 

World  Traveler 
Report  From 

Washington 
Basil  Heatter 

News 

6:05  Pan-American 

Union 
Sports  Kaleidoscope 

Bob   Edge,  Sports 
Afield 

News 

6:05  Make  Way  For 

Youth 
Young  Ideas 

7:00 
7:15 
7:30 
7:45 

Monitor 

The  Big  Surprise 

Pop  The  Question 

Magic  Of  Music, 
Doris   Day 

News 

7:05  At  Ease 
Labor-Management 
Series 

News 

7:05  Juke  Box  Jury 

8:00 
8:15 
8:30 

8:45 

Monitor 

Quaker  City  Capers 

News 

8:05  Dance  Party 
Van  Voorhis,  News 
8:35   Dance   Party 
(con.) 

News 

8:05  Country  Style 

8:55  Sports 

9:00 

9:15 
9:30 

9:45 

Monitor 

1  Ask  You 
Lombardo  Land 

9:05  Dance  Party 

(con.) 
Van  Voorhis,  News 
9:35  Dance  Party. 

(con.) 

News 

9:05  Philadelphia 
Orchestra 

10:00 

10:15 
10:30 

Monitor 

Grand  Ole  Opry 

Oklahoma  City 
Symphony 

News 

10:05  Hotel  Edison 

Van  Voorhis,  News 
10:35  Lawrence  Welk 

News 

10:05  Basin  Street 

Jazz 
Orchestra 

Sunday 


NBC 


MBS 


ABC 


CBS 


Morning  Programs 

8:30 

Monitor 

Light  And  Life  Hour 

Renfro  Valley 

8:45 

8:55  Galen  Drake 

9:00 

Monitor 

Wings  Of  Healing 

News 

9:05  Great  Moments 

World  News  Roundup 
The  Music  Room 

9:15 

Of  Great  Composers 
9:25  Van  Voorhis, 
News 

9:30 

Back  To  God 

Voice  Of  Prophecy 

Church  Of  The  Air 

9:45 

Art  Of  Living 

10:00 

National  Radio 

Radio  Bible  Class 

News 

News 

10:15 

Pulpit 

10:05    Message    Of 
Israel 

10:05    Invitation   To 
Learning 

10:30 

Monitor 

Voice  Of  Prophecy 

News 

The  Leading  Question 

10:45 

10:35   College   Choir 

11:00 

Monitor 

Frank  And  Ernest 

Van  Voorhis,  News 
11:05   Sunday 

News 

11:05  E.  Power 

Melodies 

Biggs 

11:15| 

Christian  Science 

Marines   On 

UN  Report 

Monitor 

Review 

11:30  New  World 

Northwestern 

News 

Salt  Lake  Tabernacle 

Reviewing  Stand 

11:35  Christian  In 

Choir 

11:45 

Action 

Afternoon  Programs 

12:00 

Monitor 

Marine  Band 

News,   Robert  Trout 
12:05  Washington 
Week 

12:15 

World  Affairs 

12:30 

The  Eternal  Light 

News,  Bill  Cunning- 
ham 

Van  Voorhis,  News 
12:35  Front  &  Center 

Les  Eleart  Orch. 

12:45 

Merry  Mailman 

1:00 

Monitor 

Les  Paul  &  Mary  Ford 

Herald  Of  Truth 

Woolworth  Hour- 

1:15 

Christian  Science 

Percy   Faith, 

1:30 

Lutheran  Hour 

News 

Donald   Woods 

1:45 

1:35  Pilgrimage 

2:00 

The  Catholic  Hour 

Professional  Football 

Dr.  Oral  Roberts 

Symphonette 

2:15 

2:30 

Monitor 

Wings  Of  Healing 

New  York  Philhar- 

2:45 

monic-Symphony 

3:00 

Monitor 

Professional  Football 
(con.) 

News 

3:05  Pan  American 

Symphony  (con.) 

3:15 

Union 

3:30 

Van  Voorhis,  News 

3:45 

3:35  Billy  Graham 

4:00 

Monitor 

Salute  To  The  Nation 

Old-Fashioned 

News 

4:15 

Revival  Hour 

4:05  On  A  Sunday 

4:30 

Nick  Carter 

Afternoon 

4:45 

4:55  Lome  Greene 

5:00 

Monitor 

Adventures  of  Rin 

News 

News 

5:05  Your  Radio 

Tin  Tin 

5:05  Church  In  The 

5:05  On  A  Sunday 

5:15 

Theater 

Home 

Afternoon 

5:25  Van  Voorhis, 

News 

5:30 

Wild  Bill  Hickok       Greatest  Story  Ever 

News 

5:45 

5:55  Tomorrow's            Told 

5:35  On  A  Sunday 

World 

Afternoon 

Evening    Programs 


6:00 
6:15 
6:30 
6:45 


7:00 


7:15 
7:30 
7:45 


Meet  The  Press 


Monitor 


Monitor 


Walter  Winchell 

Tomorrow's 

Headlines 
On  The  Line,  Bob 

Considine 
Les  Paul  &  Mary  Ford 


Monday  Morning 

Headlines 
Lifetime  Living 

News 

6:35  Evening  Comes 


News 

6:05  Make  Way 

!      For   Youth 

Gunsmoke 

Tremendous  Trifles 


Richard  Hayes  Show   News  News  Analysis 

7:05  Showtime  7:05   Bergen- 

Revue  McCarthy  Show 

Van  Voorhis,  News  | 
7:35  Valentino 
Travel  Talk 


8:00  Monitor 
8:15 

8:30 
8:45 


West  Point  Band 

i 

Enchanted  Hour 


American  Town 
Meeting 


News 

8:05   Our  Miss 

Brooks 
Two  For  The  Money 


9:00 

Monitor 

John   Randolph 

News,  Paul  Harvey 

News 

Hearst 

9:05    Music    Hall, 

9:15 

Success  Story 

News,  E.  D.  Canham 

Mitch   Miller 

9:30 

Manion  Forum 

Van  Voorhis,  News 
9:35  Sammy  Kaye 

9:45 

Keep  Healthy 

9:55  News 

9:55  John  Derr, 
Sports 

10:00 

Monitor 

Billy  Graham 

Overseas 
Assignment 

News 

10:05  Face  The  Na- 

10:15 

It's   Time 

tion 

10:30 

American  Forum 

Global  Frontiers 

Revival  Time 

Church  Of  The  Air 

Se<>    .Vcvi    fage- 


21 


TV  program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  DECEMBER  8— JANUARY  11 


Monday  through  Friday 


7:00  ©  Today— Gargle   with   Garroway 
8:00  0  Captain  Kangaroo— Keeps  kids  quiet 
8:55  0  George  Skinner  Show— Relaxin' 
9:00  O  Herb  Sheldon-Plus  Jo  McCarthy 

Q  Bonanza   Party— For   mom   &   kids 
9:30  0  Todd    Russell    Corner— Todd    glows 
10:00  0  Garry    Moore— Blues-chasin'    show 
©  \s\  Ding  Dong  School— TV  nursery 
10:30  0  Godfrey  Time— King   Arthur 

©  [s]  Search  For  Beauty— ErnWestmore 
O  Claire   Mann— On    being    pretty 
11:00  ©  Home— With  Arlene  Francis 

©  Janet  Dean,  R.N.— Stars  Ella  Raines 
0  Romper  Room— TV  Kindergarten 
11:15  ©  LifeWith  Elizabeth-Cute  Betty  White 
11:30  0  [s]  Strike  It  Rich— Hill-hearted  quiz 
©  Beulah— Comedy  stars  Louise  Beavers 
11:45  ©  Mr.  &  Mrs.  North— Giggles  &  crime 
12:00  0  Valiant  Lady— Daytime  serial 

©  Tennessee  Ernie— The  joint  jumps 
©  Johnny  Olsen's  Fun  House 
12:15  0  H  Love  Of  Life— Daily  story 
12:30  0  \s]  Search    For  Tomorrow— Serial 
©  Feather  Your  Nest— Bud  Collyer 
12:45  0      j  Guiding  Light— Serial 
1:00  0  Jack  Paar  Show— Jack's  sly  &  slick 
0  One  Is  For  Sheldon— Easy-goin' 
©  Virginia  Graham— Unpredictable  gal 
1:30  0  Love  Story— Jack  Smith 

©  Sky's  The  Limit— Quiz  game 
2:00  0  Robert  Q.   Lewis  Show— Variety 

©  Richard  Willis— Beauty  tricks 
2:30  0  [I]  Linkletter's  House  Party 
©  Jinx   Falkenburg— Interviews 
©  Maggi  McNellis-Gal  talk 
CD  Florian   ZaBach— Fiddle-faddle 
3:00  0  [f]  Big  Payoff— Randy  Merriman 

©  Matinee  Theater— John  Conte,  host 
©  Ted  Steele  Show— Tunes  &  talk 
CD  Dione  Lucas— Way  to  man's  heart 
3:30  0  Bob  Crosby  Show— Goes  bobcatting 

CD  Candid  Camera— Fun's  fun 
4:00  0  [s]  Brighter   Day— Serialized   Story 
0  Date  With  Life— Dramatic  stories 
©  Wendy  Barrie— Weep  no  more 
4:15  0  [s]  Secret  Storm— Always  brewin' 

©  First  Love— Pat  Barry  stars 
4:30  0  On  Your  Account—  $$$  Quiz 

©  Mr.  Sweeney— Chuckles  Ruggles 

EARLY   EVENING 

5:00  ©  Pinky  Lee  Circus  Show— For  kids 
O  [Tj  Mickey  Mouse  Club— For   kids 
5:30  ©  Howdy   Doody— More  for   kids 
6:00  0  News  &  Weather— For  adults 
6:15  0  Early  Show— Feature  films 
6:30  ©  Patti  Page— Tues.  &  Thurs.  only 
7:15  0  Doug  Edwards  &  The  News 

©  Tex  McCrary— Man  about  Manhattan 

0  John   Daly,  News— Prize-winner 

7:30  ©  (T|  Songs— Tony  Martin,   Mon.;   Dinah 

Shore,  Tues.,  Thurs.;  Eddie  Fisher,  Wed.,  Fri. 

©  Million  Dollar  Movies— Until  Dec.  11 

"The    Man    Between,"    James    Mason,    Hilde- 

garde   Neff;   Dec.    12-18,  "The   Intruder." 

LATE    NIGHT 

10:00  ©  Million  Dollar  Movies— Repeat  of 

7:30  P.M.  schedule 
11:00  0   ©    ©  News   &  Weather 

CD  Liberace— Tickles  the  ivory 
11:15  0  Late  Show— Feature  films 

©  Steve  Allen— Half  music,  half  wit 


22 


Monday  P.M. 


7:30  0  Robin   Hood— Bow-and-arrow  tales 

0  Peter  Pan— Jan.  9,  7:30-9:30  starring 
Mary   Martin    in    spectacular   colorcast. 


©  The  Lone  Wolf— Louis  Hayward  howls 
8:00  0  Burns  &  Allen— Coupled  comedy 

©  Caesar's  Hour— Except  Dec.   12, 
"Sleeping  Beauty,"  Sadlers  Wells  Ballet,  8-9:30 

0  [I]  Digest  Drama— Digestible  drama 
8:30  ©  Godfrey's  Talent  Scouts— Variety 

0  [s]  Voice  Of  Firestone— For  longhairs 
9:00  0  I   Love  Lucy— Desi  has  a   Ball 

©  The  Medic— Vividramas  about   Docs 

©  Dotty  Mack  Show— Musicmimics 
9:30  0  December  Bride— It's  always  Spring 

©  Robert  Montgomery  Presents 

0  [s]  Medical   Horizons— Absorbing 
10:00  0  [s]  Studio  One— Hour-long  dramas 

0  Boxing  From  St.  Nicholas  Arena 

0  Eddie   Cantor— Laugh-letting 
10:30  ©  Boris  Karloff— Mysteries 


Tuesday 


7:30  0  Name  That  Tune— Musical  quiz 

(?  Waterfront— Preston  Foster  on  tugbodt 
0  [I]  Warner  Bros.  Presents— Films 

8:00  0  Navy  Log— Stirring  documentaries 
©  Berle-Raye-Hope  Show 

8:30  ©  The  Phil  Silvers  Show— Gl  riot 
0  [|]  Wyatt  Earp— Western  tales 

9:00  ©  Meet  Millie— Elena  Verdugo  stars 
0  Jane  Wyman's  Fireside  Theater 
0  [I]  Make  Room  For  Daddy— Comedy 

9:30  0  Red  Skelton  Show— Fast  &  funny 
©  Playwrights  '56— Circle  Theater 
Hour-long  dramas  alternate 

©  City  Assignment— Newspaper  stories 
0  [S]  DuPont  Cavalcade  Theater 
10:00  ©  [i]  $64,000  Question— Hal  March 
10:30  ©  My  Favorite  Husband— Comedy 
©  Big  Town— Mark  Stevens  stars 
0  Where  Were  You?— Ken  Murray 


Wednesday 


7:30  0  Brave  Eagle— Stirring  stories 
©  The  Big  Fight— Historical  bouts 
0  [s]  Disneyland— Fun  &  fantasy 

8:00  0  Godfrey  &  Friends— Arthur's  variety 
©  Screen  Directors'  Playhouse 

8:30  ©  (hi  at  9:30)  Father  Knows  Best 
0  [¥]  M-G-M  Parade-Half-hour  films 
CO  Badge  714— Jack  Webb  reruns 

9:00  0  The  Millionaire— $torie$ 

0  Kraft  Theater— Fine,  live  teleplays 
0  [s]  Masquerade  Party— Guess  who 
CD  Confidential   File— Sensational 

9:30  0  I've  Got  A  Secret— Moore's  mum 
©  What's  The  Story?— Panel  quiz 
0  Break  The  Bank— Bert  Parks'  quiz 
10:00  0  l"s]  U.  S.  Steel  Hour— alternates  with 
20th  Century-Fox  Hour 

©  This  Is  Your  Life— Surprise  bios 
10:30  ©  Doug  Fairbanks  Presents— Stories 


Thursday 


7:30  ©  Sgt.  Preston  Of  The  Yukon 

©  The  Goldbergs— Molly's  misadventures 

8:00  ©  Bob  Cummings  Show— Pure  farce 
©  [U  Groucho  Marx— Wit's  end 
0  Bishop  Fulton  J.  Sheen— Inspirational 

8:30  0  Climax— Melodrama;  Dec.  22,  "Christ- 
mas   Carol,"    Fredric   March,    Basil    Rathbone 
©  People's    Choice— Cooper    comedy 
0  Stop  The  Music— Bert  Parks  playsSanta 

9:00  ©  Dragnet— Jack  spins  a  Webb 
©  Wrestling— Live  from  studio 
©  [§]  Star  Tonight—  Filmed  dramas 

9:30  ©  Four  Star  Playhouse— Stories 

©  ([s]  at  10:30)  Tord  Theater— Fine 
O  \W\  Down  You  Go— Panel  game 
10:00  ©  Johnny  Carson — Howlarious 

©  [T|  Lux    Video    Theater— Hour    long 


10:30  ©  "Wanted"— Manhunt  for  real 

©  Racket  Squad— Reed  Hadley  stars 


Friday 


7:30  ©  Champion— About  a  horse 
©  (j[]  Rin  Tin  Tin— About  a  dog 

8:00  ©Mama— Peggy  Wood  charms 

©  Truth  Or  Consequences— Delightful 
©  Sherlock  Holmes— Slick  sleuthin' 
0  [jO  Ozzie  &  Harriet— Great 

8:30  ©  Our  Miss  Brooks— Brooksie's  cookin' 
©  Life  Of  Riley— Bill  Bendix  stars 
©  [s]  Crossroads— About  clergymen 

9:00  ©  TheCrusader— Melting  the  iron  curtain 
©  Big  Story— R3a\  newsmen  in  action 
©  [§]  Dollar   A   Second— Jan   Murray 

9:30  ©  Playhouse   Of  Stars— Filmed   drama 
©  Star  Stage— Filmed  stories 
0  The    Vise— Suspense    from     Britain 
CD  Duffy's    Tavern— Gardner's    guffaws 
10:00  0  The    Line-Up— Documentary-style 
©  Boxing— Plot  without  words 
0  Ethel   &   Albert— Domestic  comedy 
10:30  0  Person  To  Person— Ed  Murrow 


Saturday 


6:30  ©  The  Lucy  Show— Reruns 

7:00  ©  Henry  Fonda  Presents— Stories 

0  Step  This  Way— Ballroom  dancing 
7:30  0  Beat  The  Clock— Stunts  for  prizes 
©  The  Big  Surprise— $100,000  quiz 
8:00  ©  [¥]  Stage  Show— Dorsey  Brothers 

Band,  June  Taylor  Dancers,  big-name  guests 
©  Perry  Como  Show— Songs  &  sketches 
©  Grand  Ole  Opry— Hour  of  variety 
8:30  0  lsJ  The  Honeymooners— J.  Gleason! 
9:00  0  Two  For  The  Money— $hriner-quiz 

©  People  Are  Funny— Art  Linkletter  ex- 
cept Dec.  24,  "Babes  in  Toyland,"  9-10:30, 
stars  Jeannie  Carson. 

0  h]  Lawrence  Welk— Bubbling 
9:30  ©  It's  Always  Jan— Janis  Paige  comedy 
©  Durante-O'Connor  Show— Comedy 
10:00  0  Gunsmoke— Shoot-'em-ups 

©  George  Gobel— Gobs  of  fun 
10:30  0  Damon  Runyon  Theater— Stories 
©  [J]  Your  Hit  Parade— Top  songs 


Sunday 


4:00  ©  Maurice  Evans  Presents— Dec.  11, 
"Corn  Is  Green."  Wide  Wide  World,  Dec. 
18,  Jan.   1— Travel. 

©  China  Smith— Dan  Duryea  adventure 
5:00  ©  Omnibus— 90   minutes   of  excellence 

©  Super  Circus— Sawdust  variety 
6:30  ©  [1[|  You  Are  There— History  alive 

CD  Life  With  Father— Leon  Ames  comedy 
7:00  0  Lassie— Popular  four-legged  drama 
©  It's  A  Great  Life— Dunn's  fun 
©  [j]  You  Asked  For  It-Art  Baker 
7:30  ©  0Jack  Benny,  Dec.   17,  31,  Jan.  7; 
Private  Secretary,  Dec.   10,  24. 

©  Frontier— Taut     Westerns;     Dec.     11, 
"Dream  Girl,"  90  minutes  with  Vivian  Blaine 
©  Famous  Film  Festival— Great  movies 
8:00  0    n    Ed  Sullivan  Show— The  best 

©  Colgate  Variety  Hour— Stars  galore 
9:00  0  G-E  Theater— Ronald  Reagan,  host 

©  The  A-G  Hour— Hour  teleplays;   Dec. 
25,   "Amahl  and  the  Night  Visitors." 
0  (T|  Chance  Of  A  Lifetime— Variety 
9:30  0  Alfred    Hitchcock    Presents— Drama 
©  [J]  Ted  Mack— Original  Amateur  Hour 
10:00  0  The  $64,000  Question  Panel 
©  Loretta  Young  Show— Stories 
0  Life  Begins  at  80— Goes  like  60 
10:30  ©  [s]  What's  My  Line?— Job  game 
©  Justice— Crime  &  its  cure 
0  Adventures  Of  The  Falcon 


New  Patterns 
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23 


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PALMOLIVE  SOAP  CAN  GIVE  YOU  A 


/ 


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use  I    v 


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24 


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Little  Junie  Malia  isn't  so  shy  about  facing  the  cameras, 
when  she's  backed  up  by  her  entire  family — father  Bob,  mother 
June,   sister  Cathy,   and   brothers  Chris,    Bob,  Jr.,   and   Steve. 


Continued 


The  Fabulous  CROSBYS 

(Continued) 


The  littlest  Crosby  "warms  up"  for  her  appearance  on  TV, 
as  Mama  June  and  Daddy  Bob  see  to  it  that  Junie  Malia 
gets  a  nourishing  bowl  of  soup  in  the  studio  commissary. 


keen  for  business  from  the  time  he  could  first  sing. 
And  while  he  was  always  willing  to  sing  for  charity—  ■ 
if  pressed — he  was  even  more  enthusiastic  about 
singing  when  he  knew  he  was  being  paid.   If  there  was 
any  loot  to  divide,  if  anyone  else  was  getting 
paid,  he  wanted  to  be  sure  he  got  his  share. 

His  constant  solicitude  finally  cost  Bing  his  job  in 
the  music  store.  He  had  been  hanging  around  the  store 
in  the  afternoons,  sticking  close  by  the  piano-player 
and  picking  up  all  the  new  tunes  for  free.   The 
customers  began  to  listen,  and  finally  the  owner  of 
the  store  offered  him  a  job  plugging  songs  after  school. 
Bing  was  real  happy  about  it,  but  he  became 
concerned  when  the  days  passed  and  nobody 
mentioned  what  he  would  be  paid. 

"Say,  what  am  I  gonna  get?"  Bing  would  say. 
Night  after  night  he  kept  saying  it,  until  the  owner  said, 
"For  what?" — and  fired  him  without  paying  him  at  all. 

Bing's   older  brother,  Larry,  who  worked   on 
the  local  newspaper,  was  furious.    So,  when  Bing 
returned  to  Spokane  for  the  first  time  since  his 
"success,"  Larry  booked  him  into  the  Liberty — and 
made  them  pay  through  the  nose  for  him. 

That  night  all  of  Sharp  Street  turned  out.    "All  but 
me,"  Bob  Crosby  recalls  now,  "and  the  neighbor 
who  was  sitting  With  me.   I  was  too  young.    I  had 
to  stay  home — and   I   cried  all  night." 

The  family  filed  through  the  theater  door  ignoring 
the  cat-calls  of  other  kids  around  them.    "Ya-ya — 
some  singer,  your  brother.   Bet  he  falls  on  his  face." 
The  family  grew  pretty  tense  out  front,  waiting 
for  Bing  to  come  on.   Too  tense  for  Pop  Crosby,  who 
adored  Bing — and  who  took  a  powder  just  before 
Bing  came  on.  Nobody  could  find  Pop  anywhere. 
But  finally  he  came  back.   "I  didn't  think  they  would 
do  too  well,"  he  explained,    (Continued  on  page  72) 


Eyes  up,  as  Daddy  shows  her  a  ring  and  tries  to  keep  her 
mind  off  the  forthcoming  debut.  But  eyes  down,  when  Junie 
Malia  actually  gets  out  on  that  stage  with  sister  Cathy! 


28 


( 


Bing's  son  Gary  upholds  the  masculine  tradition  in  the  second  generation,  of  singing 
Crosbys.  Currently  featured  on  The  Edgar  Bergen  Show,  he  has  starred  as  his  own 
dad's  summer  replacement  on  radio,  sung  with  Uncle  Bob  and  Cousin  Cathy  on  TV. 


The  Bob  Crosby  Show,  with  daughter  Cathy,  is  seen  on  CBS-TV,  M-F,  from  3:30  to  4  P.M.  The 
Bing  Crosby  Show  is  heard  on  CBS  Radio,  M-F,  from  7:30  to  7:45  P.M.  Gary  Crosby  sings  on  The 
Edgar  Bergen  Show,  CBS  Radio,  Sun.,  7:05  to  8  P.M.   (All  EST,  under  multiple  sponsorship.) 


29 


The  Fabulous  CROSBYS 

(Continued) 


The  littlest  Crosby  "warms  up"  for  her  appearance  on  TV 
as  Mama  June  and  Daddy  Bob  see  to  it  that  Junie  Malia 
gets  a  nourishing  bowl  of  soup  in  the  studio  commissary 


SS  off+t    ?  1  y  Sh°WSJher  °  ring  °nd  tries  t0  keeP  ^r 
nj.nd  off  the  forthcoming  debut.  But  eyes  down,  when  Junie 

Mal,a  actually  gets  out  on  that  stage  with  sister  Cathyl 


keen  for  business  from  the  time  he  could  first  sin 
And  while  he  was  always  willing  to  sing  for  cha§:t 
if  pressed— he  was  even  more  enthusiastic  about  * 
singing  when  he  knew  he  was  being  paid.   If  ther 
any  loot  to  divide,  if  anyone  else  was  getting     6  Was 
paid,  he  wanted  to  be  sure  he  got  his  share. 

His  constant  solicitude  finally  cost  Bing  his  job  in 
the  music  store.  He  had  been  hanging  around  the 
in  the  afternoons,  sticking  close  by  the  piano-plav  ^ 
and  picking  up  all  the  new  tunes  for  free.   The         * 
customers  began  to  listen,  and  finally  the  owner  of 
the  store  offered  him  a  job  plugging  songs  after  scho  1 
Bing  was  real  happy  about  it,  but  he  became 
concerned  when  the  days  passed  and  nobody 
mentioned  what  he  would  be  paid. 

"Say,  what  am  I  gonna  get?"  Bing  would  say 
Night  after  night  he  kept  saying  it,  until  the  owner  said 
"For  what?" — and  fired  him  without  paying  him  at  all  ' 

Bing's  older  brother,  Larry,  who  worked  on 
the  local  newspaper,  was  furious.    So,  when  Bing 
returned  to  Spokane  for  the  first  time  since  his 
"success,"  Larry  booked  him  into  the  Liberty— and 
made  them  pay  through  the  nose  for  him. 

That  night  all  of  Sharp  Street  turned  out    "All  but 
me,"  Bob  Crosby  recalls  now,  "and  the  neighbor 
who  was  sitting  with  me.   I  was  too  young.    I  had 
to  stay  home— and  I  cried  all  night." 

The  family  filed  through  the  theater  door  ignorine 
the  cat-calls  of  other  kids  around  them     "Ya-ya— 
some  singer,  your  brother.    Bet  he  falls  on  his  face" 
Ine  family  grew  pretty  tense  out  front,  waiting 
for  Bing  to  come  on.   Too  tense  for  Pop  Crosby,  who 
adored  Bmg-and  who  took  a  powder  just  before 
Bing .came  on.  Nobody  could  find  Pop  anywhere. 
But  finally  he  came  back.  "I  didn't  think  they  would 
do  too  well,    he  explained,    {Continued  on  page  72) 


28 


Bing's  son  Gary  upholds  the  masculine  tradition  in  the  second  generation,  of  singing 
Crosbys.  Currently  featured  on  The  Edgar  Bergen  Show,  he  has  starred  as  his  own 
dad's  summer  replacement  on  radio,  sung  with  Uncle  Bob  and  Cousin  Cathy  on  TV. 


The  Bob  Crosby  Show,  with  daughter  Cathy,  is  seen  on  CBS-TV,  M-F,  from  3:30  to  4  P.M.  The 
Bing  Crosby  Show  is  heard  on  CBS  Radio,  M-F,  from  7:30  to  7:45  P.M.  Gary  Crosby  sings  on  The 
Edgar  Bergen  Show,  CBS  Radio,  Sun.,  7:05  to  8  P.M.  (All  EST,  under  multiple  sponsorship.) 


29 


Warren  Hull  gives  Ralph  greetings 
of  the  season — plus  congratulations 
on   the    Pauls'    wedding    anniversary. 


By 
GREGORY  MERWIN 

Let's   put   it   this  way.  Let's  say 
.  I'm  a  semi-fatalist,"  announces 
Ralph  Paul.  "I  do  as  much  as 
I  can  and  then  stop  worrying.  May- 
be it's  hereditary.    Maybe  it's  be- 
cause I'm  opposed  to  the  do-it-your- 
self movement.  I  can  stop  a  leak  in 
a   pipe   or   pound    in    a   nail.    But, 
frankly  I'd  rather  let  a  specialist  do 
the  work — and  that  goes  for  worry- 
ing, too." 

Ralph  Paul  started  out  as  a  grade - 
school  "actor"  in  Denver,  Colorado, 
then — by  way  of  El  Paso,  Baltimore, 
Burma,  India,  Brooklyn  and  Staten 
Island — wound  up  in  Manhattan  as 
host-announcer  on  video's  Strike  It 
Rich  and  the  Goodyear  Playhouse. 
Today,  he  commutes  into  Manhattan 
from  Greenwich,  Connecticut,  which 
is  also  the  home  of  such  stars  as 
Bert  Parks  and  Bud  Collyer.  How- 
ever, none  of  these  other  celebrities, 
it  may  be  said  of  respectfully,  has 
had  anywhere  near  the  adventures 
of  (Continued  on  page  74) 

Ralph  Paul  is  seen  on  Strike  It  Rich, 
over  CBS-TV,  M-F,  11:30  A.M.  EST,  spon- 
sored by   the   Colgate-Palmolive   Company. 


Ralph  and  son  Marty  get  the  ice 
skates  ready  for  the  outdoor  sport 
they    most   enjoy   in   the    wintertime. 


Wife  Bettie  and  daughter  Susie 
admire  one  of  their  "doll"  col- 
lections— precious   Dresden   figurines. 


Time  to  sing  carols — though,  for 
Bettie  and  Ralph,  Christmas  chimes 
are   an   echo   of  wedding   bells,   too. 


The  Ralph  Pauls  took  time — and  love  and  faith — 

to  "strike  it  rich,''  and  now  know  the  best  is  yet  to  be 


Holidays  are  always  big  occasions  in  the  Pauls'  Connecticut 
home.  But  Yuletide  is  biggest  of  all,  with  its  double  signifi- 
cance for  two  college  sweethearts  who  were  wed  in  wartime. 


Great  day  for  the  youngsters — and  for  "Frisky"! 
But  Ralph  and  Bettie  have  their  special  gifts  for 
each  other,  and  memories  which  are  all  their  own. 


31 


am/jfi  ^m 


Album  candids:  Debbie  and  Eddie  cut  their  cake 
.  .  .  Eddie's  mother  wishes  her  new  daughter-in- 
law  all  the  best  .  .  .  and  "among  those  present" 
— Milton  Blackstone,  Debbie,  Willard  Higgins, 
Eddie,  Mrs.  Jennie  Srossinger  and  Joey  Forman. 


By  ALICE  FRANCIS 

One  girl  who  was  invited  to  the  wedding  last 
September  of  Eddie   (Edwin  J.)   Fisher  and  Debbie 
(Mary  Frances)    Reynolds   came  home  looking 
almost  as  starry-eyed  as  the  bride.  "It  was  such  a  lovely  . 
wedding,"   she  recalled.    "Just  like   a   sister's.    I 
mean  there  was  that  kind  of  feeling  about  it.  A  nice,  young 
wedding  that  warmed  your  heart.   Debbie  looked  like 
an   angel  in   a   white   lace,   ballerina-length   gown. 
Her  bridesmaid  was  Jeanette  Johnson,  a  childhood  friend 
having  no  connection  with  show  business,  who  came 
on   from  California   to   be   in  the   wedding   party.   Eddie 
looked  so  serious  and  so   {Continued  on  page  65) 

Coke  Time  Starring  Eddie  Fisher,  NBC-TV,  Wed.,  Fri.,  7:30  P.M.  EST 
— Mutual,  Tues.,  Thurs.,  7:45  P.M.  EST — for  The  Coca-Cola  Company. 


uA'.Aa*  ^  ' 


But  true  love  had  to  find  a  wav,  before  Eddie  Fisher 


could  say  happily:  "Debbie  and  I  are  going  to  be  together  all  our  lives 


33 


OF  A  CHILD 


On  their  23rd  anniversary,  Pinky  and  BeBe  moved  to  their 
first  real  home.  Patty,  Morgan,  even  "Domino"  celebrated 
— especially  when  Morgan  saw  the  room  planned  for  him. 


By  BUD  GOODE 

The  day  Pinky  Lee's  schoolteacher  asked  her  class 
to  discuss  the  Statue  of  Liberty,  Pinky,  as  usual,  was 
one  of  the  first  to  raise  his  hand.   Pinky  was  always 
a  good  student;  what  he  didn't  know  about  the  Statue 
of  Liberty  wasn't  written  in  his  history  book.   But, 
when  the  teacher  called  on  him,  the  class's  laughter  was 
even  greater  than  usual.  The  kids  always  laughed  at 
Pinky:  First,  because  of  his  size — he  was  tiny  for 
his  age;  second,  because  of  his  lisp — and  "Statue  of 
Liberty"  was  a  tongue-twister. 

But,  to  ten-year-old  Pinky,  the  kids'  laughter  was  a 
heart-twister.   After  class,  he  disconsolately  shuffled 
down  the  aisle  of  desks  to  his  teacher.    The  hint  of 
tears  in  his  eyes  almost  made  a  fool  of  his  attempt  at 
bravery  as  he  said,  "I  love  my  (Continued  on  page  82) 


Avv>_v. 

»  »_o_,.._a_« .  5  ■ 


From  troubled  boyhood  to  TV  success, 
Pinky  Lee  has  kept  one  of  the 
most  precious  things  in  the  world 


Pinky  shows  BeBe  the  mailbox  with  his  famed  dinky  hat 
perched  atop  it,  then  leads   Patty  to  the  built-in  TV. 


BeBe  was  speechless  at  the  kitchen  with  built-in  barbecue 
and   doubles   of  everything.     But  her  hug   said    it  all. 


Patty  couldn't  stop  talking  about  her  wonderful  new  bed- 
room as  Pinky  explained  its  features  and  BeBe  beamed. 


The  Pinky  Lee  Show  is  on  NBC-TV— M-F,  5  P.M.  EST,  under  mul- 
tiple sponsorship — Sat.,   10   A.M.,   for  Tootsie   Candy   Products. 


35 


IT'S 


But,  oh,  the  things  that  happen  to 
Gisele  MacKenzie  shouldn't  happen 
to  any  singer  on  Your  Hit  Parade! 


Gisele's  costume  at  Las  Vegas  misbehaved  for 
unexpected  laughs.  But  back  home  in  New 
York,  where  she  answers  mail,  loves  to  cook, 
she  put  the  event  on  the  ledger's  credit  side. 


TO  BE  FAMOUS 


Her  vacation  was  far  from  a  carefree  Mexican  hayride,  but 
when  Sisele  returned  to  the  Hit  Parade,  she  laughed,  then 
regaled    the   cast   with    all    of   the    "hair-raising"    details. 


By  ELIZABETH  BALL 

So  you  want  to  be  a  star?    Well,  before  you  soar  off 
into  the  rarefied  atmosphere  of  these  celestial 
beings,  lend  an  ear  to  one  of  the  most  dazzling  of  all 
luminaries,  Gisele  MacKenzie.    Gisele  is  tall,  dark  and 
chic,  and  she  is  glamorous  and  celestial  almost  b^ 
instinct.     Recently   she   came   down   to   earth   long 
enough  to  make  an  accounting  of  the  debits  and 
credits  of  singing  fame. 

On  the  credit   side   is   the   excitement  and   fun   of 
singing  the  top  songs  in  the  land  on  Your  Hit  Parade 
on  NBC-TV.    Put  down  a  plus  also  for  the  pure 
pleasure  of  working  with  the  wonderful  people  who 
make  up  the  program's  cast  and  crew.   "Audiences," 
Gisele  adds  gratefully,  "certainly  belong  on  the  credit 
side  of  the  ledger.    Whether  you  pull  a  rabbit  out 
of  a  hat,  or  pull  a  boo-boo,  they  are  so  with  you. 
As  good  friends  always  are.   When  you  have  as  many 
good  friends  as  a  singing  career  seems  to  bring, 
you're  almost  ashamed  to  so  much  as  mention  a 
debit  side  of  the  ledger."  (Continued  on  page  76) 

Gisele  MacKenzie  sings  on  Your  Hit  Parade,  on  NBC-TV,  Satur- 
day, 10:30  P.M.  EST,  sponsored  by  American  Tobacco  Co.  (Lucky 
Strike  Cigarettes)  and  Richard  Hudnut  (Quick  Home  Permanent) . 


tfmtm*xm*«*m 


The  von  Bagels,  Brunhilde  and  Wolfgang,  guard  against 
further  mishaps  as  Sisele  studies  a  score.  They'll  keep 
her  from  being  lonely  until  that  "tree-like  man"  appears. 


37 


_>.*■■■■%)& 


\Wf™^t'! 


3* 


Anyone  can  see  Arthur's  easygoing  humor  and  cool-headedness  on  the  air,  but  his 
warmheartedness  is  less  well  known — because  Godfrey  himself  wants  it  that  way. 


Here  is  the  Arthur 
you've  never  met  in  the 
headlines,  the 
man  behind  and  beyond 
all  the  publicity 


38 


The  other  side  of  GODFREY 


By  GEORGE  MARTINSON 


There  have  been  so  many  questions  about 
Arthur  Godfrey.  And  so  many  conflicting 
answers.  The  way  people  discuss  this 
strictly  fabulous  redhead,  you'd  think  he 
was  the  key  character  in  a  mystery  novel. 
Did  Godfrey  do  it?  Or  didn't  he?  Just  one 
thing  seems  sure:  The  man  makes  headlines 
— not  only  as  a  spectacularly  successful 
showman,  but  as  a  person.  And  it's  only 
human  nature  to  wonder  why  one  man, 
more  than  another,  should  become  inter- 
nationally famous  and — let's  face  it — inter- 
nationally controversial. 

Arthur  himself  would  be  the  first  to  say 
there  is  no  "Godfrey  mystery."  No  one  in 
show  business  has  shared  more  of  himself 
with  his  public.  By  now,  we  should  know 
him  as  well  as  we  know  our  own  family. 
Obviously,  however,  we  don't.  There  is 
more  to  the  man  than  meets  the  eye  or  ear. 
For  all  his  impulsive  speech  on  the  air,  for 
all  his  outgoing  friendliness,  there  is  more 
to  Arthur  Godfrey  than  has  ever  appeared 
in  the  headlines. 

Arthur  is  a  very  smart  man.  No  one  can 
be  around  him  very  long  without  realizing 
that  here  is  a  superior  motor  which  is  al- 
ways in  high  gear,  and  usually  about  fifty 
miles  ahead  of  anything  else  in  the  race. 
He's  creative — not  that  he's  written  great 
poetry  or  composed  any  symphonies,  but 
he's  got  new  ideas  and  he  builds  things  in 
his  head.  Yet  he's  (Continued  on  page  78) 


The   tvlcGuire   Sisters   can    testify   that   being    a    "little    Godfrey" 
means  free  lessons  in  everything  from  ballet  to  voice  to  skating. 


Arthur  Godfrey  Time  is  heard  on  CBS  Radio,  M-F,  10  A.M.,  seen  on  CBS-TV, 
M-Th,  10:30  A.M.,  and  Arthur  Godfrey's  Digest  is  heard  on  CBS  Radio,  Thurs., 
8:30  P.M.,  under  multiple  sponsorship.  Arthur  Godfrey  And  His  Friends 
is  seen  on  CBS-TV,  Wed.,  8  P.M.,  for  The  Toni  Co.,  CBS-Columbia,  Pills- 
bury  Mills,  Kellogg  Co.  Arthur  Godfrey's  Talent  Scouts,  CBS-TV  and  CBS 
Radio,  8:30  P.M.,  for  Thomas  J.  Lipton.Inc.  and  Toni.    (All   times  EST) 


39 


MOTHER 
BURTONS 


This  Christmas,  Ethel  and  her  husband,  John  Almy,  hold  open  house  for 
her  daughters — Pamela  Britton  Steel,  Mary  Routh,  Virginia  Lee  Loock — and 
grandchildren  Kathy  Steel,  Heidi  and  Diana  Lee  Loock  (all  left  to  right). 


Ethel  Owen, 
talented   actress   and 
beloved   grandma, 
has  reason  to  believe 
in  Santa  Claus  this  year 

By  GLADYS  HALL 


Two    delights:    Ethel's    cooking — and    her    joy 
when  her  husband  meets  her  on  returning  home. 


This  is  to  be  the  Christmas  in  her  life,  says  Ethel  Owen,  for 
this  Christmas  she  will  have  her  three  children  and  her 
three  grandchildren  with  her — the  first  time  they  have  all  been 
together  in  the  same  place!  "The  children  are  with  us  quite 
often,"  Ethel  adds,  "especially  Virginia,  who  lives  in  Port 
Chester,  New  York,  and  Mary,  my  oldest,  who  lives  in  Dobbs 
Ferry.  Both  places  are  near  enough  to  our  home  in  Westport, 
Connecticut,  for  them  to  make  frequent  visits.  Pamela  stays 
with  us  whenever  she  comes  on  from  Hollywood.  As  for  the 
grandchildren,"  says'  their  chic,  fair-haired  and  exceedingly 
handsome  grandmama,  Ethel  Owen    (Continued  on  page  80) 

Ethel  is  Mother  Burton  in  The  Second  Mrs.  Burton,  on  CBS  Radio,  M-F,  2 
P.M.  EST,  for  Hazel  Bishop  "Once-A-Day"  Cosmetics  and  other  sponsors. 


Most  of  the   gifts  for  which    Ethel    gives   thanks   aren't   mate- 
rial things,  but  the  "home  of  her  own"  is  a  very  real  blessing. 


**i 


■ 


Ozzie,    Ricky   and    David   make   a    joint   project   of 
buying  records — something  the  whole' family  enjoys. 


David's  pride-and-joy  is  his  MG.    Ricky  may  earn 
one  someday  by  proving  himself  a  good  driver,  too. 


C 


lose  as  a  family  can  be 


Life  is  a  wonderful  adventure 
for  Ozzie  and  Harriet,  David 
and  Ricky — and  all  the  Nelsons 


In  the   Nelsons'   TV  adventures,   it's   usually   Ozzie   who   is 
"me   patsy."    In   real   life,   they  all   take  their  turn   at   it. 


By  FREDDA  BALLING 


The  popular  program  known  as  The  Adventures 
Of  Ozzie  And  Harriet  is  legitimately  a  family  affair. 
David  and  Ricky  of  the  script  are  the  David  and 
Eric  whose  birth  certificates  designate  them  as 
authentic  Nelsons,  a  fact  unique  in  radio  or  TV 
domestic  drama.    The  children  on  other  shows  seldom 
belong  to  the  program's  parents,  and  the  parents 
themselves  seldom  belong  to  each  other. 

But  that  is  not  the  end  to  the  family  participation  of 
the  Nelson  clan.   Ozzie's  brother,  Don,  is  one  of  the 
writers  on  the  show,  and  Don's  wife   (whom  he  met 
at  the  studio  when  the  program  was  being  done  on 
radio)   is  Barbara  Eiler,  an  actress  often  seen  sharing 
the  Nelson  adventures.    Last  Christmas,  Don's  and 
Barbara's  two  small  daughters  turned  in  fine 
performances  as  Nelson  relatives,  and  may  become  more 
involved  in  the  show  as  David  and  Ricky  are  claimed 
by  such  outside  commitments  as  military  service. 

After  the  show  every  Friday  night,  the  Hollywood 
Nelson  clan  gathers  around  the  telephone  to  call  the 
New  Jersey  Nelson  clan.   Ozzie's  older  brother, 
Alfred,  is  a  dentist  by  profession  and  successful 
practice,  but  he  is  also  a  part-time  script  writer.  He  has 
supplied  several  scripts  for  the  show,  plus  a  weekly 
spatter  of  ideas,  many  of  which  have  hit  the  spot. 

Even  Ozzie's  mother  gets  into  the  spirit  of  the  thing. 
When  she  heard  that  Aunt  Jemima  Pancake  Mixes 
were  to  co-sponsor  the  Nelson  show  this  season,  along 

Continued 


> 


42 


Ozzie  swears  Harriet  is  even  prettier  than  when  they 

were  married  twenty  years  ago.    (She's  a  better  cook,  too.)    As  for 

the  boys,  they  think  nobody  can  top  either  Ozzie  or  Harriet. 


■r 


Phone  calls  are  important  in  the  Nelson  home — and  not  just 
when  David's  making  dates!  They  keep  in  touch  with  the  folks 
back  East  in  long-distance  chats.  That's  one  time  when  the 
hi-fi  is  turned  down  and  even  Ricky  has  to  desert  his  drums. 


The  Adventures  Of  Ozzie  And  Harriet,  on  ABC-TV,  Fri.,  8  P.M. 
EST,  is  sponsored  by  The  Hotpoint  Co.,  Aunt  Jemima  Division 
of  Quaker  Oats,  and  Telechron   Division   of  General    Electric. 


Close  as  a  family  can  be 


(Continued) 


"I 


with  Hotpoint  electric  appliances,  she  cracked 
hope  the  pancakes  sell  like  Hotpoints!" 

As  for  Harriet's  mother,  she  has  been  written  into 
frequent  Nelson  scripts,  but  must  be  consulted 
about  the  actress  who  is  to  portray  her.  So  far,  her 
favorite  is  Lurene  Tuttle.  Much  of  Mrs.  Hilliard's 
characteristic  dialogue  and  plot  surprises  are  sup- 
plied by  Don  Nelson,  who  lived  at  Mrs.  Hilliard's 
home  while  he  was  a  student  at  the  University  of 
Southern  California.  A  typical  incident — precious 
grist  for  a  writer — took  place  after  Don  had  married 
and  moved  away.  He  telephoned  one  day  to  learn 
whether  his  Navy  check  had  arrived.  Mrs.  Hilliard 
said,  "No — but  I  hear  the  postman  now.  Hold  the 
wire  and  I'll  see  what  he  has  for  us." 

Don  held  .  .  .  and  held  .  .  .  and  held.  Three  min- 
utes, five  minutes,  seven  minutes.  ...  It  occurred 
to  him  that  Mrs.  Hilliard  might  have  suffered  a  fall, 
that  the  person  at  the  door  had  not  been  the  post- 
man but  some  thug!  He  jumped  into  his  car  and 
scorched  to  the  Hilliard  home.  And  here,  standing 
amid  her  roses  while  engaged  in  a  fascinating  con- 
versation with  her  neighbor,  was  Mrs.  Hilliard. 

She  broke  into  a  surprised  and  delighted  smile 
when  she  spotted  Don,  waved  and  called,  "Hi!" 

Don's  instant  relief  was  displaced  by  affectionate 
exasperation.  "Can  you  tell  me,"  he  asked  smoothly, 
"whether,  by  any  chance,  your  telephone  is  off  the 
hook?" 

"I  don't  think  so.  I  was  just  talking  to  .  .  .  oh, 
heavens!" 

New  acquaintances  frequently  ask  Ozzie  and 
Harriet:  "Is  your  show  pretty  much  of  a  reflection 
of  your  daily  family  life?"  Ozzie's  standard  answer 
has  always  been,  "No,  not  really.  It's  Actionized 
drama,  as  most  situation-comedy  shows  have  to  be." 

Recently,  some  combination  of  circumstances 
pushed  Ozzie  a  notch  too  far  and  he  had  to  let  off 
steam.    He   announced,    (Continued   on   page   68) 


Pretty  as   Diane  Jergens   is,    Ricky's  at  the   age   where 
he's  more  interested  in  teaching  her  tennis  than  dancing. 


44 


David's  dates  are  still  rather  informal,  too.  Below, 
at  a  recital  with  Susan  Whitney,  who — like  Diane — is 
sometimes  seen  on  The  Adventures  Of  Ozzie  And  Harriet. 


Ozzie  and  Harriet  realize  that  one  day  the  family  will  be 
more  than  a  close-knit  foursome  clustered  around  the  pool. 
In  fact,  Ozzie's  put  these  growing-up  ideas  into  the  show. 


The  Rogers'  ranch  house  is  a  warm,  "together"  kind  of 
place,  whereVBible  readings  and  songfests  are  all  part 
of  daily  living — where  Dodie's  Choctaw  background  and 
Marion  Fleming's  Scottish  ancestry  are  equally  at  home. 


Seated  on  the  couch  above,  left  to  right:  Dodie  (the 
children's  nickname  for  Mary  Little  Doe),  Dale,  Marion, 
Roy,  Linda.  Riding  "on  top  of  the  stagecoach"  are  Sandy 
and  Dusty  (whose  more  formal  name  is  Roy  Rogers,  Jr.). 


They  Count  Their  Blessings 

Roy  Rogers  and  Dale  Evans  thank  God  for  each 
new  year— and  for  the  children  in  their  hearts  and  home 


Home  care  is  Dale's  department,  and  she  gives  the  girls 
—in  this  case,  Marion  and  Linda — lessons  in  cooking  with 
that  fine  old-fashioned  flavor  from  her  home  state,  Texas! 


Roy  takes  over  in  the  field  of  animals  and  outdoor  life. 
Here  he  shows  Dusty  and  Marion  the  care  and  feeding  of 
a  baby  chipmunk  he'd  found  abandoned   "on  location." 


By  MARY  TEMPLE 


IN  the  little  town  of  Chatsworth,  California,  there  is  a 
rambling  Spanish  ranch  house  where  the  coming  of 
the  New  Year  is  celebrated  prayerfully  and  joyously, 
in  true  family  spirit.  December  31st,  in  addition  to  being 
the  wedding  anniversary  of  Daddy  and  Mom — who  are 
Roy  Rogers  and  Dale  Evans  to  the  rest  of  the  world — is  a 
wonderfully  happy  and  meaningful  time  for  the  children. 
Some  of  the  five  Rogers  children  are  adopted,  chosen 
lovingly  from  temporary  homes  in  other  sections  of  the 
country.  A  sixth  child  is  a  foster-daughter,  here  as  an 
exchange  student  from  her  native  Scotland.  At  holiday 
time,  a  little  crippled  friend  of  the  family,  Nancy  Hamil- 
ton, and  her  mother  usually  join  the  family  circle,  and 
often  the  neighbors'  kids  can  be  counted  in.  So  there  will 
be  laughter  and  shouting  echoing  through  the  roomy 
house,  and  much  excitement  over  the  old  year  rushing 
out  and  the  new  one  rushing  in  to  take  its  place.  There 


will  also  be  some  soul-searching  and  some  brave  new 
resolutions,  and  many  heartfelt  prayers  of  thanks. 

"If  I  were  to  try  to  sum  up  the  things  that  Roy  and  I 
are  most  grateful  for  this  year,"  Dale  says,  thinking  back 
over  months  which  have  seemed  to  roll  by  so  rapidly, 
"it's  that  the  children  and  Roy  and  I  are  now  a  unit.  A 
real  family  group. 'All  the  former  differences  in  the  back- 
grounds from  which  the  individual  children  came  are  now 
merged  into  one  democratic  American  family.  It's  one  of 
the  finest  things  that  could  have  happened  to  us.  This,  and 
the  fact  that  we  approach  the  New  Year  under  God's 
guidance,  with  the  hope  that  His  purpose  for  each  indi- 
vidual life,  and  for  our  family  life,  will  be  fulfilled." 

The  kids,  even  small  Dodie,  already  have  a  pretty  good 
idea  of  what  it  means  to  take  one's  place  in  a  close-knit 
group  that  feels  strongly  about  putting  God  first,  their  fel- 
low man  second,  and  themselves  (Continued  on  page  83) 


Roy  and  Dale  star  in  The  Roy  Rogers  Show.  NBC-TV,  Sun..  6:30  P.M.  EST,  as  sponsored  by  the  Post  Cereals  Division  of  General  Foods  Corp. 


47 


Home,  for  Jan  and  Terry,  means  the  sunlit  peace  of 
their  farm  in  New  Hampshire — which  takes  on  special 
meaning  when  Terry's  girls  join  them  during  vacation. 


Terry's  proud  of  the  strikingly  talented  and  lovely 
females  in  his  family!  Below,  Jan's  mother  paints  a 
portrait  of  Molly,  Colleen  and   Kathleen  O'Sullivan. 


omdm) (dma 


Bringing  in  the  crop  of  hay — with  Molly  on  the  tractor  and 
Kathleen  and  Colleen  helping — Terry  and- Jan  harvest  the  joys 
of  exciting  changes  in  their  city  life,  the  constancy  of  the  country. 


Terry  O'Sullivan  and  Jan  Miner 
travel  an  exciting  road  on  TV, 
toward  the  steady  lights  of  home 

By  FRANCES  KISH 

Terry  O'Sullivan  was  saying:  "Change  is 
stimulating;  it  means  growth.  I  welcome  it." 
"I  feel  the  same  way  Terry  does,"  added  Jan 
Miner,  who  is  Mrs.  Terry  O'Sullivan  in  private 
life.  "Except  that  I  want  to  say — for  us  both — 
we  are  grateful  and  happy  that  the  usual  peace 
and  satisfactions  of  life  on  the  farm  have  remained 
the  same  while  our  lives,  career-wise,  have  been 
changing.  It's  a  fine  thing  to  know  that  Morrow 
Farm,  in  Meredith,  New  Hampshire,  is  waiting  for 
us,  the  same  as  always — and  that,  if  it's  at  all 


See   Next  Page 


► 


Eager  young  hands  help  Jan  and  Terry  faunch  their  rowboat 
in  Lake  Winnepesaukee.  Morrow  Farm  nestles  near  by,  en- 
circled by  woodlands,  hills  and  neat  New  Hampshire  towns. 


In  the  city,  Jan  serves  her  meals  on  d  glass-topped, 
wrought-iron  dining  table.  But,  whenever  they  can,  she 
and  Terry  head  for  the  farm  and  outdoor-barbecue  fun. 


possible,  the  family  will  be  gathering  there  for  the  holi- 
days. My  parents  live  close  by,  two  of  my  brothers  and 
their  families  are  there,  and  the  others  not  too  far  away. 

"It's  wonderful  to  know  that,  next  summer — while 
there  will  be  the  usual  struggle  against  Nature  and  her 
many  moods — the  old  farmhouse  will  welcome  us  back, 
and  Terry's  three  lovely  daughters  will  be  coming  again 
from  California  to  spend  the  summer  with  us.  There 
will  be  the  farm  chores,  as  always,  and  the  gardening 
and  haying,  and  Terry  will  have  to  tend  the  orchard  he 
planted  last  summer  (never  dreaming  how  much  work 
he  was  starting  for  himself!).  But  there  will  also  be  the 
fun  of  cooking  and  eating  outdoors,  of  sitting  around 
and  just  talking  and  visiting  after  the  work  is  done,  and 
the  joy  of  living  out  under  the  sun  and  stars." 

Terry  picked  up  the  conversation:  "The  changes  have 
come  into  our  lives  in  the  city,  in  all  the  new  things  Jan 
and  I  have  been  doing.  In  September,  for  instance,  I  be- 
came Elliott  Norris,  the  newspaper  reporter  in  the  day- 
time dramatic  serial,  Valiant  Lady.  Norris  has  humor  and 
intelligence — it's  an  interesting  part — and  a  great  many 
other  new  things  have  come  into  being,  this  year,  one 
of  them  a  Big  Story  film,  shot  for  television  in  South 
Bend,  Indiana,  the  scene  of  the  true  story  it  depicts.  In 
August,  I  played  the  role  of  Adam  in  the  Bible  story  of 
Cain,  on  the  Frontiers  Of  Faith  program.  A  number  of 
TV  commercials  have  been  added  to  the  roster  this  year. 
And  a  motion  picture,  'The  Court-Martial  of  Billy 
Mitchell,'  starring  Gary  Cooper.  Of  course,  if  you  turn 


to  your  companion  in  the  theater,  you  may  miss  seeing 
me  at  all — my  part  is  very  short." 

"Terry  opens  the  picture,"  Jan  broke  in.  "He's  the 
major  who  serves  the  court-martial  papers  on  Mitchell. 
You  can't  possibly  miss  him!" 

"The  big  change  in  Jan's  work,"  Terry  said  then,  "is 
her  new  role  as  Terry  Burton  on  The  Second  Mrs.  Bur- 
ton. It's  a  perfect  part  for  Jan,  both  as  wife  and  as  ac- 
tress— though  I'm  sure  many  listeners  still  remember 
her  as  Julie,  in  Hilltop  House,  and  Anne,  in  Casey, 
Crime  Photographer.  Her  radio  work  speaks  for  itself, 
and  she's  been  doing  more  and  more  TV.  The  last  two 
summers,  she  was  a  member  of  the  Robert  Montgomery 
TV  company,  doing  a  different  role  every  week,  and  she 
has  a  running  part,  Glenda,  on  the  TV  dramatic  ser- 
ial First  Love.  She  goes  out  to  Hollywood  to  do  the 
TV  commercials  for  Spry,  on  the  Lux  Video  Theater — 
and  that  has  certainly  made  a  change  in  our  lives,  what 
with  my  traveling  to  various  location  scenes  occasional- 
ly, too!  She  has  been  doing  the  Alka-Seltzer  commer- 
cials on  the  John  Daly  news  telecasts.  And  she  gets 
constant  calls  from  dramatic  shows  on  TV." 

"I  like  the  turn  my  life  has  been  taking,"  Jan  said.  "I 
like  the  change  of  pace.  I  even  enjoy  the  tremendous 
discipline  which  television  imposes  on  an  actor,  far  more 
than  radio  ever  did.  Every  performance  is  an  'opening 
night.'  This  is  it,  you  know  each  time — and  there  won't 
be  any  more  chances  to  correct  mistakes. 

"I  miss  Julie  Paterho,  after  (Continued  on  page  84) 


Terry  O'Sullivan  is  Elliott  Norris  in  Valiant  Lady,  CBS-TV,  M-F,  12  noon  EST,  as  sponsored  by  General  Mills,  The  Toni  Company,  and 
Wesson  Oil.  Jan  Miner  is  Terry  Burton  in  The  Second  Mrs.  Burton,  CBS  Radio,  M-F,  '2  P.M.  EST,  under  multiple  sponsorship. 


50 


EVER   GET   RICH 


Sgt.  Bilko  (Phil)  flanked  by  his  best  buddies — Cpl.   Barbella   (Harvey  Lembeck)  and  Cpl.   Henshaw  (Allan   Melvin). 


HARVEY  LEMBECK,  as  Cpl.  Barbella,  needs  no  coach- 
ing in  GI  life,  for  he  has  lived  it  before — "in  the  flesh," 
on  the  stage  and  in  movies.  Born  and  raised  in  Brooklyn, 
Harvey  won  a  scholarship  to  the  University  of  Alabama. 
His  studies  there  were  interrupted  by  World  War  II 
and  he  enlisted  in  the  Army,  then  transferred  to  the 
Marines,  and  finally  wound  up  in  the  Navy.  Once  again 
a  civilian,  Harvey  finished  his  studies  at  New  York 
University,  then  launched  his  show-business  career  as 
half  of  The  Dancing  Carrolls,  who  played  night  clubs 
and  vaudeville.  (The  other  half  of  the  team,  Caroline 
Dubs,  is  now  Harvey's  better-half  and  mother  of  the 
Lembecks'  two  children.)  Harvey  made  his  Broadway 
debut  in  Ben  Hecht's  "The  Terrorist,"  and  followed  this 
with  roles  in  such  hits  as  "Mister  Roberts,"  "Stalag  17," 
and  "Wedding  Breakfast."  He  has  also  appeared  in  many 
films,  including  "The  Frogmen"  and  "Willie  and  Joe 
Back  Up  Front."  TV-wise,  Harvey,  in  1947,  organized 
the  first  repertory  group  for  a  network  and  has  appeared 
in  numerous  TV  shows  since  then.  Last  year,  he  won 
two  Laurel  Awards,  one  as  the  most  likely  candidate  for 
stardom,  the  other  as  one  of  the  best  screen  comics. 


ALLAN  MELVIN — who  plays  Cpl.  Henshaw,  possessor 
of  a  keen,  dry  sense  of  humor — was  born  to  be  a  co- 
median, although  he  tried  first  to  become  a  journalist. 
Born  in  Kansas  City,  Missouri,  Allan  received  his  high 
school  education  in  New  York,  then  enrolled  at  Colum- 
bia University  to  major  in  journalism.  But,  being  a 
naturally  funny  fellow,  everything  he  did — from  talking 
to  walking — provoked  more  laughter  than  good  grades. 
After  two  years,  Allan's  college  days  came  to  an  end 
when  he  was  cast  in  a  Greek  tragedy.  He  just  couldn't 
shake  off  his  comic  nature  and,  finally,  his  professor 
ruefully  suggested  that  Allan  had  better  stick  to  comedy. 
Allan  took  the  advice,  quit  college  and  started  his  own 
night-club  act,  which  featured  impressions  and  imita- 
tions. Then  one  day  he  heard  that  Jose  Ferrer  was 
auditioning  actors  for  the  part  of  Reed  in  "Stalag  17." 
Allan  didn't  even  get  to  finish  his  routine  for,  halfway 
through,  Ferrer  stopped  him  and  told  him  he  was  hired. 
Allan  went  on  to  play  the  role  for  a  year.  No  newcomer 
to  TV,  Allan  appears  frequently  on  many  top  dramatic 
shows.  He's  fond  of  basset  hounds  and  is  preparing  a 
film  series  on  the  "adventures"  of  the  sad-eyed  dogs. 


53 


Sgt.  Bilko's  pranks  alternately  please  and  provoke  Col.  Hall  (Paul  Ford). 


PAUL  FORD,  as  Col.  T.  J.  Hall,  Sgt.  Bilko's  stuffy  but 
likable  commanding  officer,  enjoys  the  distinction  of 
portraying  two  Army  colonels  at  the  same  time — in 
You'll  Never  Get  Rich,  and  in  the  Broadway  hit,  "The 
Teahouse  of  the  August  Moon."  A  veteran  stage,  screen 
and  TV  actor,  the  soft-spoken  Mr.  Ford  hails  from 
Baltimore,  Maryland.  After  graduation  from  Dart- 
mouth College,  he  went  right  into  show  business, 
getting  his  early  training  with  stock  companies  at  such 
famous  spots  as  the  Provincetown  Playhouse.  Next 
came  Broadway  and,  since  1944,  he  has  appeared  in 
numerous  plays,  including  "Another  Part  of  the  Forest," 
"Command  Decision,"  "The  Brass  Ring"  and,  of  course, 
"Teahouse."  In  between,  Paul  has  also  appeared  in 
movies  such  as  "Naked  City"  and  "All  the  King's 
Men."  Television  has  claimed  him  for  many  leading 
programs,  among  them,  Studio  One,  Suspense  and 
Danger,  as  well  as  two  fondly  remembered  daytime 
dramas,  The  Egg  And  I  and  The  First  Hundred  Years. 


Cpl.  Fender  (Herbie  Faye)  "suits"  Sgt.  Bilko. 

HERBIE  FAYE,  a  40-year  veteran  of  show 
business,  has  known  and  worked  with  Phil 
Silvers  for  some  25  years.  Starting  with  a 
small  vaudeville  act  in  1915,  Herbie  toured 
the  country,  then  settled  down  on  Broad- 
way. He  spent  eight  years  with  the  USO — 
five  of  them  overseas — then,  in  1949,  turned 
to  TV  and  appeared  subsequently  with  such 
stars  as  Jack  Carter,  Martha  Raye  and  Red 
Buttons.  Most  recently  on  Broadway,  Herbie 
has  played  in  "Top  Banana"  and  "The 
Shrike."  Now,  once  again  with  Silvers,  Herb, 
in  addition  to  acting,  helps  coach  the  cast. 


LOUISE  GOLDEN,  only  21,  counts  her  role 
as  WAC  Cpl.  Hogan  as  the  luckiest  of  many 
breaks  she  has  had.  In  1952,  after  graduation 
from  Van  Nuys  High  School  in  California, 
Louise  headed  for  Broadway  and,  within  a 
few  weeks,  was  one  of  the  Gae  Foster  dancing 
girls  at  the  Roxy  Theater.  Next  came  TV  ap- 
pearances, followed  by  a  dancing  assignment 
in  "Guys  and  Dolls."  When  she  heard  about 
You'll  Never  Get  Rich,  Louise  mistakenly 
applied  for  a  dancing  role.  Nevertheless,  the 
pretty,  young  redhead  was  hired  and  her  bit 
part  was  expanded  to  fit  her  varied  talents. 


54 


Ilttwlim YOU'LL   NEVER   GET   RICH 


The  fun  begins  as  Sgt.  Bilko  briefs  Sgt.  Grover  (Jimmy  Little),    Sgt.  Sowici  (Harry  Clark)  and  Sgt.  Pendleton  (Ned  Glass 


JIMMY  LITTLE,  looking  every  bit 
like  the  hard-boiled  sergeant  he 
plays,  owes  his  fine  physique  to  his 
extensive  swimming  experience. 
After  attending  St.  John's  University, 
Jimmy  became  a  lifeguard  and,  on 
the  side,  furthered  his  ambition  to 
become  a  singer.  From  singing  for 
local  gatherings  in  Brooklyn,  he 
progressed  to  Manhattan  night  clubs, 
then  into  vaudeville,  co-starring 
with  comedian  Joe  Besser.  After 
touring  the  country,  Jimmy  and  Joe 
developed  an  Army  skit  which,  in 
1938,  became  part  of  Olsen  and 
Johnson's  famed  "Hellzapoppin' " 
revue.  Next  they  played  for  four 
years  in  "Sons  O'  Fun."  In  between, 
Jimmy  appeared  in  movies  such  as 
"Hey,  Rookie!",  "Black  Widow"  and 
"Ma  and  Pa  Kettle."  For  the  past 
five  years — except  for  his  Broadway 
role  in  "Lunatics  and  Lovers" — 
Jimmy  has  devoted  his  talents  to  TV, 
having  appeared  in  some  300  shows, 
which  ranged  from  comedy  to  drama. 


HARRY  CLARK,  another  typical- 
looking  topkick,  went  from  New 
York  University — where  he  starred 
as  a  hammer-thrower  and  taught 
physical  education — into  summer 
stock,  playing  throughout  the  East, 
from  1939  to  1942.  Then  came  Broad- 
way and  "The  Skin  of  Our  Teeth," 
followed  by  "One  Touch  of  Venus." 
After  time  out  in  the  Army,  Harry 
continued  his  record  of  appearing 
only  in  big  hits  with  "Kiss  Me,  Kate," 
"Call  Me  Mister"  and  "Wish  You, 
Were  Here."  Last  year,  he  toured  in 
the  national  company  of  "Pal  Joey," 
then  took  leave  of  the  stage  to  try  his 
hand  in  television.  He  has  appeared 
on  many  top  shows,  including  Toast 
Of  The  Town,  Philco  Playhouse, 
Danger  and  Justice,  and  was  par- 
ticularly outstanding  this  year  as 
star  of  "No  Time  for  Sergeants"  on 
the  U.S.  Steel  Hour.  In  private  life, 
Harry  lives  with  his  wife  Tobey  and 
their  16-year-old  daughter  Irene  in 
Jamaica,  on  New  York's  Long  Island. 


NED  GLASS,  after  graduation  from 
City  College  in  New  York,  in  1928, 
became  a  grade-school  science 
teacher  in  Brooklyn.  He  soon  found, 
however,  that  teaching  was  not  his 
lot  and,  when  a  friend  suggested  he 
try  acting,  Ned  took  the  advice.  Al- 
though totally  inexperienced,  Ned 
sent  a  card  to  producer  Elmer  Rice 
and,  amazingly  enough,  was  given  an 
audition.  Not  only  did  he  win  a  good 
role  in  the  Broadway  hit,  "Street 
Scene,"  but  he  was  made  under- 
study to  the  star.  Ned  played  in  two 
more  Broadway  shows,  then  decided 
to  get  more  "basic"  acting  experience 
via  summer  stock  and  vaudeville. 
Then,  several  years  later,  he  jour- 
neyed to  Hollywood  to  appear  in 
more  than  100  movies,  such  as  "The 
Bad  and  the  Beautiful,"  "The  Clown" 
and  "Julius  Caesar."  Upon  return- 
ing to  New  York,  he  met  up  with 
Phil  Silvers  and  was  immediately 
signed  to  play  the  part  of  Sgt. 
Pendleton  in  You'll  Never  Get  Rich. 


55 


At  home — as    on  the   airwaves- 


Music  is  Charita's  own  favorite  relaxation. 


By  PHILIP  CHAPMAN 


Not  long  ago,  the  young  wife  named 
Bertha  Bauer  in  The  Guiding  Light 
spent  fifteen  minutes  before  the  cam- 
eras arguing  with  her  husband — and,  later, 
a  school  principal — over  whether  or  not  her 
son  Mike  should  skip  a  grade  in  school.  It 
was  a  well-written,  well-acted  bit  in  which 
Bertha  was  intensely  opposed  to  Mike's 
being  shifted  out  of  his  age-group,  but 
changed  her  mind  completely  before  the 
end  of  her  session  with  the  principal. 

Having  finished  her  stint  for  that  day,  she 
left  the  studio  and  caught  a  cab  for  home. 
Her  name  was  still  Bauer,  although  the 
"Bertha"  of  The  Guiding  Light  automatical- 
ly became  the  "Charita"  of  real  life.  And, 
as  she  rode  along,  she  reflected  that  she 
really  had  learned  a  lot  from  that  day's 
script,  especially  since  she  had  a  nine-year- 
old  boy  of  her  own — also  named  Mike. 

Oh,  not  that  she  was  likely  to  run  into 
such  a  difficulty  with  her  own  Mike,  at  least 
not  right  away.  Mike  was  getting  along  fine 
in  St.  Ann's  Academy  for  Boys,  a  private 
school  in  which  Charita  believed  implicitly. 
But,  if  the  time  ever  came,  she'd  be  better 


Charita  Bauer  embraces  two  "Mikes" 
— her  real  son  (in  white  shirt)  and 
Glenn  Walken,  who  plays  her  son  in  The 
Guiding  Light — as  party  guests  watch. 


it's  son  Michael,  just  nine  years  old 


Mike's    big    hobby    is    his  .stamp    collection. 


equipped  to  cope  with  the  school  situation. 

She  could  actually  relax  for  a  few  hours. 
She  could  take  a  deep  breath,  and  think 
about  the  vacation  she  had  planned — the  first 
real  vacation  she'd  ever  had.  This  one  was 
going  to  be  It,  with  a  capital  letter.  England, 
France,  Italy.  A  chance  to  get  away  and 
think,  a  chance  to  forget  the  busy  hum  of  the 
studios  and  to  lead  a  strictly  private  life. 

At  home,  in  the  East  Seventies,  she  found 
her  mother  and  her  son,  Michael,  in  the 
kitchen.  He  was  bolting  an  after-school  snack, 
so  he  could  "go  and  play  with  Pete."  She 
looked  at  him  with  pride  in  her  eyes.  She  had 
done  well  here,  so  (Continued  on  page  79) 


"Home"  is  a  living  dream  come  true  ...  a  place  where  Michael 
can  play  and  invite  friends  to  share  his  birthday  cake  ...  a 
real  family  residence  for  Charita  and  her  parents  (who  did  so 
much  for  her)  and  her  boy  (for  whom  she  hopes  to  do  as  much). 


Charita  recently  fulfilled  another 
great  wish,  too — a  trip  to  Europe 
with  one  of, her  very  best  friends, 
actress    Elaine    Rost   (at  far   left). 


Charita  is  Bertha  Bauer  in  The  Guiding  Light.  Mon.  thru  Fri., 
seen  on  CBS-TV  at  12:45  P.M.  EST— heard  on  CBS  Radio  at  1 :45 
P.M.  EST — sponsored  by  Procter  &  Gamble  for  Ivory,  Duz,  Cheer. 


57 


Joan  Davis  finds  a  new  career- 


helping  others  is  really  nothing  new  to  her 


Joan  Davis,  as  played  by  Mary  Jane  Higby,  helps  untangle 
the  lives  of  the  people  whose  stories  her  magazine  tells. 


According  to  the  menfolk,  true  friendships  between 
women  are  rare.  But  Joan  Davis  and  Mary  Jane 
"  Higby  are  two  women  who  could  have  been  really 
great  friends — if  it  weren't  for  the  fact  that  they  have  been 
one  and  the  same  person  for  the  past  fifteen  years.  Mary 
Jane  stars  as  Joan  Davis  in  When  A  Girl  Marries,  and 
she  thinks  Joan  is  a  wonderful  person.  "And  one  of  the 
best  things  about  playing  Joan,"  she  smiles,  "is  that  she 
hasn't  stood  still  like  some  comic-book  character.  She 
married,  raised  three  children.  She's  always  growing." 

Blonde,  petite  and  blue-eyed,  Mary  Jane  looks  more 
like  Joan  Davis,  wife  and  homemaker,  than  the  actress 
she  has  been  since  the  age  of  three  months.  She  and 
Joan  have  much  in  common.  Both  are  wann-hearted, 
sincere,  loyal  women  and  both  rely  on  that  very  special 
woman's  sense,  intuition.  Both  are  happily  married — 
and  this  is  the  most  important  thing  in  life  to  both.'  Mrs. 
Joan  Davis  is  Mrs.  Guy  Sorel,  in  private  life,  and,  rather 
than  talk  about  her  own  career — starting  as  "Baby  Mary 
Jane"  in  the  movies  and  leading  to  Joan  Davis  on  radio — 
she  would  rather  tell  you  about  how  her  French  hus- 
band played  a  cowboy  in  a  filmed  television  drama. 

"I've  always  had  a  career,"  Mary  Jane  says.  "And,  now 
that  When  A  Girl  Marries  has  been  'modernized,'  Joan 
too  has  a  career — and  we  have  become  more  alike.  I  love 
the  idea  behind  the  changing  of  the  program.  It  will  bring 
Joan  more  up-to-date,  allow  me  more  scope  and  bring 
more  variety  to  the  program— a  new  story  each  week." 

Joan's  career  grows  out  of  the  sort  of  person  she  has 
always  been — a  woman  eager  to  help  with  the  problems 
of  her  neighbors  and  friends  in  Stanwood.  And  so,  when 
Catherine  Kane,  who  heads  Kane  Industries,  for  which 
Harry  Davis  is  legal  counsel,  needs  an  editorial  consultant 
for  her  new  magazine,  Hometown,  Joan  is  her  logical  and 
ideal  choice.  The  magazine  is  to  be  based  on  actual  in- 
cidents that  have  happened  to  the  people  of  Stanwood, 
and  Joan  is  asked  to  draw  on  her  own  background  and  • 


experience  to  help  the  people  whose  stories  it  will  tell. 

"In  many  of  these  situations,"  Mary  Jane  smiles,  "Joan 
will  need  all  the  wisdom  she  can  muster.  Take  the  story 
of  Anita  and  Ginny  Harrison,  for  example,  when  jealousy 
and  suspicion  threatened  Ginny's  young  marriage  and 
Anita's  new-found  love." 

When  this  story  passes  across  Joan  Davis'  desk  at  the 
magazine  office — she  learns  that  Ginny,  the  younger  sis- 
ter, has  married  Tom  Brent  against  Anita's  advice.  All 
three  live  together  in  the  huge  Harrison  family  mansion 
which  the  girls  had  inherited  jointly.  Since  Ginny  is  still 
not  of  age,  her  money  is  held  in  trust  and,  when  Tom 
needs  money  for  a  land  venture  on  which  he  hopes  to 
base  his  and  Ginny's  future,  he  asks  Anita  to  help.  But, 
although  Anita  has  already  come  into  her  inheritance, 
she  refuses  the  money. 

Unwilling  to  let  the  land  opportunity  pass,  Tom  plays 
up  to  Anita.  But  his  attentions  to  her  only  serve  to  bring 
the  sisters  in  conflict  as  Ginny  accuses  Anita  of  trying  to 
steal  her  husband.  Then,  unable  to  win  Anita  over  by 
himself,  Tom  introduces  her  to  Tony  Ford,  his  partner  in 
the  land  venture.  Tony  begins  to  pay  court  to  Anita.  At 
first,  Tony's  interest  is  only  to  persuade  Anita  to  help 
them,  but  he  soon  finds  that  he  has  fallen  in  love  with 
her.  Anita,  too,  feels  the  first  stirrings  of  love  for  Tony, 
but  she  hesitates  to  trust  this  emotion.  Aware  that  Tony 
was  first  interested  only  in  her  money,  Anita  cannot 
bring  herself  to  believe  him  when  he  declares  his  love. 

At  present,  matters  seem  at  a  standstill,  but  soon  they 
will  have  to  change.  Will  Tony  find  a  way  to  prove  his 
love  for  Anita — or  will  her  doubts  continue  to  keep  them 
apart?  And  what  about  Ginny  and  Tom,  whose  young 
marriage  is  floundering  on  the  jealousy  Ginny  still  feels 
over  the  attentions  Tom  paid  to  Anita?  As  Joan  Davis 
steps  into  their  lives,  will  she  be  able  to  draw  from  her 
own  experiences  and  help  these  four  troubled  people  to 
the  happiness  she  knows  lies  ahead — when  a  girl  marries? 


When  A  Girl  Marries,  starring  Mary  Jane  Higby,  is  heard  over  ABC  Radio,  M-F,  10:45  A.M.  EST,  as  sponsored  by  The  Dromedary  Company, 
Stokely-Van  Camp,  Inc.,  and  Carter  Products.  Popular  air  performers  Elaine  Rost  and  James  Monks  are  pictured  here  as  Anita  and  Tony. 


58 


^s> 


S 


Doubts  continue  to  trouble  Anita  Harrison  as  she  remembers  that,  although  Tony 
Ford  now  insists  he  is  in  love  with  her,  it  was  her  money  that  first  attracted  him. 


59 


r 


By 

HELEN 

BOLSTAD 


not  only  with  life,  but  each  other  .  .  .  that's 

the  good  news  about  Carl  Betz  and  his  wife  Lois 


60 


What's  the  latest  "gossip"  about  the  actor  who  plays 
Collie  Jordan  in  Love  Of  Life?  Only  that  Carl  and  Lois 
enjoy  domestic  bliss,   leisurely  walks,   and  friendly  visits. 


They  lived  in  Hollywood,  that  first  year  of  their  mar- 
riage .  .  .  and,  as  Christmas  approached,  Carl  Betz 
began  amassing  a  private  hoard  of  apparently  useless 
objects — laundry  cartons,  shirt  cardboards,  oatmeal  boxes, 
■  wax-paper  rollers  and  assorted  other  scraps  and  discards. 
.  .  .  With  growing  amazement,  Lois  Betz  watched  it 
accumulate.  "Why  in  the  world,"  she  finally  asked,  "do 
you  want  all  this  junk?" 

Carl,  who  now  plays  the  role  of  sophisticated  Collie 
Jordan  in  Love  Of  Life,  looked  more  boyish  than  worldly 
as  he  replied,  "It's  a  secret."  Then  (Continued  on  page  66) 

Carl  Betz  is  Collie  Jordan  in  Love  Of  Life,  CBS-TV,  M-F,  12:15  P.M. 
EST,  for  Whitehall  Pharmacal  Co.,  Boyle-Midway,  Inc.,  Chef  Boyardee. 


Carl  created  this  miniature  English  village  to  surprise 
Lois  on  their  first  Christmas  together.  They've  both 
worked   on   it,   adding   new  structures,   every  year  since. 


Their  artistic  skill  found  full-scale  scope  when  the 
Betzes  moved  to  a  New  York  apartment.  Carl  painted  the 
walls,  matching  the  colors  to  the  drapes  Lois  had  found. 


61 


V 


What's  the  latest  "gossip"  about  the  actor  who  plays 
Collie  Jordan  in  Love  Of  Life?  Only  that  Carl  and  Lois 
enjoy  domestic  bliss,   leisurely  walks,   and  friendly  visits. 


By 

HELEN 

BOLSTAD 


not 


only  with  life,  but  each  other  .  .  .  that' 


the  good  news  ah 


60 


out  Carl  Betz  and  his  wife  Lois 


They  lived  in  Hollywood,  that  first  year  of  their  mar- 
riage .  .  .  and,  as  Christmas  approached,  Carl  Betz 
began  amassing  a  private  hoard  of  apparently  useless 
objects — laundry  cartons,  shirt  cardboards,  oatmeal  boxes, 
wax-paper  rollers  and  assorted  other  scraps  and  discards. 
•  •  With  growing  amazement,  Lois  Betz  watched  it 
accumulate.  "Why  in  the  world,"  she  finally  asked,  "do 
you  want  all  this  junk?" 

Carl,  who  now  plays  the  role  of  sophisticated  Collie 
Jordan  in  Love  Of  Life,  looked  more  boyish  than  worldly 
as  he  replied,  "It's  a  secret."  Then  (Continued  on  page  66) 

Carl  Betz  is  Collie  Jordan  in  Love  Of  Life,  CBS-TV,  M-F,  12:15  P.M. 
51'for  Whitehall  Pharmacal  Co.,  Boyle-Midway,  Inc.,  Chef  Boyardee. 


Carl  created  this  miniature  English  village  to  surprise 
Lois  on  their  first  Christmas  together.  They've  both 
worked  on   it,   adding  new  structures,   every  year  since. 


Their  artistic  skill  found  full-scale  scope  when  the 
Betzes  moved  to  a  New  York  apartment.  Carl  painted  the 
walls,  matching  the  colors  to  the  drapes  Lois  had  found. 


61 


Percy's  calm  in  a  stormy  business  is  well-known.  But 
even  he  gets  excited  when  granddaughter  Lisa  Beth  comes 
to  call.  Sharing  Percy's  delight  are  his  son-in-law  Alan, 
wife  Dolly,  son  Peter  and  daughter  Marilyn  Faith  Sleitsman. 

1 


When  Percy  and  Dolly  first  met,  they  were  in  their  teens 
and  dated  secretly.  Then  they  grew  up,  married,  and  Perc's 
music  sang  his  love  for  all  to  hear.  Today  they  share  walks 
and  such  domestic  chores  as  mending  Dolly's  fine  chinaware. 


MM^MMMi 


Percy  Faith's  music  on  The  Woolworth  Hour  echoes  the  melody  of  a  full,  rich  life 


Host  Donald  Woods  and  Percy  check  on  details  for  a  future 
Woolworth   Hour    in    teamwork    smooth    as    Perc's    music. 


Perc   found   the    Faiths'    home,    but    its    Colonial    exterior 
and  Norwegian  pine  interior  were  all  Dolly  hod  dreamed  of. 


By  MARTIN  COHEN 


Of  all  the  arts  meant  to  give  man  pleasure,  none 
is  quite  so  personal  as  music — and  the  music  of 
Percy  Faith  is  as  intimate  as  your  own  fireside.  This 
music  gets  into  your  heart  and  into  your  dreams.  It 
can  bring  an  old  memory  to  life  or  remind  you  to  take 
flowers  home  to  your  wife.  It  is  music  full  of  lights 
— the  lights'  of  stars  and  carnival  bulbs,  of  sunsets  and 
Christmas  candles,  of  love  and  hope.  But,  no  matter 
what  the  charm  or  passion,  it  is  music  noted  for  great 
beauty,  simplicity  and  dignity. 

Percy  Faith  is  a  composer-conductor — which  means 
that  the  music  is  in  his  head,  first  of  all.  He  puts  it 
to  paper  and  the  paper  goes  to  a  group  of  forty-five 
musicians  and  choristers,  then  Percy  rehearses  them. 
The  end  performance  is  the  single  voice  of  a  single  man. 


Little    Lisa    Beth    muses   over   the    piano.    She'll    need    this 
early  start  to  beat  grandfather  Percy's  composing  record. 


See   Next  Page 


► 


63 


Percy  Faith  is  conductor  of  The  Woolworth  Hour. 
heard  over  CBS  Radio,  Sunday,  from  1  to  2  P.M. 
EST,  as  sponsored  by  The  F.  W.  Woolworth  Co. 


Away  from  his  podium,  Percy  likes  tooling  along  the  back 
roads  in  his  convertible — or  tinkering  with  his  miniature 
railroad  in  the  basement  of  the  Faiths'  Long  Island  home. 


For  those  who  like  their  Faith  tall,  dark  and 
handsome,  Percy  qualifies.  For  those  who  lean  to  a 
Marlon  Brando  type,  a  T-shirted,  unshaven  male  in 
paint-stained  pants,  Percy  fills  the  bill — on  weekends,  or 
when  he's  fishing  in  Canada.  If  you  would  want  your 
Faith  civilized  and  charming,  that  is  Percy  all  of  the 
time.  If,  however,  you  like  a  touch  of  glamour,  Perc  has 
a  speedboat  for  tearing  around  Long  Island  Sound 
and  a  sport  car  for  tooling  down  back  roads. 

But  if  it's  a  musician  with  temper  you  prefer — a 
conductor  on  the  podium  who  fairly  sbakes  thunder  out 
of  the  sky  with  his  baton,  whose  voice  whips 
musicians  into  a  musical  frenzy — it  ain't  Faith.  No,  sir. 
Says  a  musician:  "Picture  a  sunny  day  on  the  beach. 
Picture  a  man  half-dozing  in  the  sun,  listening  to  the 
surf,  indifferent  to  everything  about  him.  That's  what 
Perc  looks  like  when  he's  conducting." 

This  is  the  actual  picture:  He  perches  on  top  of  a 
tall  stool,  one  knee  crossed  over  the  other,  the  music 
spread  over  a  horizontal  stand.  His  baton  is  a  short 
yellow  pencil.  (He  conducts  equally  well  with  red  or . 
green.)  His  makeshift  baton  never  stirs  more  than 
six  inches  in  any  direction.  In  a  polite,  casual  voice  he 
tells  the  brass  to  remove  the  dot  from  a  quarter 
note  or  turn  a  seventh  into  a  ninth.  And  then  they  go 
on.  Of  the  hundred  people  or  so  in  the  studio — 
including  several  dozen  musicians,  a  dozen  singers,  four 
or  five  soloists,  technicians,  agency  representatives, 
producer  and  assistants — Percy  Faith  is  the  least 
hurried,  the  most  amiable  and  the  most  relaxed.  ("Up 
there  he  looks  exactly  as  if  he  didn't  give  a  darn,  and  he 
is  one  of  the  most  gifted  conductors  in  the  country.") 

Perc  is  unquestionably  the  favorite  conductor  of 
musicians,  for  he  refuses  to  be  anything  less  than 
reasonable  and  courteous.  He  does  not  ruffle,  anger  or 
madden.  When  he  first  came  to  the  states  from  Canada 
to  take  over  the  famous  Carnation  Contented  Hour, 
the  orchestra  paid  him  a  tribute  which  is  unprecedented 
in  the  business.  As  a  body,  they  sent  a  telegram  to 
the  sponsor  saying  simply:   "This  is  our  boy." 

Percy  Faith's  contribution  to  American  music  is 
fabulous.  He  has  recorded  fifty  albums,  and  nearly  all 
are  steady  sellers.  At  any  (Continued  on  "page  70) 


64 


And  So  They  Were  Married 


(Continued  from  page  32) 
handsome.     Their  respective  parents  were 
there,  of  course,  and  Eddie's  four  sisters 
and    two     brothers,     and     Debbie's     only 
brother. 

"Even  the  setting  was  homelike.  Mrs. 
Jennie  Grossinger's  daughter  has  a  lovely 
but  not  a  pretentious  house  on  the 
grounds  of  Grossinger's,  the  famous  Cats- 
kill  resort,  and  that's  where  the  ceremony 
took  place.  The  house  has  big  double 
living  rooms,  a  large  dining  room,  a  roomy 
family  kitchen — the  kind  of  home  to  make 
a  gracious  background.  Debbie  carried 
her  grandfather's  Bible,  brought  from 
California  by  her  mother. 

"No  one  got  very  excited  when  the 
wedding  had  to  be  delayed  because 
Eddie's  mother  was  delayed  in  traffic  on 
her  way  up  to  Grossinger's.  Instead  of 
an  eight  o'clock  ceremony,  it  was  nearer 
nine  when  Eddie  and  Debbie  made  their 
vows.  Afterwards,  there  was  a  private 
party,  and  then  the  young  couple  went 
to  a  charming  small  house  near  by,  lent 
by  a  friend  for  this  first  night  of  their 
honeymoon." 

And  so  they  were  married,  after  months 
of  postponement,  millions  of  words  of 
speculation,  and  thousands  of  columns  of 
type,  much  of  it  inspired  by  the  fact  that 
the  scheduled  wedding  date  of  June  17 
had  come  and  gone  minus  wedding  bells 
or  any  specific  explanation  for  the  delay. 

Eddie  had  been  very  unhappy  about  a 
lot  of  the  stuff  that  was  printed  during 
those  months  prior  to  the  marriage.  "Be- 
cause most  of  it  didn't  have  a  grain  of 
truth  in  it,"  one  of  his  pals  told  me.  "That's 
what  got  him  down."  When  an  old  friend 
who  hadn't  seen  him  for  a  while  dropped 
by  to  congratulate  him  on  his  marriage 
and  mentioned  how  much  more  mature 
and  serious  he  had  grown,  Eddie  just 
shook  his  head  and  said,  "It's  this  last 
year  that  did  it." 

Talking  further  about  it,  Eddie  said, 
"Our  wedding  was  never  called  off.  We 
just  thought  we  would  wait  a  little  longer. 
And  that  sort  of  thing  is  a  personal  mat- 
ter. We  two  had  to  figure  out  when  we 
could  be  together  as  much  as  possible, 
and  it  didn't  look  at  that  time  as  if  we 
could  be  together  very  much  at  all.  When 
you're  married,  it's  natural  to  want  to  be 
together,  isn't  it?" 

There  was  a  collision  of  careers,  where 
Eddie's  show  would  be  located,  when 
Debbie  would  make  pictures — all  of  which 
got  talked  out  and  worked  out  during 
those  months  of  delay.  The  day  after  the 
wedding,  when  Eddie  had  to  be  in  Wash- 
ington, D.  C,  for  his  sponsor,  Coca-Cola, 
Debbie  was  right  there  with  him.  A  few 
days  later,  his  Wednesday-night  TV  show 
came  from  Notre  Dame  University,  at 
South  Bend,  Indiana,  and  Debbie  was 
there,  too.  When,  the  following  week,  he 
went  to  Kansas  City  to  do  the  show, 
Debbie  went  along,  and  they  managed  to 
take  off  for  California  for  four  or  five 
days  of  honeymooning  before  going  back 
to  New  York.  When  Eddie  does  a  few 
shows  from  Florida  this  winter,  Debbie 
will  be  with  him.  And  when  she  has  to 
report  back  to  the  M-G-M  studios  in 
January  for  her  next  picture,  it  is  all 
settled  that  Eddie  will  start  a  thirteen- 
week  period  of  shows  from  Hollywood. 

"It's  working  out  great,"  Eddie  said, 
when  he  was  thinking  back  to  the  way 
each  had  been  able  to  fit  into  the  other's 
schedule  of  work  and  geography.  "My 
show  will  probably  alternate  between 
thirteen  weeks  from  California  and  thir- 
teen weeks  from  New  York,  and  whenever 
there  is  something  special  we  will  broad- 
cast from  places  in  between,  any  place 
in  the  country.     This  is  what  Debbie  and 


I  have  always  looked  forward  to.  We're 
gypsies,  love  to  go  from  place  to  place." 

This  is  why  they  have  been  living  in 
Eddie's  hotel  apartment  in  New  York,  in- 
stead of  finding  a  new  apartment  of  Deb- 
bie's choosing.  And  why  they  didn't 
settle  upon  buying  a  house  in  California 
before  the  wedding,  as  permanent  head- 
quarters, as  once  they  thought  they  would. 
"We'll  rent  a  place  this  time  for  the  thir- 
teen weeks'  stay  on  the  West  Coast,  unless 
something  comes  along  which  is  exactly 
what  we  want.  Otherwise,  we  don't  want 
to  decide  quite  yet  about  our  home.  Deb- 
bie and  I  are  going  to  be  together  all  our 
lives  and  there  will  be  plenty  of  time  for 
everything.  In  the  meantime,  we'll  be 
having  fun   thinking   about  it." 

On  his  days  at  home,  Eddie  has  always 
liked  to  sit  around  in  a  robe  and  not  dress 
or  shave  until  he  goes  out.  He  and  Debbie 
sometimes  look  at  the  old  kinescopes  of 
his  shows  (he  runs  his  own  projector) 
and  if  he  doesn't  like  a  performance  he 
won't  rewind  the  film.  "I  don't  want  to 
see  that  one  again,"  he  will  say.  "Let's 
just  forget  it."  When  he  listens  to  one 
of  his  own  records  he  is  always  trying  to 
figure  out  how  he  might  have  done  it 
better.  So  far  as  Debbie's  work  is  con- 
cerned, Eddie  describes  himself  as  "a  big, 
big  fan,  ever  since  I  first  saw  her  in  her 
picture,  'Singin'  in  the  Rain,'  when  I  was 


Watch  for ... 

the  lovely  full-color  portrait  of 

MARION  MARLOWE 

on  the  February  cover  of 

TV  RADIO  MIRROR 

.  .  .  get  your  copy  January  5 


an  Army  private  in  Korea,  long  before  I 
dreamed  I  would  be  the  lucky  man  she 
would  marry." 

When  Eddie  gets  really  excited  about 
anything,  especially  about  some  song 
brought  to  him  to  try  out,  he  will  take 
off  his  shoes,  jump  on  the  nearest  chair 
and  belt  it  out  to  the  four  walls — and  to 
Debbie's  delight.  But,  a  good  deal  of  the 
time,  he's  a  quiet  fellow  around  the  house, 
and  deeply  serious  about  his  job.  Mar- 
riage will  probably  give  him  a  chance  to 
spend  more  of  his  leisure  time  with  other 
young  people,  with  couples  in  their  twen- 
ties, as  he  and  Debbie  are.  (She's  23,  he's 
27.)  In  his  business,  most  people  he  meets 
are  older,  and  they  are  the  ones  he  looks 
to  for  advice  and  guidance.  But  he  has 
missed  being  with  fellows  and  girls  his 
own  age,  except  for  a  few  favorite  pals 
and  for  the  not  too  many  girls  he  dated 
regularly   before   Debbie. 

Before  Eddie  fell  in  love  with  Debbie, 
his  schedule  of  work  was  always  gettirfg 
into  the  way  of  any  long-term  friendships 
with  the  girls  he  was  constantly  meeting 
and  being  thrown  with  professionally.  If 
he  thought  himself  in  love  once  or  twice, 
it  didn't  stand  the  test  of  separation  and 
he  concluded  it  couldn't  be  the  real  thing. 
"It  may  sound  a  little  corny,"  he  told  me 
once,  "but  until  I  met  Debbie  I  began  to 
think  I  would  never  meet  a  girl  I  wanted 
to  marry." 

In  the  pre-Debbie  days,  I  had  discussed 
with  a  friend  of  Eddie's  how  difficult  it 
was  for  a  young  man  in  his  position  to 
take  girls  out  without  publicity  and  often 
without    disarrangement    of    their    plans. 


"It's  tough  for  this  boy,"  the  friend  had 
said.  "He  can  never  say  to  a  girl  that  on 
a  certain  date  he  will  take  her  to  a  cer- 
tain party,  no  matter  how  important  it 
is  to  her.  There  are  too  many  unexpected 
demands  on  his  time,  too  many  benefits 
and  personal  appearances  besides  his 
regular  schedule  of  rehearsals  and  shows 
and  recordings,  too  many  places  where 
he  has  to  be,  one  right  after  the  other. 
Naturally  this  is  hard  on  a  girl.  She  wants 
to  know:  Is  she  going  to  have  a  date  or 
isn't  she?  But  even  more,  it  has  been 
hard  on  Eddie,  because  he  couldn't  plan 
his  own  time.  Nobody  can  in  this  busi- 
ness, and  he  never  felt  sorry  for  himself, 
but  it  was  just  a  fact  he  had  to  face." 

Because  both  Eddie  and  Debbie  have  a 
liking  for  people  in  general,  and  love  to 
meet  new  people  outside  their  own  pro- 
fession as  well  as  inside  it,  this  has  proved 
to  be  a  great  bond  between  them.  "Debbie 
is  so  natural  with  everybody,"  Eddie  says 
of  her.  (It's  what  everybody  has  always 
said  about  Eddie,  too — that  he  has  never 
lost  his  boyish,  natural  manner.)  "Debbie 
has  charm,  sincerity,  so  much  warmth. 
She  impresses  everyone  that  way.  She's 
a  career  girl,  but  she's  a  home  girl,  too. 
I  couldn't  begin  to  tell  you  all  the  things 
about  her — they're  just  there.  We  both 
love  movies,  and  parties  where  we  meet 
people,  and  opening  nights,  and  practi- 
cally every  sport.  We  love  doing  these 
things  together." 

That  word  "together"  keeps  working  its 
way  now  into  any  conversation  with 
Eddie.  If  you  ask  about  plans  for  a  show 
later  on  with  Debbie,  or  perhaps  a  movie, 
he  says  there  is  always  a  chance,  being 
in  the  same  business,  that  some  day  they 
will  do  some  of  these  things  together. 
"In  order  to  be  happy,  you  have  to  share 
your  life,  and  this  can  apply  to  every- 
thing. It  means  sharing  all  the  expe- 
riences you  can.  Working  together  just 
becomes  one  of  the  things  we  can  look 
forward  to,  not  all  the  time,  but  some 
of  the  time.  We  do  work  together  well. 
I  know  that.  We  go  together  like  words 
and  music,  you  might  say." 

For  a  long  time  he  has  been  interested 
in  doing  a  musical  motion  picture  and 
has  read  many,  many  scripts,  but  he  wants 
to  be  very  sure  that  he  chooses  the  right 
one  for  him.  "It  would  be  pretty  silly 
just  to  sing  a  few  songs  in  something  that 
wasn't  really  right  for  me,"  is  the  way  he 
expresses  it.  A  musical  version  of  "Mr. 
Deeds  Goes  to  Town"  has  interested  him 
greatly,  because  he  loves  the  character 
and  thinks  the  story  would  lend  itself 
well  to  a  musical.  Whether  this  becomes 
his  first  movie  or  not  was  still  undecided, 
at  this  writing.  Of  course,  his  first  love 
is  television  and  radio  and  he  hopes  to 
go  on  with  these  shows  for  many  years. 

"But  if  I  am  fortunate  enough  to  make  a 
movie,"  he  will  say — you  find  him  using 
the  phrase,  if  I  am  fortunate  enough,  about 
many  things,  and  always  using  it  humbly 
and  thankfully — "if  I  am  fortunate  enough, 
I  would  want  it  to  be  the  kind  of  picture 
that  people  would  love.  I  believe  that, 
since  television,  movies  are  really  better 
than  ever  and  there  are  some  really  great 
pictures  and  great  stories  still  to  be  filmed. 
A  good  picture  is  something  I  want  very 
much." 

He   thinks   of  himself   as   a   very   lucky 
fellow.     He   still   says,   "It's  fantastic,"   as 
if  he   can't   believe   it — meaning   the   turn 
his  life  has  taken,  his  career,  his  meeting 
Debbie  and  his  good  fortune  in  having  her 
for  his  wife.    They  have  both  been  quoted     T 
as   saying   that  they   hope   to   have   a  big     v 
family.    That,   in   the    opinion    of   Mr.    and     " 
Mrs.  Edwin  J.  Fisher,  would  be  just  the 

greatest  luck  of  all' 

65 


So  in  Love  .  .  . 


(Continued  from  page  61) 
he  offered  an  explanation  which  was  no 
explanation  at  all:  "It's  your  Christmas 
present  .  .  ."  What  Lois  thought  at  that 
point  is  not  a  matter  of  record.  What  she 
did  was  to  try  to  stay  out  of  the  kitchen 
when  Carl  appropriated  the  table  as  a 
workbench. 

There  he  labored  for  hours  with  ruler, 
pencil,  razor  blades,  rubber  cement  and 
paints.  .  .  .  "I  couldn't  keep  it  entirely 
secret,"  Carl  confesses  today.  "The  work 
took  too  long  and  covered  too  much  space. 
But,  by  staying  up  until  four  o'clock 
Christmas  morning,  I  was  able  to  surprise 
Lois  with  the  total  scene  .  .  ." 

The  "total  scene"  was  a  Christmas  card 
nearly  come  to  life.  Under  the  tree,  Carl 
had  set  up  an  old  English  village,  with 
each  building  and  figure  constructed  to 
scale.  The  wax-paper  rollers  became  the 
turrets  of  a  castle  which  was  complete 
with  moat  and  drawbridge.  The  cardboard 
had  been  shaped  into  timbered,  thatch- 
roofed  houses.  Along  the  snowy  street,  a 
coach  and  pair  drove  toward  the  village 
church,  where  high  in  the  steeple  a  clock 
marked  five  minutes  before  midnight. 

The  clock  still  marks  five  minutes  be- 
fore midnight,  but  the  village  grows  each 
year,  for  it  has  become  a  family  hobby. 

While  the  exquisite  workmanship  of  the 
village  wins  the  admiration  of  any  ob- 
server, it  is  the  reason  that  led  to  its 
construction  which  makes  it  important 
both  to  Lois  and  Carl.  "I  wanted  her  to 
know  what  our  Christmas  was  like  back 
home  in  Pittsburgh  when  I  was  a  boy," 
Carl  explains. 

Wanting  to  share  with  each  other  the 
delights  of  the  past,  as  well  as  the  hap- 
piness of  the  present,  is  one  of  the  pleas- 
ant evidences  of  the  love  which  Carl  and 
Lois  Betz  hold.  Emotionally,  they  react 
almost  as  though  they  were  but  one  in- 
dividual. In  appearance,  however,  they  are 
an  example  of  the  old  belief  that,  "oppo- 
sites  attract."  Carl  is  tall,  slender,  wiry, 
wavy-haired  and  blond.  Lois  has  straight 
dark  hair,  dark  eyes  and  is  daintily  petite. 

Speaking  further  of  his  childhood,  Carl 
goes  on  to  say,  "My  brother  Bill  and  I 
always  made  quite  a  thing  of  our  Christ- 
mas scene.  It  started  very  simply  by  buy- 
ing commercially-made  figures  to  copy  the 
creche  we  saw  in  church.  Next,  we  made 
our  own  stable  and  manger.   Year  by  year, 


we  thought  of  more  things  to  make,  until 
it  filled  all  the  space  in  a  big  bay  window. 
Because  it  reached  far  beyond  the 
branches  of  our  own  tree,  we'd  go  out  to 
the  neighbors,  the  day  after  Christmas,  and 
pick  up  the  trees  they  were  ready  to  dis- 
card. Soon  we  had  a  regular  forest." 

Constructing  that  Christmas  scene  may 
even  have  influenced  the  ultimate  careers 
of  both  the  Betz  boys.  Says  Carl,  "My 
father  is  a  chemist,  and  most  of  the  men 
in  the  family  are  chemists.  However,  Bill 
decided  he  wanted  to  study  art  and  I 
always  knew  I  wanted  to  be  an  actor." 

Carl's  way  to  the  professional  stage  led 
from  a  community  theater  (which  he 
helped  organize)  to  Carnegie  Tech.  "They 
have  a  good  course  in  drama,"  he  ob- 
serves. He  played  summer  stock  at  Lake 
Pleasant,  New  York,  then  set  out  to 
storm  Broadway. 

Lois,  born  Lois  Herman  in  Rochester, 
New  York,  was  following  a  parallel  path. 
She  went  to  the  Midwest  to  attend  North- 
western University  (her  brother  was  a 
script  writer,  at  WBBM  in  Chicago),  then 
came  to  New  York  as  a  model. 

"One  of  my  first  jobs,"  she  recalls,  "was 
to  pose  for  some  scenes  to  illustrate  a 
violent  story  in  a  somewhat  lurid  maga- 
zine. I  was  scared  to  death  to  think  what 
would  happen  when  that  magazine 
reached  Rochester." 

Her  parents  took  it  in  stride.  Even  her 
grandmother  restricted  her  comment  to: 
"My,  doesn't  Lois  look  old  in  those  pic- 
tures?" But  the  family's  maid  went  into  a 
tizzy.  With  tears  in  her  eyes,  she  pleaded, 
"Mrs.  Herman,  can't  you  bring  Lois  back 
home  or  give  her  an  allowance  or  some- 
thing? She's  getting  into  terrible  trouble 
in  that  wicked  city." 

Contrary  to  the  maid's  fears,  Lois  actu- 
ally was  making  progress.  Fashion  model- 
ing soon  put  her  pretty  face  and  petite 
figure  onto  the  elegant  pages  of  quality 
magazines — and  also  paid  the  tuition  to 
drama  school.  In  1952,  as  "Lois  Harmon," 
she  became  an  understudy  in  Walter 
Abel's  play,  "The  Long  Watch." 

With  that,  the  merging  of  Lois'  and 
Carl's  careers  began — for  he,  too,  had  a 
role  in  the  play.  There  were  five  weeks 
of  out-of-town  tryouts.  At  New  Haven, 
they  started  having  coffee  together  after 
rehearsal.  When  they  reached  Boston, 
they  were  holding  hands.  In  Philadelphia, 


66 


In  the  house  next  door — 

SCANDAL! 

If  you  listen  to  the  radio  program  "My  True 
Story,"  sooner  or  later  you'll  hear  a  story  that 
might  easily  be  about  your  own  neighbors. 
That's  because  this  program  presents  actual 
stories  from  the  files  of  True  Story  Magazine. 
Each  one  puts  a  magnifying  glass  on 
an  intimate  part  of  someone's  life.   In  this 
way,   "My   True   Story"   helps   you   to 
understand  your  own  difficult  problems. 
So  be  sure  to  listen. 

Tune  in  Every  Morning  to 

"MY  TRUE  STORY"  i 

American  Broadcasting  Stations       «3Hfel*  M 

She  was  too  beautiful,  too  fiery-hearted  for  a  small  town.    Read  "THAT  GIRL'S  POISON'' 
in  January  TRUE  STORY  MAGAZINE  at  newsstands  now. 


it  became  a  courtship.  In  New  York,  they 
consoled  each  other,  since  the  play's  open- 
ing and  closing  were  almost  simultaneous. 

Carl  thinks  he  proposed  in  a  most  un- 
romantic  fashion.  "We  were  walking  up 
Broadway.  It  was  the  middle  of  a  bright, 
sunny  afternoon  in  April.  We  were  about 
at  Fifty-fifth  Street  when  I  said,  'Let's  get 
married.'  Now  I  ask  you,  can  you  think 
of  a  worse  place  and  worse  time  to  pro- 
pose to  a  girl?    I  couldn't  even  kiss  her." 

Lois  had  a  different  opinion.  Her  dark 
eyes  sparkle  as  she  says,  "It  was  the  right 
place,  the  right  time  for  us.  Of  course,  we 
didn't  know  what  we'd  get  married  on. 
Neither  of  us  had  a  job." 

Carl's  prospects,  it  turned  out,  were 
better  than  he  thought  at  that  moment. 
Soon  he  went  on  tour  in  "Voice  of  the 
Turtle,"  in  a  company  headed  by  Ver- 
onica Lake.  This  led  to  a  screen  test  and 
contract  with  20th  Century-Fox. 

Lois  followed  him  to  Hollywood  and 
they  were  married  in  the  courthouse  at 
Beverly  Hills  on  June  20,  1952.  "But,"  says 
Carl,  "I  was  cast  in  'Powder  River'  and — 
what  with  that  picture  and  those  horses — 
I  wasn't  quite  sure  whether  I'd  have  a 
bride  or  a  Reno-bound  ex-wife  at  the 
end  of  our  honeymoon." 

In  theory,  they  were  to  have  a  weekend 
together  at  Bel  Air  hotel  before  Carl  re- 
ported for  work  on  location  on  Monday 
morning.  "Only,"  says  Carl,  "I  had  to  ride 
a  horse  in  the  picture.  Ride  Western  style 
over  some  pretty  rugged  country — and  all 
I'd  ever  done  was  have  some  old  nag 
carry  me   around   a   park." 

.Bronco-busting  being  something  quite 
different,  Carl  had  a  riding  lesson  sched- 
uled for  Saturday  morning.  With  a  giggle, 
Lois  remembers,  "There  had  been  wed- 
ding pictures  in  the  Los  Angeles  news- 
papers and,  when  we  came  out  to  the 
pool,  people  recognized  us.  You  should 
have  seen  their  eyebrows  go  up  when, 
after  an  hour,  Carl  left  me,  returned  in 
riding  clothes,  kissed  me  goodbye  and 
vanished  for  the  rest  of  the  day.  When 
I  spent  most  of  the  next  two  weeks  alone, 
they  were  really  feeling  sorry  for  me!" 

Fortunately,  the  picture's  director  also 
sympathized.  To  make  up  for  interrupting 
their  honeymoon,  he  lent  them  his  cottage 
on  Malibu  Beach.  "So  we  got  two  honey- 
moons instead  of  one,"  says  Lois,  happily. 

A  friend,  returning  to  the  New  York 
stage,  provided  them  with  their  first 
pleasant  apartment.  "And  what  a  wel- 
come California  itself  gave  us!"  says  Carl. 

The  apartment  house,  built  into  the  side 
of  a  steep  hill,  had  a  view,  a  terrace  and 
a  climb  of  fifty-two  steps  to  the  doorway. 
"We  spent  the  whole  afternoon  carrying 
our  things  up  that  hill,"  says  Lois.  "When 
I  went  to  bed,  I  announced  that  I  was  so 
tired  the  roof  could  fall  in  and  it  wouldn't 
wake  me." 

Soon  after  they  fell  asleep  a  thundering 
noise  snapped  them  awake.  Carl  went  to 
the  window.  "This  is  funny,"  he  said, 
"there  must  be  a  storm,  but  there's  no 
lightning  and  it  isn't  raining."  Shortly 
after,  the  floor  started  to  rock  and  roll. 

"Then  we  knew  what  it  was,"  says  Lois, 
"but  no  one  had  remembered  to  tell  us 
about  earthquakes." 

It  proved  only  a  scare,  far  less  serious 
than  the  occupational  hazards  which  fol- 
lowed, in  Carl's  career.  After  "Powder 
River,"  Carl  had  roles  in  "The  President's 
Lady,"  "Vicki,"  "The  Inferno,"  "City  of 
Badmen,"  and  "My  Pal  Gus."  As  Carl 
comments,  "If,  anywhere  in  any  one  of 
those  pictures,  anyone  could  think  of  an 
excuse  to  introduce  a  horse — believe  me, 
I  was  the  guy  who  was  on  it." 

Lois  hasn't  forgotten  the  result.   "He  got 


so  carried  away  by  his  fondness  for  horses 
that,  one  day,  he  went  down  the  line  in 
the  stable  petting  each  one — until  he  came 
to  the  outlaw  which  wanted  no  part  of 
such  affection.  The  horse  more  than 
nipped  him.  It  tore  the  whole  sleeve  out 
of  his  coat.  And  Carl  couldn't  have  been 
too  observant  when  he  sat  down  on  the 
grass  to  recuperate.  He  came  back  from 
location  that  time,  suffering  from  both 
horse-bite   and  poison  ivy." 

Being  able  to  see  the  humor  in  such 
momentary  travail  has  strengthened  the 
partnership  which  Carl  and  Lois  Betz 
have  made  of  their  marriage.  It  also 
amuses  them  that  the  very  steadiness  of 
their  love  became  the  despair  of  the 
studio's  press  department.  One  press 
agent,  making  his  weekly  telephone  call 
in  search  of  items  for  the  gossip  column- 
ists, was  totally  uninterested  in  hearing 
about  the  ceramic  bowls  which  they  had 
made  and  painted.  "Don't  you  ever  do 
anything?"  he  wailed. 

Lois  replied,  "Well,  neither  of  us  is  run- 
ning around  with  anyone  else.  We 
haven't  quarreled.  I'm  not  bound  for 
Reno  and  I'm  not  pregnant,  either.  I 
guess  we  just  don't  make  news." 

A  more  appreciative  view  of  the  Betz 
domestic  bliss  comes  from  outspoken 
Walter  Slezak,  comedian  in  innumerable 
movies  and  now  a  star  in  the  hit  Broad- 
way musical,  "Fanny."  When  Slezak 
toured  in  his  previous  hit,  "My  Three 
Angels,"  Carl  played  the  Third  Angel,  and 
Lois  went  along  on  the  trip,  too. 

Twisting  words  in  his  typical  breathless 
fashion,  Slezak  recalled:  "She  was  in  his 
dressing  room  always,  combing  his  hair, 
taking  care  of  his  make-up,  rubbing  oil  on 
his  chest  so  that  he'd  look  as  sweaty  and 
hard-working  as  he  was  suppposed  to  be 
in  the  play.  Then,  at  the  stage  door,  when 
people  came   around   for   autographs,   and 


Carl  was  a  big  hit  with  the  ladies — more 
ladies  wanted  Carl's  autograph  than  any- 
one else's — Lois  would  stand  there  in  her 
little  mink  and  she'd  be  oh,  so  gracious. 
It  was  all  right  for  all  those  ladies  to 
make  such  a  fuss  about  Carl,  because  she 
was  the  one  who  was  going  home  with 
him  after  the  show." 

Slezak  also  offers  a  more  serious  pro- 
fessional evaluation  of  Carl  Betz:  "He's 
one  of  the  most  attractive  juveniles  I 
know.  I  hope  he  soon  gets  that  big 
Broadway  part  he  deserves.  I'm  one  hun- 
dred percent  like  Ivory  Soap  for  him." 

Carl's  chance  to  land  that  "big  Broad- 
way part"  every  actor  hopes  to  find  are 
enhanced  by  his  current  role  in  Love  Of 
Life.  The  daytime  drama  provides  him 
with  a  showcase  where  a  talent-hunting 
stage  producer  needs  only  to  tune  in  to 
observe  his  work.  It  also  gives  him  the 
security  of  being  able  to  be  choosy  about 
such  offers  as  are  made  to  him. 

Beyond  that,  Carl  likes  the  role  of 
Collie  Jordan — thanks,  he  says,  "to  the 
way  our  writer,  John  Hess,  described  him 
to  me  before  I  ever  went  into  rehearsal. 
Collie's  more  than  a  rich  man's  son  who 
became  an  attorney.  As  Paul's  law  part- 
ner, he  has  a  chance  to  turn  the  quick- 
witted phrase  and  he  has  plenty  of 
worldly  wisdom,  but  the  way  he's  always 
trying  to  help  Paul  keep  his  sister  out 
of  trouble  shows  he  also  has  understand- 
ing and  compassion." 

Having  this  regular  role  in  a  popular 
serial  has  meant  much  to  Carl  and  Lois. 
With  it,  they  can  count  on  being  able  to 
stay  in  New  York.  For  the  first  time 
since  they  were  married,  they  have  an 
apartment  which  is  truly  their  own.  "Not 
mine,  not  Carl's,  not  borrowed  or  sub- 
leased,  but   ours,"  says  Lois. 

Located  close  to  the  theater  section  and 
near  a  number  of  television   studios,   the 


place  is  in  an  apartment  old  enough  to  be 
spacious  and  new  enough  to  be  con- 
venient. There's  a  large  living  room,  a 
pleasant  bedroom,  a  dressing-room-sized 
bath,  a  compact  kitchen  and  lots  of  closets. 

The  same  artistic  skill  which  was  mani- 
fest when  Carl  constructed  the  Christmas 
village  is  now  being  employed  on  a  full- 
scale  project.  Accomplishing  all  the  things 
he  has  in  mind  will  take  several  months 
of  doing  and  shopping.  But,  just  as  a 
starter,  he  painted  the  place  himself.  Clad 
in  skin-tight  Levis  left  over  from  a  cow- 
boy picture  and  with  an  old  skivvy  shirt 
wrapped  around  his  head  pirate-style  to 
keep  the  paint  out  of  his  hair,  he  shinned 
up  a  ladder,  paint  brush  in  hand.  He 
painted  three  walls  and  the  ceiling  of 
the  living  room  a  warm  ivory  and  the 
other  wall  a  soft  yellow. 

The  bedroom  is  a  shade  of  aqua  which 
Carl  had  mixed  to  his  own  specifications. 
"I  wanted  just  the  right  tone  to  go  with 
the  drapes  and  bedspreads  Lois  found." 

Lois,  who  has  forsaken  the  stage  to  be- 
come registrar  at  the  Barbizon  Studio  of 
Fashion  Modeling,  is  equally  busy  finding 
new  furniture  to  go  with  the  cherished 
pieces  they  already  have.  She  also  is 
responsible  for  those  little  things  which 
contribute  so  importantly  to  a  harmonious 
whole.  It  is  difficult  to  say  where  one's 
work  begins  and  the  other's  ends,  for — as 
usual — theirs  is  a  partnership  project. 

"And,"  says  Lois,  "that's  about  all  there 
is  to  it.  We're  still  not  making  news.  We 
haven't  quarrelled.  Neither  has  found  a 
new  love.  And  I  am  not  heading  for 
Reno." 

"I  guess  we  never  will  make  that  kind 
of  news,"  says  sentimental  Carl,  who  still 
brings  home  sentimental  wedding  anni- 
versary cards  on  the  twentieth  of  each 
month.  "We're  just  too  happy — together." 


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Exquisitely  fragrant  too— hard-milled,  long- 
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(Continued   from   paqe   44) 
"The  truth  is  that  most  of  the  things  that 
go   on    in    the   Nelson    house    couldn't   be 
used  on  our  show.   Why?   Because  nobody 
would   believe  them,   that's  why." 

Take,  for  instance,  I'afjaire  David  and 
his  transportation.  David's  first  traffic  ter- 
ror was  a  1940  Ford,  purchased  in  the  fall 
of  1952  when  David  became  sixteen.  (He 
is  now  nineteen,  a  sophomore  at  the  Uni- 
versity of  Southern  California,  and  a 
member  of  Kappa  Sigma.)  It  is  true  that 
this  Ford  boasted  a  Mercury  engine,  twin 
pipes,  flutter  hubs,  and  an  inspired  car- 
buretor— but,  according  to  Harriet,  "It  was 
a  heap.  Do  you  know  the  meaning  of  that 
word  'heap'?  It's  used  best  with  the  prep- 
ositional phrase  'of  money.'  And  that's 
what  it  cost." 

Harriet  had  taught  David  to  drive,  using 
the  technique  learned  from  the  Greyhound 
bus  driver  who  had  been  Harriet's  in- 
structor. Since  David  had  been  herding 
some  sort  of  vehicle  on  wheels  since  the 
age  of  three  (tricycle,  bicycle,  roller 
skates,  scooter  combined  with  roller 
skates,  and  finally  a  motor  scooter),  he 
proved  to  be  highly  reliable  behind  the 
wheel.  So,  the  night  David  made  his  first 
foray  in  his  own  car,  Harriet  did  not 
worry  about  his  ability,  or  the  traffic,  or 
the  time,  even  when  the  clock  began  to 
count  the  large  hours  before  midnight. 

It  was  just  past  eleven  when  the  tele- 
phone rang,  ejecting  Harriet  from  her 
chair  in  accepted  bailing-out  practice. 
(Ozzie  was  attending  a  business  confer- 
ence.) 

"He  .  .  .  11111  .  .  .  ooooo?"  she  quavered. 

"Yep,"  was  the  cheerful  reply,  in  Da- 
vid's familiar  voice. 

"Oh,  no!" 

"Something's  busted." 

"Well,  where  are  you?" 

David  explained,  and  Harriet  set  forth 
in  the  night,  like  pioneer  women  of  long 
ago,  collecting  the  stray  from  her  flock. 

It  was  assumed  that  this  was  merely  a 
"shakedown  cruise"  emergency,  and  that 
eventually,  fed  a  golden  flood,  The  Heap 
would  fatten  into  mature  reliability.  No 
such  luck.  As  its  age  advanced,  it  became 
surly,  stubborn,  full  of  low  tricks,  and 
noisier  than  a  calliope  with  its  throttle 
stuck. 

For  Christmas  in  1954,  Ozzie  and  Harriet 
gave  David  a  firehouse-red  MG  ("A  pres- 
ent to  ourselves,  if  you  want  the  truth") 
satisfying  a  pent-up  desire  that  David  had 
not  precisely  kept  a  secret  from  his  family 
over  a  two-year  period. 

David  made  certain  changes  in  the  na- 
ture of  the  MG  in  order  to  give  it  that 
verve  which  marks  the  transportation  of  a 
male  American  of  blithe  spirit.  The  motor 
was  overhauled,  the  gear  ratio  was  im- 
proved, and  the  muffler  was  eradicated. 
Also,  while  on  the  desert  in  the  early 
spring,  David  spotted  a  rattlesnake.  Kill- 
ing it  with  a  handy  rock,  David  skinned 
the  four-rattle  reptile,  and  pulled  the  skin, 
like  a  stocking,  onto  the  radio  antenna. 

Inevitably  there  came  a  day  when  the 
car  required  major  adjustment,  but  David 
was  involved  with  a  full  schedule  at  col- 
lege. "Will  you  ferry  my  car  to  the 
garage,  Mom?"  he  wanted  to  know,  his 
tone  casual.  "I'll  have  to  take  your  station 
wagon  today,  I  guess." 

"You'll    lose    face,"    muttered    Harriet. 
"Imagine  showing  up  on  campus  in  a  car 
with   a  muffler,   a  conservative  paint  job, 
T    and  no  rattlesnake." 

V        Harriet  telephoned  a  reliable  girl  friend 
R    and    outlined    her    suspicion    of    the    MG. 
"So  would  you  mind  following  me  to  the 
garage,  just  as  insurance?" 

OO 


Close  As  a  Family  Can  Be 

"At  a  distance,"  the  friend  agreed,  being 
acquainted  with  the  general  performance 
of  the  MG,  from  having  watched  David 
on  take-off  and  landing. 

According  to  the  friend,  Harriet  and  the 
MG  caused  a  spate  of  local  excitement. 
Heads  angled  cautiously  around  doorways 
as  she  started  the  car  with  a  mighty  roar. 
Women  and  children  fled  and  strong  men 
took  cover  as  the  dragon  wagon  moved 
along  the  streets. 

At  a  stoplight,  Harriet  pulled  up  in  the 
lane  to  the  left  of  an  oil  truck  and  trailer 
— a  rig  not  easily  panicked.  The  grizzled 
driver  leaned  down  to  study  this  new 
secret  weapon.  It  was  clear  that  years 
of  coping  with  traffic  had  almost  robbed 
him  of  the  power  of  astonishment.  Al- 
most, but  not  quite. 

Looking  miles  upward,  Harriet  con- 
cluded that  she  owed  the  giant  an  ex- 
planation to  relieve  his  shock.  "It's  my 
son's  car,"  she  shouted  above  the  general 
pandemonium. 

The  truck  driver  did  not  smile.  Instead, 
he  nodded  vigorously  and,  making  a  circle 
with  thumb  and  forefinger,  expressed  the 
compassion  due  one  parent  from  another. 

Although  Harriet  reached  the  garage 
without  further  incident,  her  dignity  wore 
a  cast  for  weeks. 

On  the  TV  program,  it  is  usually  Ozzie 
who  is  the  figure  of  fun,  but  in  actuality 
each  member  of  the  family  seems  to  take 
his  turn  as  "patsy." 

Ricky's  problem  is  noise.  He  loves  it. 
Now  fifteen  and  a  junior  in  high  school, 
he  is  interested  in  percussion  and  plays 
pretty  righteous  drums.  In  regard  to  the 
riot,  Harriet  talked  to  the  Nelsons'  neigh- 
bors to  the  north,  the  authentic  Thorn- 
berry  family  which  served  as  original  in- 
spiration for  the  Ozzie-and-Harriet  TV 
neighbors. 

"You've  been  so  patient,"  Harriet  con- 
ceded. "I  don't  know  how  you've  stood 
our  noise  all  these  years,  what  with  radios, 
television,  motor  scooters,  David's  cars  and 
Ricky's  drums.  We've  had  Ricky's  room 
sound-proofed,  but  he's  a  fresh-air  fiend, 
so  the  sound-proofing  doesn't  mean  much 
when  the  windows  are  open." 

Mrs.  Thornberry,  admitting  that  occa- 
sionally the  din  did  shiver  tumblers  on 
the  shelf,  wondered  if  it  wouldn't  be  pos- 
sible to  install  removable  sound-proof 
boards  in  the  windows  during  practice 
sessions.  Harriet  had  the  window  inserts 
manufactured  at  once  and  instructed 
Ricky  to  use  them. 

"But  how  about  some  light  and  air!" 
moaned  Ricky.  Ozzie  explained  that  pro- 
fessional musicians  seldom  saw  daylight 
while  occupying  a  place  on  the  band- 
stand, and  that  they  were  lucky  if  an 
occasional  draft  of  Arpege  was  wafted 
their  way.  "Just  pretend  you've  made  the 
big  time  and  that  you're  sitting  against 
the  black  velvet  curtain  at  Birdland,"  ad- 
vised Ozzie. 

At  fifteen,  however — with  no  paycheck 
whispering  low:  "Thou  must" — the  youth 
was  not  inclined  to  say,  "I  can."  Harriet 
came  home  late  one  summer  afternoon 
to  find  the  hi-fi  blasting  in  one  room,  the 
TV  set  in  the  living  room  and  that  in  the 
den  shouting  to  empty  chairs,  the  radio 
at  the  pool  blaring  above  gleeful  young 
voices,  and  Ricky  upstairs  detonating  his 
drums. 

No  pair  of  mortal  lungs  could  have  pro- 
vided voice  enough  to  rise  above  the 
bedlam,  demanding  quiet,  so  Harriet 
turned  her  energies  to  the  next  best  occu- 
pation. She  put  the  rooms  to  rights. 

This  involved  picking  up  an  absurd 
number  of  T-shirts,  socks  and  some  un- 


derpinnings, and  dropping  them  down  the 
laundry  chute.  There  were  sweaters  to 
be  folded  and  stowed,  jackets  to  be  hung 
up,  and  tennis  shoes  to  be  set  at  parade- 
rest  in  the  sports  equipment  closet.  As 
any  woman  having  three  men  in  her 
household  will  tell  you,  this  sort  of  thing 
becomes  automatic,  and  is  done  without 
analysis.  The  point  is  not  to  figure  out 
what  belongs  to  whom,  but  simply  to  re- 
turn order  to  a  disheveled  scene. 

Harriet,  her  task  finished,  was  in  the 
kitchen  talking  to  the  cook  about  dinner 
when  anguished  cries  arose  from  the  liv- 
ing room.  The  gist  ran  something  like, 
"Police!  We've  been  robbed."  Seems  that 
David  and  his  gang  had  paused  at  the 
Nelson  house  long  enough  to  have  a  swim. 
Arriving  clad  in  slacks,  T-shirts  and  such, 
with  swim  trunks  underneath,  they  had 
abandoned  their  outer  clothing  at  random. 

It  took  nearly  an  hour  for  all  items  to 
be  retrieved,  but  a  new  spirit  of  orderli- 
ness was  thereafter  to  be  observed  at  the 
Nelson  splash  parties.  Or,  at  least  the 
disorder  was  created  around  the  swim- 
ming pool,  where  an  energetic  woman 
could  be  restrained  before  creating  total 
confusion. 

Keeping  a  normal  American  family  to- 
gether long  enough  to  make  a  few  reels 
of  home  movies  on  a  holiday  is  problem 
enough  these  days,  so  friends  are  con- 
stantly astonished  that,  week  after  week, 
the  Nelsons  can  actually  turn  out  a  TV 
film  which  includes  the  presence  and  co- 
operation of  their  sons. 

It  was  complicated  enough  when  David 
was  a  football  star  at  Hollywood  High; 
that  accomplishment  took  the  entire 
family  away  from  the  studio  on  Saturdays 
during  the  fall  school  term,  causing  all 
sorts  of  fancy  scheduling  during  the  week. 
Everyone  breathed  a  sigh  of  relief  when 
the  final  game  was  played  around  Thanks- 
giving time.  Whereupon  Ricky  got  into 
the  act  by  becoming  a  tennis  star  and 
pretty  well  taking  up  the  season  where 
David  left  off. 

Kicky  is  still  too  young  to  know  whether 
he  wants  to  make  show  business  a  career, 
but  David  has  never  had  any  doubts.  As 
his  dad  did  before  him,  David  plans  to 
earn  a  law  degree  before  going  into  TV 
on  a  full-time  basis.  Ozzie,  an  alumnus 
of  Rutgers  University  and  the  Rutgers 
Law  School,  has  always  discussed  the 
financial  problems  of  the  entertainment 
field  with  his  boys  so  that  both  have  a 
sensible  attitude  toward  the  difference 
between  the  money  that  seems  to  be  com- 
ing in,  and  the  actual  cash  that  is  avail- 
able. 

In  reviewing  his  income-tax  return  sev- 
eral years  ago,  Ricky  performed  a  few 
calculations  and  then  said  thoughtfully, 
"I've  always  gone  halvers  with  David 
when  we  were  supposed  to  share  with 
one  another,  and  that's  okay.  But  for  a 
tax  collector  to  take  more  than  half  .  . 
well,  that's  just  plain  grabby." 

Both  boys  will,  of  course,  serve  their 
standard  two  years  in  the  armed  forces, 
after  they  have  completed  their  college 
work.  At  least  that  seems  to  be  the  way 
it  is  working  out  for  David,  and  Ricky 
is  also  an  excellent  student. 

A  reporter  on  the  Nelson  set  one  day 
asked  David  what  branch  of  service  he 
had  in  mind.  "Paratroopers,"  he  answered 
without  hesitation.  Harriet  said  nothing, 
but  one  of  the  workmen — noting  her  pal- 
lor—brought her  a  glass  of  water. 

Fortunately  for  the  comfort  of  all,  David 
has  now  decided  to  try  for  the  Air  Force 
rather  than  the  "Geronimo!"  group. 

One    of    the    fall    Adventures    of    Ozzie 


And  Harriet  dealt  with  David's  becoming 
engaged.  This  was  a  TV  show  idea  only, 
and  any  resemblance  to  any  of  David's 
current  romances  is  purely  coincidental. 
Aside  from  providing  a  springboard  for  a 
tiptop  episode,  however,  the  prospect  of 
his  family's  growing  up,  becoming  en- 
gaged, marrying,  and  having  children,  set 
Ozzie  to  thinking. 

At  the  time  cerebration  overwhelmed 
him,  Ozzie  was  perched  upon  a  high  stool 
just  out  of  camera  range  waiting  for  a 
"light  change"  to  be  made.  Enormous 
tufts  of  cotton  waved  from  each  ear,  a 
bit  of  costuming  intended  to  convey  a 
plot  angle  in  the  sequence  about  to  be 
filmed.  Naturally,  he  could  hear  the  nor- 
mal crash  and  clatter  of  the  sound  stage 
only  as  a  distant  hum  which  supplied  a 
pleasant    background    for    contemplation. 

After  some  moments,  Ozzie  became  con- 
scious of  Harriet's  steady  stare  from  the 
top  of  her  own  private  perch.  Ozzie  re- 
moved the  cotton  from  his  ears  and  said, 
"Well  ...  I  just  hope  they're  actresses." 

Harriet,  having  become  reconciled  to 
this  sort  of  thing,  waited. 

"I  mean,"  amplified  Ozzie,  "that  I  was 
thinking  about  the  boys,  and  our  family 
.  .  .  and  all  .  .  .  it's  very  much  a  family 
affair.  .  .  ." 

Harriet  closed  her  eyes  slowly  and 
opened  them  again,  very  wide. 

Just  the  shade  of  a  scowl  darkened  Oz- 
zie's  forehead  as  he  realized  that  his  wife 
was  not  digging  him.  He  outlined  his  idea 
with  infinite  patience:  "I  was  thinking 
that  I  hope,  when  the  boys  marry,  they 
choose  actresses  as  wives.  I'd  like  to  keep 
our  program  a  family  affair." 

"If  you  don't  mind,"  said  Harriet,  "I'd 
just  as  soon  not  discuss  the  boys'  getting 
married.  Not  just  yet,  and  definitely  not 
today." 

"Oh  .  .  .  oh,  yes,"  agreed  Ozzie,  remem- 
bering. He  added  tenderly,  "You  look 
beautiful,  even  prettier  than  you  did 
when  we  were  married." 

"Twenty  years  ago.  Maybe  I'm  getting 
sensitive." 

"Don't  think  about  it,"  suggested  Ozzie. 

This  is  what  had  happened.  The  day 
before,  Harriet  had  been  shopping  on 
Wilshire  Boulevard  in  Beverly  Hills  when 
a  pony-tailed  teenster  stopped  her  to  ask 
for  an  autograph — because  "I  recognized 
you  right  away.  You're  Ricky  Nelson's 
mother." 

In  reporting  the  experience  to  Ozzie, 
Harriet  said,  "I  underwent  what  are 
known  as  "mixed  emotions.  As  a  mother, 
I  was  proud.  As  an  actress,  I  suffered  a 
distinct  chill." 

"Your  problem  was  only  emotional," 
said  Ozzie.  "Mine  was  worse — financial." 
Seems  that  Ozzie  had  promised  to  give 
David  a  fifty  dollar  bill,  to  use  as  he 
wished,  when  David  became  as  tall  as 
his  father. 

That  finally  happened  when  David  was 
eighteen.  For  a  year,  he  had  been  within 
a  quarter  of  an  inch  of  the  goal  but 
couldn't  quite  make  it.  Repeatedly  he 
complained  that  he  couldn't  understand 
why  he  had  stopped  growing,  why — in  a 
matter  of  weeks — he  hadn't  overtaken  his 
dad. 

Ricky  had  an  instant  explanation.  "You 
choked  up,"  he  said. 

It  is  now  Ricky  who  is  training  for  that 
fifty,  hoping  not  only  to  equal  his  father's 
height,  but  to  surpass  him  and  David,  too. 
"Because,"  he  said  one  day,  grinning,  "I 
like  tall  girls." 

"Well,  just  so  she's  an  actress,"  said 
Ozzie,  only  half  kidding.  "Let's  keep  the 
family  together." 

GIVE— 

Strike  bach  at  CANCER 


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69 


(Continued  from  page  64) 
time,  he  has  fifty  different  single-play 
records  out,  including  music  backing  up 
any  one  of  the  country's  favorite  singers — 
Sinatra,  Clooney,  Peggy  King  and  others. 
His  version  of  "Moulin  Rouge"  sold  over 
a  million  copies  and  so  did  his  own  song, 
"My  Heart  Cried  for  You."  He  has  com- 
posed serious  music  which  is  in  the  regular 
repertoire  of  several  symphonic  organiza- 
tions. His  current  CBS  Radio  program, 
The  Woolworth  Hour,  has  consistently  held 
the  top  Sunday  rating. 

Perc  was  born  in  Toronto,  the  eldest  of 
eight  children.  From  the  ages  of  seven  to 
ten,  he  studied  violin,  then  switched  to 
piano  (the  piano  was  in  the  home  of  an 
aunt).  In  a  year's  time,  he  learned  the 
instrument  well  enough  to  play  at  Satur- 
day matinees  in  a  silent-movie  theater. 
For  this,  he  got  three  dollars  and  carfare. 
He  was  studying  at  the  Toronto  Conserva- 
tory, practicing  six  to  eight  hours  a  day. 

His  father  was  a  tailor,  a  trade  not 
notably  tuned  to  the  economy  of  raising 
a  large  family.  At  sixteen,  Perc  quit  school 
to  help  provide  for  the  family.  He  made 
forty  to  sixty  dollars  a  week  playing  in  pit 
bands,  and  continued  taking  lessons  at  the 
Conservatory.  His  second  goal — to  work 
in  a  studio  band — he  achieved  at  nineteen. 
Responsibilities  had  made  him  an  adult 
youth,  but  so  had  two  unexpected  events. 

He  was  eighteen  when  he  heard  his  six- 
year-old  sister  screaming  in  the  bathroom. 
She  had  been  playing  with  matches.  When 
Perc  saw  her,  she  was  running  down  the 
stairs,  her  dress  blazing.  He  caught  her 
and  ripped  off  her  clothes.  She  was  hos- 
pitalized for  two  years.  And  Percy's  hands 
were  so  badly  burned  that  he  couldn't  play 
piano  for  six  months.  During  that  period 
he  began  to  study  theory  and  composition. 
He  began  to  write  arrangements,  as  well  as 
his  first  original  music. 

The  other  major  event  in  his  teen  years 
was  meeting  Maria  Carmen  Carlotta  Pa- 
lange  (and  how  could  a  musician  keep 
from  falling  in  love  with  such  beautiful 
sounds?).  Maria  Carmen  Carlotta — or 
Dolly,  as  she  has  been  called  by  everyone 
except  her  grandmother — first  saw  Perc 
when  she  was  fifteen.  He  was  sixteen  and 
playing  piano  at  the  neighborhood  theater. 
Dolly  and  her  girl-friends  sat  in  the  first 
row  with  one  eye  on  the  screen  and  the 
other  on  Perc.  As  she  remembers,  he 
looked  much  the  same  as  he  does  now, 
except  that  he  wore  his  hair  closer  to  his 
forehead.  They  were  introduced  and  their 
attraction  was  instant  and  mutual. 

"We  had  our  problems,"  Dolly  Faith 
recalls.  "My  father  was  very  strict  and 
thought  I  was  too  young  to  date.  On  Sun- 
day afternoons  I'd  meet  Perc  on  the  q.t. 
My  mother  would  cover  up  for  me  and 
give  the  impression  I  was  out  with  girl- 
friends. There  was  a  lake  in  the  park 
nearby,  where  we  skated." 

When  he  was  twenty-one,  they  married. 

"Perc  was  always  optimistic,"  Dolly  re- 
calls. "In  those  days,  in  Canada,  a  musi- 
cian worked  eight  out  of  twelve  months 
and  saved  for  the  four  lean  ones." 

They  knew  hard  times.  One  was  brought 
on  by  a  musicians'  strike  which  lasted 
nine  months.  Perc,  although  he  had  a  wife 
and  child  to  support,  stuck  to  his  princi- 
ples and  his  beliefs.  Their  situation  got 
desperate,  so  he  raised  money  for  passage 
to  London,  where  he  hoped  to  sell  his 
arrangements. 

He  was  less  than  a  couple  hours  from 

Canadian  shores  when  he  suffered  an  acute 

T    attack    of    loneliness.     When    he    reached 

v    London,  he  sold  enough  of  his  music  to 

R    buy   a   return   ticket   and   back   he   came. 

By  then,  the  strike  was  over. 

"In   the   beginning,"   Perc   says,    "music 


Perfect  Harmony 

was  a  selfish  thing.  I  loved  the  piano.  I 
liked  making  arrangements  and  compos- 
ing. And,  whether  it  was  the  piano  or 
writing,  I  made  music  that  pleased  me. 
Then  came  the  dawn.  I  realized  music 
belonged  to  other  people — those  who  lis- 
tened, as  well  as  those  who  made  it.  From 
that  time  on,  my  approach  was  different 
and  the  results  gave  me  more  pleasure." 

At  the  age  of  twenty -three,  Perc  was 
broadcasting  his  own  music  with  a  small 
string  group.  Three  years  later,  he  was 
staff  arranger  and  conductor  for  the  Cana- 
dian Broadcasting  Corporation  and  was 
leading  an  orchestra  of  thirty -five  men. 
Between  1937  and  1940,  Music  By  Faith 
was  the  most  popular  program  in  Canada. 
In  1938  Mutual  began  to  carry  his  broad- 
cast in  the  states.  Offers  came  in  from 
south  of  the  border.  He  rejected  all,  along 
with  a  couple  from  Paul  Whiteman  and 
Tommy  Dorsey.  And  Perc,  no  business- 
man, nearly  muffed  his  first  king-size 
break. 

The  biggest  musical  show  in  the  states 
at  the  time  was  The  Contented  Hour.  Josef 
Pasternak,  the  conductor,  had  died  sud- 
denly and  a  new  conductor  was  needed. 
Percy's  name  was  suggested  and  the  call 
was  put  in  from  New  York  to  Toronto,  but 
Perc   wouldn't   answer   his   phone. 

The  night  before,  he  and  Oscar  Levant 
had  given  Canada  its  first  jazz  concert  and 
it  had  been  so  successful  that  they  had 
spent  the  rest  of  the  night  celebrating.  So 
Mr.  Faith  was  in  bed  when  the  phone 
began  ringing  the  next  morning  and  he 
kept  hanging  up  on  a  man  named  Ed  Fitz- 
gerald. Finally,  Perc's  agent  got  through. 

"What  kind  of  insanity  is  this?"  the  agent 
demanded.  "They  want  you  on  The  Con- 
tented Hour.  Why  won't  you  talk  to  Fitz- 
gerald?" 

Percy  said,  "I  thought  he  was  just  an- 
other song-plugger." 

So  that  ruffled  them  a  bit  in  New  York. 

Then  Dolly  and  Perc  drove  down  to  meet 
the  various  important  people  in  Manhat- 
tan. They  allowed  themselves  plenty  of 
time  for  the  drive  but  got  lost  in  the 
Bronx,  so  Perc  was  several  hours  late  for 
his  first  meeting. 

That  angered  them  a  bit  more. 

Perc  finally  walked  in,  cool  and  poised 
and  very  young. 

That  really  confounded  them.  But,  in 
turn  they  came  back  at  Perc  with  every- 
thing but  a  musical-aptitude  test — and 
they  couldn't  do  that,  for  none  of  the  nine 
men  who  met  as  a  board  each  Week  was 
a  musician.  Perc  was  the  only  musician 
at  the  meeting,  but  they  told  him  what  to 
play  and  how  to  play  it. 

Percy  was  boiling — but,  as  noted  before, 
no  one  ever  sees  the  steam.  At  the  third 
weekly  meeting,  however,  something  hap- 
pened to  his  secret  steam-consuming 
mechanism  and  he  blew  his  top.  It  hap- 
pened after  the  top  man  had  gone  around 
the  conference  table  compiling  the  music 
to  be  played  on  the  show.  As  he  passed 
the  list  on  to  Perc,  he  asked,  "Mr.  Faith, 
what  do  you  think  of  these  numbers?" 

Mr.  Faith,  almost  always  civilized,  said, 
"I  think  they  stink."  The  tone  of  his  voice 
was  in  keeping  with  the  message,  and  no 
one  interrupted.  He  continued,  "You 
brought  me  down  from  Canada  because  of 
the  kind  of  music  I  played.  Now  you  won't 
let  me  play  it.  So  you  don't  need  me.  If 
I  stay,  I  play  Percy  Faith  music." 

He  stayed  out  for  a  couple  of  choruses 
while  they  mulled  over  his  ultimatum. 
And  they  turned   the  show  over  to  him. 

The  Contented  Hour  starred  Percy  from 
1940  until  1947.  Then  it  was  Coke  Time 
for  Percy,  until  1949.  And  then  came  tele- 
vision.   Perc   has    turned    down   offers    to 


play  for  the  biggest  shows  on  video.  "It 
doesn't  interest  me  to  write  background 
music  for  comedy  or  variety  or  a  dance 
team,"  he  explains.  "I'll  wait  until  the 
TV  audience  is  ready  for  a  musical  pro- 
gram." 

When  Coke  Time  went  off  in  1949,  Perc 
was  out  of  work  for  a  year  and  a  half. 
During  this  period  he  turned  down  TV 
offers  that  would  have  paid  him  more  than 
a  thousand  a  week.  While  he  was  sticking 
by  his  principles,  he  had  one  great  break: 
His  song,  "My  Heart  Cried  for  You,"  be- 
came the  country's  number-one  hit. 

"That  song,"  Dolly  comments,  "paid  for 
our  daughter's  wedding  and  our  son's 
confirmation." 

Mitch  Miller,  in  1950,  persuaded  Perc 
to  come  to  Columbia  Records  as  a  director. 
Mitch  knew  of  Perc's  genius  for  making 
sound.  The  man  is  fabulous.  All  of  the 
wonderful  music  in  his  vast  number  of 
albums  and  records,  Perc  has  arranged  or 
composed  himself.  He  is  the  most  prolific 
and  fastest  writer  in  the  business.  For 
example,  last  summer — two  and  a  half 
weeks  before  Percy  was  to  start  his  vaca- 
tion— Mitch  Miller  came  to  him  with  three 
albums  to  do:  One  for  Peggy  King  ("Girl 
Meets  Boy"),  an  oboe  album  with  Mitch 
himself,  and  a  third  for  Perc's  own  orches- 
tra ("Music  for  Her").  In  two  and  a  half 
weeks,  Perc  scored  thirty-six  different 
numbers,  rehearsed  and  cut  the  albums. 

He  prefers  to  do  most  of  his  writing  at 
home  and  will,  for  a  week  or  month  at  a 
time,  work  from  eight  in  the  morning  until 
two  the  next  morning.  Lunch  is  brought 
on  a  tray.  But  he  works  the  way  every- 
one says  you  shouldn't. 

Dolly  describes  a  typical  scene,  "Last 
Sunday  he  was  at  the  piano  working  and 
at  his  elbow  sat  a  friend  chatting.  The 
television  was  tuned  to  a  ball  game.  The 
rest  of  us  were  in  the  room  and  got  out 
the  Scrabble  set.  Perc  called  over,  'Count 
me  in.'  We  had  to  call  him  from  the  piano 
whenever  it  was  his  turn  to  play." 

The  Faiths  live  in  a  handsome  Colonial- 
style  brick  house  in  Great  Neck,  Long 
Island.  It  is  the  only  house  they've  lived 
in  which  Perc  picked  out  alone.  When  the 
Contented  Hour  changed  from  Chicago  to 
New  York  studios,  Perc  went  ahead  to  find 
a  place  for  Dolly  and  the  two  children, 
Marilyn  and  Peter.  Dolly  still  remembers 
his  telephone  report  on  the  house. 

"The  kitchen  is  big  and  has  beautiful 
tile  walls,"  he  said.  He  wanted  Dolly  to  be 
happy  with  the  kitchen  for  he  is  crazy 
about  her   cooking  and   baking. 

"The  bathroom  has  a  sunken  bath  and 
two  enclosed  showers."  He  was  half-right 
— one  of  the  enclosures  was  not  a  shower. 

"The  living  room  is  gorgeous.  It's  paneled 
in  pine." 

"How  morbid,"  she  said. 

But  Perc  was  right.  It  is  Norwegian 
pine -paneling,  beautifully  toned  and 
grained,  as  handsome  as  their  traditional 
furniture  and  English  china. 

The  Faiths  have  two  children.  The  older, 
Marilyn,  is  twenty -three  and  married  to 
Alan  Gleitsman.  She  has  a  nine-month-old 
daughter,  which  makes  Perc  one  of  the 
youngest  grandfathers  in  the  country.  His 
son,  Peter,  is  eighteen  and  entered  Boston 
University  this  year  to  major  in  business 
administration.  Perc  is  very  proud  of  both. 

Perc  exposed  them  to  music — all  phases 
of  it,  for  he  personally  enjoys  good  music 
whether  it  is  jazz  or  folk,  popular  or  sym- 
phonic. Marilyn  had  what  seemed  to  be  a 
natural  talent  for  music  and  ballet,  but 
her  energies  are  now  completely  devoted 
to  marriage.  Peter,  although  he  plays  piano 
and  drums,  had  a  kind  of  tussle  with  music. 

"It   became   a   serious   thing,"   Perc   re- 


calls.  "Peter  thought  he  had  to  be  a  fine 
musician.  He  thought  he  had  to  compete 
with  me.  He  didn't  really  want  it.  By  the 
age  of  fourteen,  you  can  tell  whether  a 
child  is  going  to  be  a  professional — and 
Peter  was  still  fumbling.  He  was  so  self- 
conscious  that  he  couldn't  practice  when 
I  was  in  the  house.  I  had  to  convince  him 
that  it  wasn't  important  to  me  that  he  be 
a  professional  musician.  It  took  a  few 
years,  but  it  was  a  serious  thing.  He  had 
to  learn  that  music  was  something  for  him 
to  enjoy.  That's  the  important  thing  par- 
ents can  give  children:  Music  appreciation." 

Percy  is  a  great  homebody  and  still 
suffers  acutely  when  he  is  separated  from 
the  family.  Last  year,  when  he  went  to 
Hollywood  for  eight  weeks  to  score  and 
conduct  the  music  for  the  Doris  Day  pic- 
ture, "Love  Me  or  Leave  Me,"  his  daugh- 
ter Marilyn  was  in  her  final  months  of 
pregnancy.  So  Dolly  stayed  in  New  York. 

"Dad  phoned  Mom  every  night,"  Marilyn 
recalls,  "and,  finally,  after  a  week  of  it, 
we  decided  that  he  needed  her  more  than 
I  did,  so  she  went  out  to  California." 

Perc  likes  the  outdoors.  Once  last  win- 
ter, and  again  in  the  spring,  he  got  to  Key 
West  for  deep-sea  fishing.  The  family's 
summer  vacation  has  been  spent  for  many 
years  at  a  camp  in  northern  Ontario. 

Perc  is,  by  nature,  shy.  He  doesn't  like 
commotion  or  large  parties.  But  when  he 
relaxes,  he  has  wonderful  stories  to  tell 
and  enjoys  telling  them.  He  refuses  to 
play  just  piano  for  listening,  but  will  play 
five  hours  at  a  time  for  dancing  and  sing- 
ing. Fishing  remains  his  first  enthusiasm 
and  Dolly  joins  him,  so  long  as  it  doesn't 
mean  getting  into  a  boat.  She  has  had 
what  amounts  to  pretty  much  of  a  trau- 
matic experience  with  boats. 

Once,  on  a  lake,  she  transferred  from 
one  motorboat  to  another.  It  was  an  un- 
usual thing  to  do,  for  at  the  time  both 
were  in  motion.  She  got  one  foot  into  the 
second  boat  but  left  the  other  foot  behind. 
Together,  the  boats  made  for  shore  with 
Dolly  serving  as  a  single  prow.  She  wasn't 
hurt,  but  to  this  day  Dolly  Faith  has  never 
felt  that  boats  really  like  her.  She  and 
Perc  celebrated  their  twenty-fifth  anni- 
versary last  year  with  a  two-month  trip 
abroad.  As  she  walked  up  the  gangplank 
onto  the  Queen  Elizabeth,  she  was  heard 
to  say,  "I  wonder  if  this  boat  is  likely 
to  turn  over?" 

Christmas  of  every  year,  the  Faiths  go 
up  to  Toronto,  where  Percy  visits  with  his 
parents  and  brothers  and  sisters  and  cous- 
ins and  nephews  by  the  dozen.  (One  of 
Percy's  sisters  has  ten  children.)  In  gen- 
eral, though,  the  Faiths  observe  the  holiday 
season  quietly.  They  exchange  gifts,  but 
not  in  truckloads.  ("Perc  uses  every  ex- 
cuse to  come  home  with  gifts  all  year 
around,"  Dolly  says.  "If  he's  gone  for  a 
weekend,  he  comes  back  with  packages  for 
everyone.")  The  Faiths  will  not  be  in 
Toronto  for  the  holiday  this  year,  because 
Christmas  falls  on  Sunday  and  that  is  the 
day  of  The  Woolworth  Hour.  Perc  is  plan- 
ning a  musical  narration  for  this  year's 
program.  He  has  a  feeling  for  the  season's 
music — his  Christmas  album  is  one  of  the 
most  beautiful  and  original  interpretations 
of  hymns  and  carols  available. 

Musicians  and  Percy's  family  agree  that 
they  can  see  him  in  his  music.  Milton 
Lomask,  a  concert  master,  talks  of  Percy's 
clarity,  his  taste,  his  balance  and  charm. 

One  of  the  country's  top  clarinetists, 
Jimmy  Abato,  says,  "Perc  is  full  of  con- 
fidence and  beauty.    It's  in  the  music." 

"No  matter  whatever  happened,"  Dolly 
recalls.  "Perc  always  took  the  stand  that 
everything  would  turn  out  well.  It  is  his 
nature  to  see  the  good  in  circumstances 
and  in  people."  And  this  may  account  for 
the  singular  quality  of  dignity  in  his  music. 


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(Continued  from  page  28) 
"so    I   waited    outside    until    I    heard   the 
applause." 

But  Bing  and  Al  Rinker  did  real  well. 
They  killed  them.  And  they  stopped  the 
show  with  their  duet  rendition — Al  on  the 
piano  and  Bing  on  the  cymbals — of  "Pad- 
dlin'    Madeline    Home." 

The  Crosbys  walked  out  of  the  theater 
with  their  heads  held  high.  Unfortunately, 
however,  what  with  all  the  excitement 
going  on  backstage  and  with  all  the  home- 
folks  congratulating  him,  Bing  got  so 
excited  he  lost  his  wallet —  and  wound  up 
working  for  the  same  folks  for  nothing, 
anyway. 

Back  home,  George  Robert  felt  left  out 
of  the  whole  show.  "I  remember  when 
they  got  home  from  the  theater  I  could 
hear  them  all  downstairs.  They  were 
having  a  big  celebration,  and  I  wanted  to 
go  down  and  join  them.  I  could  hear  them 
talking  about  Bing  losing  his  wallet." 

About  this,  however,  Bing's  baby 
brother  wasn't  too  concerned.  He  felt  his 
brother  would  get  by.  He  had  already 
shown  some  business  acumen.  .  .  . 

"Bing  was  baby-sitting  with  me  one 
day,"  Bob  recalls,  "when  I  found  a  five- 
dollar  bill  on  the  lawn. 

"  'What   have   you   got?'   he   said. 

"  'A  five  dollar  bill,' "  I  said. 

"  'Well,   half   of   it's   mine,'   he    decided. 

"Of  course,  I  was  pretty  young,"  Bob 
continues,  "but  even  then  I  couldn't 
quite  see  how  you  could  divide  a  five 
dollar  bill  in  half — without  just  tearing  it 
in  two.  But  Bing  was  pretty  confident. 
'Give  it  to  me,'  he  said,  'and  I'll  bring 
back  the  change.'  He  went  to  the  corner 
drugstore  and,  when  he  came  back,  he 
handed  me  two  dollars  and  he  kept  three 
— and  I  grew  up  overnight,"  grins  Bob. 

But,  that  famous  night,  Bob  felt  cheated 
out  of  all  the  family  fun  and  the  big  vic- 
tory celebration.  "I  wanted  to  go  down- 
stairs and  join  them.  I  went  down  part- 
way, but  Pop  sent  me  back  to  bed.  And  I 
really   cried." 

The  Crosbys  couldn't  know  then  just 
how  much  they  would  have  to  celebrate. 
Nor  did  the  maestro  of  the  music  store 
know  how  slim  were  the  chances  of 
discouraging  the  Irish  when  they  really 
start  to   roll. 

You  might  say  Pop  Crosby  gave  the 
downbeat  for  all  that  was  to  come.  He 
loved  music — any  kind  of  music.  And  the 
kind  of  music  Pop  made  personally — the 
happy  music — you  can't  buy  and  you 
seldom  ever  find.  He  had  a  twinkle  that 
warmed  you  all  the  way  through.  He 
played  a  mild  mandolin  and  guitar,  and 
he  was  early  determined  to  encourage  any 
musical  inclinations  his  family  had.  But 
nobody  was  more  surprised  than  Pop  at 
the  ultimate  pay-off. 

Pop  worked  as  a  bookkeeper  for  a 
brewery  in  Spokane,  and  he  had  to 
borrow  the  money  to  buy  the  precious 
gift — but  one  day  he  came  home  with  a 
phonograph  and  all  the  cylinder  records 
he  could  manage.  Bing  would  crank  away 
on  the  machine,  bending  low  over  the 
big  horn  to  catch  the  lyrics. 

They  had  some  jolly  Crosby  clambakes 
and  they  initiated  their  own  "Sunday- 
night  sings,"  with  Pop  alternating  on  his 
instruments,  with  son  Larry  on  the  har- 
monica and  daughter  Catherine  at  the 
upright.  With  Irish  Kate  Crosby  leading 
off  with  her  clear  soprano,  Harry,  Sr.  and 
their  brood   would  harmonize   on   "Mem- 

T    ories"  and  on  hot  pop  tunes  like  "Margie" 

v     and    "Melancholy   Baby." 

R  "I  missed  all  those  good  times,"  Bob 
Crosby  says  regretfully.  During  his  time, 
they  were  flailing  out  the   Charleston  to 


The  Fabulous  Crosbys 

the  rhythm  of  "Five  Foot  Two."  "I  came 
along  in  the  modern  age,  the  'age  of 
modern  inconveniences,'  as  my  mother 
calls  it.  The  radio  and  the  victrola  Bing 
gave  us,  after  he  got  going,  provided  the 
musical   background." 

Bing  was  early  inclined  to  entertain. 
An  active  mischievous  kid,  he  inspired 
a  flood  of  correspondence  between  his 
teachers  and  his  parents,  the  tenor  of  which 
was  usually,  "Harry  keeps  trying  to  en- 
tertain the  students  while  we're  trying  to 
teach  them."  He  had  a  great  beat — except 
when  it  came  to  chopping  wood — and  he 
never  could  quite  get  with  this.  "You 
really  should  speak  to  Bing,"  Kate  Crosby 
would  say.  But  Pop  always  ducked  the 
"speaking-to's"  whenever  he  could.  "We'll 
just  throw  him  out,"  he  would  say  firmly 
— while  reaching  for  his  mandolin.  In  later 
years,  Bing's  mother  was  to  laugh,  "I'd 
like  to  have  a  dime  for  every  time  you 
threatened  to  throw  Bing  out." 

Besides  filling  the  wood-box,  Bing's 
chief  chore  was  baby-sitting  with  brother 
Bob.  "Our  sister,  Mary  Rose,  helped  a 
little,"  says  Bob,  "but  she  didn't  take 
care  of  me  as  much  as  Bing  did.  She  had 
household  chores  to  do."  Bing  was  early 
dedicated  to  fostering  his  younger 
brother's  independence.  "He  threw  me  in 
the  lake — that's  how  I  learned  to  swim," 
Bob  laughs  now.  Which,  figuratively 
speaking,  turned  out  later  to  be  just  the 
way  he  learned  to  sing.  His  brother  Bing 
threw  his  name  in  the  entertainment  ring 
— and  Bob  had  to  climb  in  after  it. 

The  Crosbys  have  always  had  a  fine 
Irish  family  spirit,  evidenced  many  times 
through  the  years.  Their  youngest  sister, 
Mary  Rose  Poole,  well  recalls  how  Bing 
sprang  to  her  defense  as  a  kid  "when  I 
came  in  crying  one  day  about  a  little  boy 
calling  me  'Fatty.'  Bing  went  tearing  out 
of  the  house  to  settle  with  him.  The  boy 
didn't  mean  anything,  actually — and  later 
he  asked  me  to  go  to  a  party  with  him — 
but  Bing  took  the  whole  affair  as  seriously 
as  I  did." 

Bing's  sister  remembers,  too,  "Bing's 
fine  sense  of  rhythm.  The  way  he  could 
drum  a  teaspoon  and  fork  beating  it  out. 
He  was  always  tapping  things  for  rhythm. 
I  loaned  him  the  money  to  buy  his  first 
drums — which  has,  of  course,  been  more 
than  repaid  .  .  ." 

Bing  put  the  drums  to  practical  use  in 
a  small  aggregation  Al  Rinker  organized, 
"The  Musicaladers,"  who  played  for  school 
parties  and  small  affairs,  often  making  as 
much  as  five  dollars  apiece  in  one  evening. 

And  nobody  along  Sharp  Street  will 
forget  that  historical  afternoon  when  Bing 
(with  drums)  and  Al  Rinker  headed  their 
jalopy  down  the  coast  to  explore  Holly- 
wood. For  some  eight  dollars,  they'd 
bought  out  the  band's  interest  in  the 
jalopy,  a  T-model  Ford  with  no  top — and 
not  much  of  anything  else. 

"Bing  took  me  for  a  ride  in  it  before 
they  left.  What  a  car.  It  had  nothing  on 
the  dashboard  at  all,"  laughs  Mary  Rose. 
Bob  adds,  "He  couldn't  drive  at  night — no 
lights.  And  I  remember  Mother  going  to 
the  teacup  for  the  money.  The  jalopy  had 
a  lot  of  things  written  on  it — typical 
schoolboy  shockers — and  Mother  wouldn't 
give  him  the  money  from  the  teacup  until 
Bing  removed  them  from  the  car." 

Blazing  the  way  at  30  miles  an  hour  in  a 
jalopy  held  together  by  hope  and  almost 
no  horsepower,  Bing  pioneered  the  road 
to  fame  and  planted  the  family  flag  in 
Hollywood.  In  so  doing  he  made  musical 
history  and  set  a  mark  so  beloved  that  he 
was  to  prove  both  the  inspiration  and  the 
despair  of  all  the  Crosbys  to  come.  .  .  . 

"I  was  thrown  into  show  business,"  Bob 
Crosby     says,     reminiscently.     "I     never 


thought  I  wanted  to  be  in  it."  He  sang  a 
little  and  toyed  with  the  drums,  and  he 
was  his  brother's  devoted  audience  through 
records  and  radio  shows.  "I  entered  a 
walkathon — that  was  the  best  I  could  do." 
Along  with  a  couple  of  singing  pals  he 
organized  the  "Delta  Trio."  As  he  puts 
it,  "We  were  great  on  luncheons.  We'd 
sing  at  the  drop  of  a  muffin."  He  was  aug- 
menting his  income  by  picking  cucumbers 
and  string  beans  for  canning — "at  twenty- 
five  cents  an  hour"  when  a  surprised  Bob 
got  a  wire  from  Anson  Weeks  about  sing- 
ing with  his  band. 

As  Bob  interpreted  this,  both  then  and 
now:  "Bing  was  going  great,  appearing 
with  Gus  Arnheim  at  the  Cocoanut  Grove. 
Anson  Weeks  wanted  Bing,  but  Arnheim 
had  him  tied  up,  and  I'm  sure  Anson  must 
have  said,  'Are  there  any  more  at  home 
like  you?' — and  that  Bing  told  him,  'My 
brother  Bob.  He  sings  like  a  bird.' 

"I  was  fifteen  and  I  was  picking  cucum- 
bers at  the  time,  but  Anson  took  Bing 
seriously.  They  fixed  up  a  sort  of  audition 
for  me  to  sing  on  a  local  radio  station 
with  a  pick-up  in  San  Francisco,  where 
Anson's  band  was  playing  at  the  time. 
The  way  I  sang,  I  can't  believe  he  really 
heard  me.  If  he'd  heard  me,  he  wouldn't 
have  hired  me.  The  static  must  have  cut 
my  voice  clear  out.  I  joined  the  band,  but 
I  couldn't  sing — and  I  lost  my  job. 

"I  went  back  home  and  started  singing 
with  bands  whether  they  paid  me  or  not. 
I  sang  anywhere  just  for  the  experience. 
Six  months  later,  I  was  driving  cars  down 
the  coast  for  dealers.  I  drove  a  car  down 
to  Los  Angeles  and  I  stopped  in  San 
Francisco,  on  the  way  back,  to  see  Anson 
Weeks   .   .    ." 

"I  want  my  job  back,"  Bob  told  him. 
"I  think  I  can  sing  this  time." 

But  Bob  had  to  carry  more  than  a 
tune  during  those  first  struggling  years. 
Brother  Bing's  crooning  and  his  casual 
delivery  were  making  him  immortal  in  the 
annals  of  musical  America.  He  was  a 
tough  act  for  any  fellow  to  follow,  and 
particularly    a    younger- brother    Crosby. 

Rumbling  into  Wilson,  North  Carolina, 
in  an  old  beat-up  bus,  for  his  first  booking 
fronting  an  orchestra,  Bob  came  face  to 
face  with  one  situation  that  was  both  to 
haunt  him  and  inspire  him  to  personal 
fame  in  the  years  to  come.  Stretched 
across  the  tobacco  warehouse  where  the 
dance  was  being  held  was  a  big  banner: 
"Bob  (Bing's  Brother)  Crosby  and  His 
Orchestra." 

He'd  gotten  the  job  after  serving  a 
stretch  as  vocalist  with  Tommy  and  Jimmy 
Dorsey,  an  experience  which  wasn't  too 
happy  for  any  of  them.  In  New  York,  his 
path  had  crossed  with  that  of  Gil  Rodin 
(producer  of  Bob's  CBS  television  show 
today),  who  was  looking  for  a  fellow  to 
front  a  band  the  Rockwell  O'Keefe  agency 
had.  The  Crosby  name,  Bob's  baritone 
voice  and  his  personality  got  him  the  job. 
It  was  probably  the  first  time  in  history 
that  a  band  broke  in  a  leader.  They  re- 
hearsed late  at  night  in  the  Roseland 
Ballroom  in  New  York,  teaching  Bob  to 
beat  it  out.  "Go  ahead,  I'm  with  you,"  he 
told  them.  "I'll  give  you  two  beats  and 
you    fix    the    tempo    to    suit    yourselves." 

The  sign  on  the  warehouse  was  re- 
moved, but  the  identification  remained 
for  years  to  come.  Bing  realized  the  strug- 
gle ahead  for  Bob  and  he  had  his  own 
way  of  helping,  as  highly  effective  as  it 
was  often  inconspicuous. 

"I  wired  him  for  money  once,"  Bob  says 
laughingly  now,  "and  I  got  back  a  wire 
saying,  'You  can't  reach  me.'  Bing  was 
teaching  me  to  be  independent.  It  took 
me   a   long   time   to   realize   it,   but   later, 


when   I  got  going,   I   appreciated   it. 

"We're  a  typical  Irish  family.  There's 
very  little  support  shown  until  the  chips 
are  down.  But,  when  the  chips  are  down, 
we  all  pitch  in  and  fight  like  Notre  Dame. 
Bing  had  enough  intelligence  to  realize 
that,  if  he  gave  me  visual  assistance,  I 
would  feel  I  had  a  crutch  to  fall  back  on 
for  the  rest  of  my  professional  life.  When 
I  asked  for  it,  he  didn't  give  it  to  me.  But 
the  way  Bing  works,  he  would  help  when 
you  wouldn't  know  it — and  without  say- 
ing anything  about  it." 

When  Bob  was  booked  into  the  old 
Palomar  in  Los  Angeles,  he  and  Bing  met 
again  for  the  first  time  since  Bob  had 
begun  fronting  a  band.  Nobody  knew 
better  than  Bing  that  his  home  territory 
was  tough  booking  for  his  younger 
brother.  When  they  flew  into  Los  An- 
geles,'* Bob  Crosby  and  Gil  Rodin,  his 
manager,  were  pleasantly  surprised  when 
Bob's  parents  met  them  at  the  airport 
and  informed,  "Bing  wants  you  to  stay 
at  his  home  while  you're  here."  Bing  also 
made  two  appearances  at  the  Palomar 
with  the  band.  The  first  night  they  were 
mobbed,  and  he  and  Bob  organized  an- 
other evening  as  a  benefit  for  their  home- 
town Gonzaga  University  band.  There 
was  a  radio  show  coast-to-coast,  and  Bing 
appeared  in  a  tuxedo — which  further 
marked  it  as  an  unusual  occasion.  "It  was 
the  first  time  I'd  ever  seen  Bing  in  a  tux," 
Gil  Rodin  recalls  now. 

During  this  engagement,  another  Crosby 
auditioned  for  his  Uncle  Bob  at  his  dad's 
request.  At  the  dinner  table  one  night 
Bing  had  his  oldest  son  perform.  "Gary — 
do  your  imitation  of  'Apple  for  the 
Teacher,'  "  he  said.  Gary,  5,  did  a  hilari- 
ous imitation  of  his  father's  rendition  in 
his  current  Paramount  picture. 

None  there  could  know  that  as  Fate — 
and  the  Irish — often  will  it,  some  years 
hence  his  Uncle  Bob  would  be  giving  an 
assist  to  Gary  in  his  all-out  struggle  to 
build  his  own  name  in  show  business.  As 
Bob  says,  when  the  chips  are  down,  the 
Crosbys  are  usually  there.  .  .  . 

When  Bob  and  his  Bobcats  were  booked 
into  New  York's  Paramount  Theater,  an 
assist  from  Bing  behind  the  scenes  saved 
them  from  an  $8000  law  suit.  They  were 
served  with  a  subpoena  by  an  attorney 
who  doubled  as  vice-president  of  the 
agency  who  handled  their  band.  Bob  and 
the  band  were  leaving  the  agency  and 
going  with  MCA,  and  the  agency  exec 
was  suing  for  $8000  for  alleged  attorney 
fees.  The  same  attorney  represented  Bing 
in  New  York  and  Bob's  manager  called 
him  long-distance  giving  him  all  the  de- 
tails. "I'll  straighten  it  out,"  Bing  told 
him — and  the  suit  was  withdrawn. 

Later  on,  when  Bob  and  his  band  were 
cast  in  "Holiday  Inn"  at  Paramount,  Bob's 
manager's  phone  rang.  "Terms  satisfac- 
tory? Getting  enough  loot?"  Bing  asked 
him.  "Well — they  made  us  a  pretty  good 
deal — but  we  could  use  more,"  he  was 
told.  The  next  call  was  from  the  studio — 
"wanting  to  pay  us  more  money." 

But  there  were  lean  bookings  in-be- 
tween. .  .  . 

Such  as  when  another  star  Crosby  was 
born.  The  audience  at  the  window  of  the 
hospital  nursery  gave  promise  even  then 
of  the  public  that  some  day  would  be 
hers. 

Cathy  Crosby  made  her  entrance  into 
the  world's  stage  ahead  of  schedule.  Those 
were  tough  days  for  the  Bob  Crosbys. 
They  were  "skimping  along"  in  a  little 
apartment  in  Chicago  and  Bob  had  taken 
a  fast  booking  in  Detroit,  and  couldn't 
even  be  there  the  midnight  June  was 
rushed  unexpectedly  to  the  hospital.  His 
mother-in-law  called  him  and  he  planed 
in  glassy-eyed  at  seven  A.M.,  unaware 
that   he    was    already    a   father.     That    is, 


until  he  was  faced  with  a  roomful  of  as- 
sorted relatives  downstairs  who  were 
wearing  "you  -  father  -  you"  expressions. 
Feeling  like  a  scene  out  of  a  movie,  he 
was  forced  to  ask,  "What  do  I  have — boy 
or  girl?"  Rushing  up  to  his  wife's  room, 
his  first  anxious  ad  lib,  looking  at  his 
beautiful  little  girl,  was:  "Did  you  count 
all  her  fingers  and  toes?" 

Nothing  was  missing.  Nothing  at  all. 
As  a  nation's  television  audiences  were 
to  concede  some  years  later,  Bob's  daugh- 
ter, Cathy  Crosby,  had  everything. 

Which  was  also  the  growing  decision 
then  of  the  nation's  collegiates  about  Bob 
Crosby's  Dixieland  Band.  They  were  be- 
ginning to  swing  out  on  "The  Big  Apple" 
and  the  "Lindy  Hop" — cats  and  ^alligators 
really  let  loose.  Fan  clubs  built  up  over- 
night, with  Bob  Crosby  as  the  Chief  Cat. 
"Big  Noise  from  Winnetka"  and  his  rec- 
ord of  "South  Rampart  Street"  were  big 
ones.  Radio  shows  began  bidding  for  him, 
and  Bob  Crosby's  star  was  soon  on  the 
ascent  in  Hollywood,  too. 

By  now,  the  Crosby  family  was  well 
represented  in  Hollywood,  with  their  own 
building  on  the  Sunset  Strip  housing  the 
Crosby  Enterprises.  Brother  Everett  offi- 
ciated as  agent,  Larry  Crosby  was  in 
charge  of  public  relations,  and  Pop  Crosby 
was  keeping  books  for  his  boy  Bing  and 
finding  it  tougher  than  the  whole  brew- 
ery's set  of  books  back  in  Spokane.  Pop 
used  to  describe  himself  as  "sort  of  a 
clerk — office  manager,  I  guess  you'd  call 
me — I  sign  all  the  checks."  He  made  no 
bones  of  the  fact  that  Bing's  check-book 
was  kept  as  informally  as  he  wore  his 
shirts,  and  that  his  son  was  by  far  a  better 
business  man  in  his  tender  teen  years. 
Pop's  proud  duty,  too,  was  escorting  visi- 
tors from  back  home  over  to  Bob's  radio 
shows  or  to  the  Paramount  sound  stages 
to  say  "Hello"  to  Bing. 

There  have  been  tragic  times,  as  well 
as  gay,  shared  by  the  Crosby  family  since 
they  caravanned  to  Hollywood  to  make 
so  much  happy  music  for  the  world.  And, 
since  those  earlier  days,  they've  gathered 
at  a  red  brick  bungalow  in  North  Holly- 
wood to  say  farewell  to  Pop  Crosby.  But 
his  twinkle  will  never  die  in  the  hearts 
of  any  who  knew  "Happy  Harry" — as  Bob 
affectionately  calls  him.  It  was  Pop  who 
put  the  whole  Crosby  show  on  the  road 
to  its  amazing  success  in  the  world,  and 
Pop  was  really  proud  of  the  way  his 
"Sunday-night    sings"    branched    out. 

His  porch  was  always  first  stop  for  Bing 
and  his  four  sons  when  they  made  the 
Christmas  Day  tour,  singing  Yuletide 
carols.  But  there's  one  other  stop  they 
made  which  nobody  in  the  family  will 
ever  forget.  "That  was  the  Christmas  the 
college  kids  were  putting  on  their  own 
version  of  'Trick  or  Treat,'  "  laughs  Bob, 
"and  you  couldn't  give  them  candy.  It 
had  to  be  a  round  dollar,  or  else — or  else 
they  painted  your  windows.  Bing  and 
the  boys  went  by  Everett's  place  in  Bel 
Air  that  year,  to  serenade  them  with 
Christmas  carois.  Bing  rang  the  doorbell, 
then  went  back  and  hid  in  the  bushes 
with  the  boys." 

Brother  Everett  came  out,  shaking  a 
stick.  "Get  off  my  property!"  he  said, 
muttering  something  about  how  the  cops 
were  going  to  have  to  put  a  stop  to  this 
racket.  Then  Bing  and  the  four  kids 
stood  up! 

At  least  one  of  the  "four  kids"  who  went 
caroling  with  Bing  is  now  standing  up  on 
his  own,  in  show  business.  And  *  Bob's 
daughter,  Cathy,  is  establishing  a  feminine 
branch  in  the  second  generation  of  Crosby 
stars.  For  their  story — and  more  about  all 
the  Crosbys  and  what  makes  them  fabu- 
lous— be  sure  to  read  the  concluding  in- 
stallment in  the  February  issue  of  TV 
Radio  Mirror,  on  sale  January  5. 


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73 


(Continued  from  page  30) 
Ralph    Paul.     And    none    has    as    many 
porches  as  Ralph  Paul. 

"First  thing  I  do  after  I  brush  my  teeth 
is  go  out  and  count  the  porches,  all  eight 
of  them,"  he  says,  then  adds:  "That's  not 
for  publication.  My  neighbors  might  think 
I  don't  trust  them." 

Ralph  lives  in  a  fifty-one-year-old  house 
at  the  top  of  a  hill.  It  is  a  two -story  house 
built  of  stone  (Connecticut's  finest)  and 
topped  with  brown  shingles.  It  has  eleven 
rooms,  seven  fireplaces,  five  bathrooms — 
and,  as  this  publication  went  to  press,  all 
eight  porches.  The  house  is  impressive 
and  wonderful,  and  so  are  the  good- 
humored  people  who  live  in  it.  That 
would  be — along  with  Ralph — his  wife 
Bettie  and  his  children,  Susie  and  Marty. 

Jtvalph,  as  you  probably  know  from  tele- 
vision, is  tall — just  a  notch  under  six  feet. 
He's  brown-haired  and  -eyed,  and  on  the 
husky  side.  Bettie  is  a  striking  brunette 
with  dancing  blue  eyes.  In  dungarees,  she 
passes  for  a  bobby-soxer.  And,  in  years, 
she  isn't  too  far  removed  from  that  age 
group.  She  and  Ralph  are  crazy  about 
dancing,  each  other,  and  their  children. 
Susie  (Eileen  Susan)  is  twelve  and  a  good 
cook — trained  by  her  mother.  Marty 
(Martin  Eugene)  is  ten,  worships  the 
Dodgers  and  is  a  pretty  good  carpenter — 
taught  by  his  father.  There  is  a  fifth 
"member  of  the  family,"  for  that  is  how 
the  Pauls  think  of  Frisky,  a  West  Highland 
terrier  who  acts  and  looks  exactly  like  a 
refugee  from  an  "Our  Gang"  comedy  film. 
The  Pauls  are  a  kind  of  happy-go- 
lucky  family  who  make  most  days  into 
holidays  and  make  most  holidays  into 
carnivals.  On  birthdays,  they  sing  their 
greetings  while  parading  single-file 
through  the  house.  On  Christmas,  they 
have  all  the  trimmings. 

Ralph  Paul,  although  a  reasonably  young 
thirty-five,  has  at  last  settled  down  fo  a 
way  of  life  that,  while  it  still  includes 
work,  at  least  contains  a  few  of  the  fruits 
of  honest  labor.  The  most  turbulent  years 
seem  to  have  passed  but,  to  find  him 
in  an  honest-to-goodness  contemplative 
mood,  you've  got  to  start  back  in  Denver. 
"I  think  I  should  have  become  an  in- 
trovert and  I  don't  know  why  I  didn't,"  he 
says.  "Through  grade  school,  I  played 
mostly  by  myself,  reading  or  building 
things   in  the   back  yard." 

Ralph  was  an  only  child.  His  father  was 
a  fireman.  Being  the  son  of  a  fireman 
wasn't  only  exciting.  At  times  it  was 
frightening:  "I  remember  Dad  came  home 
one  evening  with  a  little  hunk  of  rubber 
about  the  size  of  your  thumb.  He  had 
been  shooting  a  stream  of  water  into  a 
burning  building  when  the  wind  suddenly 
reversed  and  the  fire  blasted  right  back 
at  him.  He  was  wearing  his  heavy  rain 
coat  and  it  just  melted  away.  He  man- 
aged to  duck  his  head  in  time.  But  that 
was  all  that  was  left  of  the  whole  coat." 
Ralph  was  eight  years  old  when  his 
father  fell  three  floors  in  a  warehouse  fire. 
He  was  lucky  to  live,  but  was  so  badly 
injured  that  he  could  no  longer  serve  on 
active  duty.  It  was  then  that  he  became 
an  educator  in  fire-fighting  techniques. 

Ralph  recalls  his  mother  as  being  steeled 
to  the   hazards   of  fire-fighting.    She   was 
less  outgoing  than  Ralph,  Sr.,  but  every  bit 
as  warmhearted.    "Dad  was  a  fine  sales- 
man and  well-liked,"  Ralph  says  proudly. 
"When   it   came   to   selling   tickets   to   the 
T    firemen's   ball,   he   outsold   everyone   else, 
v    Maybe  that's  where  I  got  the  knack  for 
h    talking." 

His  father  taught  Ralph  about  fishing,  to 
tie  a  fly,  to  cast:   "We  always  had  a  lot  of 
74 


Great  Day  Coming 

laughs  together — once  we  went  trout  fish- 
ing in  sun  helmets.  They  were  cheap  imi- 
tations, although  they  were  white  and  kept 
the  sun  off  us.  Then  it  rained.  Well,  the 
hats,  especially  the  brims,  kind  of  went 
limp  and  folded  over  our  faces.  And  the 
white  paint — well,  we  came  home  looking 
as  if  we  had  been  white-washed." 

Ralph  was  a  fine  student  and,  like  his 
father,  athletic.  He  earned  a  letter  in  track 
but  his  sports  ambitions  were  cut  short 
when  he  collapsed  on  the  tennis  court 
fighting  for  his  breath.  It  was  a  simple 
but  serious  case  of  asthma. 

Ralph  was  popular  in  school  and  fre- 
quently president  of  his  class.  He  liked 
amateur  dramatics,  and  played  his  first 
stage  role  at  the  age  of  six,  but  he  really 
made  his  mark  at  public  speaking. 

He  credits  an  early  voice  change  with 
some  of  his  success.  He  was  a  full-fledged, 
guaranteed-not-to-squeak  baritone  at  the 
age  of  twelve.  Once  his  mother  got  over 
her  initial  fright,  he  let  his  voice  boom 
out  all  over.  In  high  school  he  was  a 
sensation  with  the  "lend  me  your  ears" 
routine.  He  also  proved  he  had  a  head  as 
good  as  his  voice,  since  speeches  were 
made  extemporaneously,  in  Denver  com- 
petition. A  contestant  might  draw  any 
one  of  a  hundred  subjects. 

Ralph  was  one  of  the  most  remarkable 
speakers  in  the  city,  and  once  he  literally 
knocked  the  audience  cold. 

"I  sure  remember  that  speech.  Not  one 
person  clapped  and  I  was  pretty  much 
disheartened.  I  walked  all  the  way  back 
to  my  chair,  feeling  miserable.  And,  just 
as  I  sat  down,  they  began  to  applaud  so 
hard  it  was  as  though  a  storm  had  hit  the 
building.  I've  never  had  such  a  thrill 
again.    It's  something  I'll  never  forget." 

He  was  graduated  from  high  school  with 
honors,  and  won  a  sholarship  to  Denver 
University.  He  worked  part-time  at  Sta- 
tion KVOD  in  Denver,  while  in  college, 
and  his  grades  were  so  high  that  he  was 
honored  with  a  Phi  Beta  Kappa  key.  It 
was  in  those  days  that  he  began  the  win- 
ning of  Bettie  Jane  Payne,  who  lived  on 
the  other  side  of  Denver  in  the  town  of 
Englewood.  They  were  both  majoring  in 
speech  and  dramatics,  although  Ralph  was 
a  couple  of  years  ahead  of  Bettie. 

"I  met  Bettie  when  I  was  running 
around  with  a  kind  of  pseudo-sophisti- 
cated bunch,"  says  Ralph.  "Not  that  it 
was  a  permanent  thing  with  them,  but 
Bettie  was  just  so  real  and  clear-headed 
about  things  that  I  fell  in  love  with  her. 

"She  was  very  pretty,  too,"  he  smiles. 
"I  wanted  to  get  married,  and  so  did 
Bettie,  but  we  decided  to  make  no  promises 
and  no  commitments.  I  was  going  into  the 
Army  and  pleaded  that  I  didn't  know 
where  I  would  wind  up." 

Before  he  finished  his  last  year  at  Den- 
ver, he  was  drafted  into  the  communica- 
tion section  of  an  anti-aircraft  unit.  When 
he  got  to  El  Paso,  he  not  only  lost  his 
asthma  but — because  of  a  "ham"  license 
earned  in  high  school — was  doubly  lucky: 
^He  was  assigned  to  teach  radio. 

"Soon  as  I  learned  that  I  would  be 
stationed  there  for  a  while  I  took  a  month's 
pay  and  converted  it  into  a  stack  of  quar- 
ters," he  recalls.  "I  got  in  a  phone  booth 
and  put  in  a  long-distance  call  to  Bettie. 
I  intended  to  propose  and  to  go  on  talking 
until  she  said  yes." 

He  didn't  expect  it  to  be  an  easy  matter, 
for  Bettie  was  still  in  her  junior  year  at 
college,  but  Ralph  was  quite  a  talker.  He 
remembers  that  he  had  at  least  five  inches 
of  quarters  left  when  she  said  yes.  They 
were  married  Christmas  Day  of  that  year 
at  Fort  Bliss.  Ralph  got  a  three-day  pass 
and  they  honeymooned  at  Juarez.  Mexico. 


Ralph  was  in  El  Paso  about  two  years. 
Susie,  their  first  born,  is  a  Texan  by 
birth.  Ralph  announced  at  El  Paso's 
KTSM  on  weekends.  When  the  Army 
moved  him  to  Baltimore,  he  did  some  off- 
duty  work  for  Station  WITH. 

The  short  stay  in  Baltimore  wasn't  too 
pleasant  for  Bettie,  since  she  knew  that 
Ralph  was  there  to  be  prepared  for  ship- 
ment overseas.  They  acclimated  him  to 
the  Atlantic  Ocean,  told  him  how  to  sip 
English  tea,  what  to  do  if  he  were  cap- 
tured by  the  Germans,  loaded  his  duffel 
bag  with  more  winter  clothing — then 
shipped  him  back  to  California  for  assign- 
ment to  Burma. 

"Bettie  was  'expecting'  again  when  I 
left,"  Ralph  recalls.  "Our  mail  was  so  slow 
that  I  really  'sweated  out'  Marty's  birth. 
It  was  weeks  after  he  was  born,  before  I 
heard  about  it.  Actually,  I  figure  I  had 
sympathetic  labor  pains  a  month  longer 
than  Bettie!" 

That  wasn't  the  only  important  happen- 
ing which  had  a  kind  of  delayed  action. 
Because — since  Ralph  was  drafted  before 
he  was  graduated  from  college — he  finished 
off  a  couple  of  courses  by  mail: 

"I  was  shipped  overseas  in  one  of  those 
built-in-a-moment  troop  carriers,  and  I 
wasn't  too  happy  about  it — just  a  week 
earlier,  one  of  them  had  snapped  apart. 
So  I  was  lying  in  my  upper  berth  in  the 
lower  hold,  hoping  our  ship  would  stay 
welded  together,  when  it  suddenly  oc- 
curred to  me  that  it  was  June — and  gradu- 
ation day,  back  in  Denver,  Colorado.  'Fel- 
lows,' I  announced,  'I'm  graduating.  To- 
day I'm  a  B.A.'  No  one  wise-cracked  and, 
as  a  matter  of  fact,  a  couple  of  the  boys 
got  out  some  Hershey  bars  and  we  had  a 
celebration." 

At  war's  end,  Ralph  had  a  job  waiting 
for  him  at  his  old  stamping  grounds, 
KVOD  in  Denver.  But  he  had  also  written 
WITH  in  Baltimore,  since  he  naturally 
wanted  to  get  close  to  New  York  and  the 
big-time.  He  got  home  and  went  to  work 
at  KVOD.  The  first  week,  he  had  a  letter 
from  WITH  telling  him  to  come  on,  so  he 
gave  KVOD  two  weeks'  notice.  He  went 
on  to  Baltimore  and,  at  the  end  of  the 
first  week,  had  a  job  offer  from  WOR  in 
New  York — so  he  gave  two  weeks'  notice 
at  WITH.  He  then  went  to  the  phone  and 
told  Bettie  to  trade  in  her  Baltimore 
tickets  for  New  York  transportation. 

The  first  thing  Ralph  did,  after  report- 
ing to  work  on  staff  at  WOR,  was  to  buy 
a  New  York  Times  and  look  in  the  classi- 
fied-ad section  for  a  place  to  live. 

Moderately  priced  apartments  were  im- 
possible to  find.  The  best  and  least  ex- 
pensive thing  he  saw  was  a  tiny  hotel 
apartment  at  fourteen  dollars  a  day — and 
he  was  making  sixty  dollars  a  week.  It 
didn't  figure,  but  Bettie  and  kids  were  on 
the  way. 

"I  had  five  dollars  in  my  pocket,  and  1 
had  to  give  three  of  them  to  a  bellboy  to 
talk  him  into  getting  a  hot-plate  for  us." 
He  smiles  reminiscently:  "I  had  a  hunch 
Bettie  would  bring  some  money,  and  she 
did — ten  dollars." 

The  next  few  years  were  tight  going. 
They  didn't  get  far  enough  ahead  to  buy 
furniture  and  ate  off  packing  crates.  "But 
you  won't  find  any  tooth  marks  in  the 
crates,"  he  says.  "Things  never  got  that 
bad." 

The  job  didn't  pay  enough,  but  he 
picked  up  additional  money  at  agencies, 
transcribing  commercials:  "I  remember 
one  instance.  I  reported  to  an  agency  to 
transcribe  some  commercials  at  seven  dol- 
lars apiece.  I  was  figuring  on  maybe  four- 
teen   or    twenty-one    dollars,    and    I    was 


handed  this  thick  sheaf  of  papers.  Thirty- 
six  commercials!  I   near  passed  out." 

The  big  problem  was  housing.  The  Pauls 
lived  in  all  of  New  York's  five  boroughs 
except  the  Bronx.  For  better  than  a  year, 
they  lived  on  Staten  Island.  The  only  con- 
nection between  Staten  and  Manhattan  is 
by  water.  To  get  to  work,  you  either  take 
the  ferry  boat  or  swim — and  hardly  any- 
one ever  swims  it  any  more. 

"Ralph  worked  late  those  days,"  Bettie 
tells  you.  "He  did  a  lot  of  'remote'  broad- 
casts from  night  clubs  that  kept  him  in 
Manhattan  until  early  in  the  morning." 

Usually  he  got  aboard  the  ferry  at  two. 
Since  the  trip  took  a  half-hour,  he  would 
settle  down  for  a  nap.  When  he  woke,  it 
was  usually  three  o'clock — and  he  was 
back  in  Manhattan  again.  "If  it  happened 
once,  it  happened  a  hundred  times,"  Bet- 
tie  says. 

To  escape  the  ferry,  they  finally  moved 
to  a  house  in  White  Plains.  That  was  a 
temporary  move,  for  what  they  really  had 
in  mind  was  a  place  in  Connecticut:  "My 
requirements  were  quite  definite,"  Ralph 
says.  "It  had  to  be  on  top  of  a  hill.  We 
wanted  the  house  to  be  ample  but  not  too 
huge;  quiet  but  not  remote;  old  but  not 
decrepit.  And  we  wanted  a  good  school 
for  the  kids." 

Their  present  home  fitted  the  require- 
ments, first  time  they  looked,  but  they 
couldn't  afford  it.  They  left  their  name, 
and  a  year  later  the  owner  called  them 
again  and  the  price  was  right. 

Their  home,  set  on  more  than  two  acres, 
is  a  showplace.  It  has  all  the  refinements 
of  a  mansion,  without  feeling  like  a  barn. 
It's  the  kind  of  house  where  you  could, 
without  feeling  insufficient,  entertain  the 
President  or  Princess  Margaret.  The  rooms 
are  all  tremendous,  and  one  of  the  five 
bathrooms  is  large  enough  in  itself  to 
house  the  Notre  Dame  football  squad.  This 
particular  bathroom  has  a  shower  with  so 
many  gadgets  that  Ralph  made  a  thorough 
study  of  it  and  then,  individually,  "checked 
out"  Bettie  and  the  children.  Ralph  is  es- 
pecially pleased  with  his  bed.  It  is  seven 
by  eight  feet.  When  he  wants  a  constitu- 
tional,  he  takes   a  walk   around   the   bed. 

Of  the  eight  porches,  two  are  attached 
to  the  upstairs.  The  house  itself  is  fur- 
nished pretty  much  in  French  provincial. 
It's  livable  furniture,  curvaceous  but  not 
ornate.  The  front  hall  features  two  large 
cabinets:  one  contains  a  collection  of  Hum- 
mel porcelain  dolls;  the  other,  Dresden 
figurines. 

Their  grounds  boast  apple  and  pear 
trees;  blue  spruce  and  copper  beech,  pink 
and  white  dogwood;  birch,  chestnut,  pine, 
a  hundred-year-old  oak  and  beautiful 
Japanese  maples.  Winter  times,  when 
snow  is  on  the  ground,  the  family  adds 
snowmen  to  the  landscape.  "The  snowmen 
usually  have  a  general  resemblance  to 
Ralph,"  Bettie  says,  "and  this  effect  is 
enhanced  when  they  are  crowned  with 
Ralph's  hats."  Parents  and  children  en- 
gage in  snowball  fights.  After  they  dry 
off,  they  may  go  ice  skating.  They  play 
together  quite  often. 

"That's  why  I'm  a  lousy  golfer,"  Ralph 
says.  "I  like  the  game  but  don't  get 
much  chance  to  play."  He  goes  on,  seri- 
ously, "When  I  was  a  child,  there  were 
only  three  of  us,  but  there  was  no  hard 
distinction  between  parents  and  son.  We 
all  belonged.  We  naturally  did  things  to- 
gether. That's  the  way  I  hope  and  think 
my  family  gets  along." 

After  thirteen  years  of  marriage,  Ralph 
is  still  infatuated  with  Bettie's  fried 
chicken  and  her  spare-ribs  with  baked 
beans.  He  says  she  is  most  efficient  and 
thorough  in  whatever  she  does.  She  puts 
her  heart  and  soul  into  every  undertaking. 
She  is  always  active  on  civic  organizations, 
besides  running  the  house,  raising  the  kids, 


and  now,  in  her  spare  time,  writing  fiction. 
Every  once  in  a  while,  she  and  Ralph  get 
away  from  it  all,  however,  with  quickie 
vacations:  "We'll  go  overnight  to  places 
like  Boston  or  Philadelphia.  We  check 
into  a  hotel,  get  into  a  sightseeing  bus, 
look  in  store  windows,  look  for  an  unusual 
place  to  eat,  maybe  go  dancing  in  the 
evening — in  general,  just  carry  on  like  a 
couple  of  tourists." 

It  seems  they  become  most  fatigued  on 
Christmas  Day  every  year — certainly  by 
nightfall.  Christmas  is  a  big  day,  since  it 
also  happens  to  be  their  anniversary. 

"I  think  I  remember  why  I  chose 
Christmas  to  be  married — or,  rather,  sug- 
gested it,"  Ralph  says.  "Army  chapels 
weren't  very  bright,  nor  was  the  Army 
gay  during  wartime.  I  thought  that  being 
married  on  Christmas  Day  would  warm 
up  the  whole  thing,   and  it  did." 

Now  they  find  it  is  quite  a  lot  of  work 
celebrating  Christmas  and  their  anni- 
versary on  the  same  day.  "The  anniversary 
has  sort  of  gotten  to  be  a  P.S.,"  Ralph  says. 

1  hey  put  their  anniversary  gifts  in  sep- 
arate piles  with  special  anniversary  cards 
and  non-Christmas  wrappings.  For  their 
first  Christmas  as  man  and  wife,  Ralph 
gave  Bettie  a  portable  radio;  she  gave  him 
a  prayer  book.  Now  they  go  in  for  a  lot 
of  "fun"  things,  as  well  as  nice  gifts.  Ralph 
has  had  a  dog  biscuit  from  Frisky  and  a 
paper  clip  from  Marty.  The  day  is  pretty 
much  turned  over  to  the  kids. 

"We  start  out  as  a  family  group  up- 
stairs," Bettie  says,  "and  hike  downstairs 
together.  Last  year,  we  gave  the  kids  a 
bicycle  Christmas  and  managed  to  make 
it  a  surprise."  They  succeeded  in  sneak- 
ing the  bikes  into  the  house  and  keeping 
them  hidden  for  three  full  days. 

"On  Christmas  morning,  we  put  the 
bikes  in  another  room  from  the  tree.  We 
didn't  do  it  to  tease  them.  We  wanted 
them  to  pay  some  attention  to  their  other 
gifts  first.  Well,  of  course,  they  figured 
there  were  no  bikes,  and  yet  they  were  so 
nice  and  appreciative  about  the  things 
they  got.  It  was  a  real  pleasure  to  lead 
them  to  the  bicycles.    They  flipped." 

Although  Ralph  is  good-natured  and 
cheerful,  he  is  deadly  serious  about  this 
work.  Bettie  watches  him  in  action  and 
is  one  of  his  best  critics:  "She'll  catch  the 
things  I  might  be  doing  unconsciously, 
such  as  shifting  my  shoulders  or  taking 
an  audible  breath  at  the  wrong  time." 

Ralph  has  been  on  the  Strike  It  Rich 
show  for  seven  years  as  host- announcer 
and  has  also  subbed  for  Warren  Hull  as 
emcee  on  the  show.  On  the  Goodyear 
Television  Playhouse,  he  has  a  different 
kind  of  role. 

"It's  a  new  kind  of  job  in  television," 
Ralph  explains.  "You  are  more  than  an 
announcer.  You  are  the  company's  repre- 
sentative. You  greet  the  audience  and  try 
to  make  them  comfortable  and  welcome  as 
their  host.  You  discuss  the  merits  of  the 
product,  and  so  you  are  a  salesman.  Now 
I  find  that  my  friends  take  the  job  as 
seriously  as  I  do.  They  stop  me  on  the 
street  to  ask  a  question  about  tires.  They 
expect  a  detailed  answer.  The  Goodyear 
Company  will  have  me  visit  their  offices 
and  plants  to  see  the  operation.  This  being 
a  'company  salesman'  is  one  of  the  most 
exciting  things  that  has  happened  to  me." 

Ralph,  in  a  short  time,  has  become  one 
of  the  very  successful  young  men  in  tele- 
vision. And,  in  spite  of  rough  going,  he's 
had  a  good  time  at  it.  It  all  goes  back,  he 
believes,  to  being  the  son  of  a  fireman.  In 
those  days  he  learned,  with  his  father  and 
mother,  to  take  things  in  stride,  to  be 
what  he  calls  "a  semi-fatalist." 

"You  do  your  best,"  he  concludes,  "and 
then  let  it  happen  to  you."  And  Ralph 
can  tell  you  what  happens  is  just  great. 


Now  New, 
Improved 

MUSTEROLE 

works  faster 

to  break  up 

chest  cold 

congestion! 

Wonderful  news  for  cold  sufferers! 
New,  Improved  Musterole  now  has 
a  new  ingredient  that  gives  rapid 
relief  to  the  discomfort  of  painful, 
Inflamed  tissues  of  a  chest  cold! 

Just  feel  the  surge  of  this  greater, 
deeper,  speedier  relief  when  you  rub 
on  New,  Improved  Musterole!  Now, 
Its  exclusive  formula  gives  you  even 
quicker  results  than  before!  Its 
amazing  pain-relieving  ingredient 
works  faster  to  help  unkink  stiff  and 
sore  muscles.  It  helps  reduce  swell- 
ing and  inflammation,  has  deeper  ac- 
tion for  speedier  results. 

Its  comforting  permeating  heat 
helps  break  up  acute  upper  bronchial 
congestion.  Its  vaporized  heat — medi- 
cated vapors  that  rise  from  the  chest 
— helps  loosen  localized  nasal  and 
throat  congestion! 

New,  deeper-acting  Musterole  feels 
like  a  sunny  poultice  on  tight  chest, 
throat  and  back.  Its  special  kind  of 
relief  goes  to  sore  muscles,  feels  as  if 
it's  "baking  out"  those  aching  mus- 
cles of  a  cold.  Although  Musterole 
now  has  a  new  ingredient,  it  costs 
you  no  more!  It's  stainless,  too. 

The  only  rub  in  three  different 
strengths:  Child's  Mild  for  kiddies, 
Regular  for  adults,  Extra  Strong  for 
severe  cases  —  all  new,  improved! 
Musterole  has  been  recommended  by 
many  doctors  for  years!  Get  New, 
Improved  Musterole  today. 


Clear  vp  your 

pimples  FAST.** 

leave  no  scars 

Don't    Handle,  tug  or  pick    those 

"hickiesl"  Pimples,    blackheads 

easily  infect  .  .  .  leave   lifetime 

scars.  Clear  up  those  pimples  and 

blackheads — oh  so  gently,  safely 

and    cover    them    while    you're 

clearing    them)    with    Pompeian 

Milk  Cream — pink  magic  proved 

in  the  laboratory  to   possess  a 

greater  "zone  of  inhibition"  than 

I    all  the  leading  medications  tested ! 

I    It's  the  milk — chemists  say — that 

I    makes   PC   11 — the   hexachloro- 

'    phene — so  far  more  effective   in 

1    starving  skin  bacteria  that  cloud 

:    your  complexion. 

TRY  IT. .  PROVi  IT. .  TRIAl  TUBE  Wt 

Send  10c  for  a  trial  tube.  Watch 
I  your  skin  grow  healthier  again. 
I  Pompeian  Corp.,  Balto.  24,  Md., 
':    Dept.    P-1.       Or   get    Pompeian 

Milk    Cream     from 

your  druggist  tonight. 

POMPEIAN 

MUX  CREAM 


T 
V 
R 

75 


It's  Fun  to  Be  Famous 


(Continued  from  page  37) 

Another  big  "plus"  is  Gisele's  new  apart- 
ment on  New  York's  Central  Park  South. 
And  her  two  long-haired  dachshunds, 
Brunhilde  and  Wolfgang  von  Bagel,  defi- 
nitely clamber  over  to  the  credit  side  of 
the  ledger.  The  von  Bagels — "so  named," 
Gisele  laughs,  "because  they  look  like 
straightened-out  bagels" — are  Gisele's  con- 
stant companions  and  often  even  accom- 
pany her  to  Hit  Parade  rehearsals. 

Down  the  list  on  the  credit  side  are  the 
perfumes  and  jewels  and  furs  that  Gisele 
can  buy  for  herself. 

And  then  there  are  the  vacations.  .  .  . 

But  here  Gisele  shakes  her  lovely  dark 
head  and  proceeds  to  write  vacations  down 
in  red  ink.  "Let  me  tell  you  about  my 
vacation,"  she  says,  letting  her  voice  drop 
a  few  octaves  to  the  hollow  tones  of  melo- 
drama. "You  won't  believe  it,  but  it  is  the 
awful  truth." 

And  she  launches  into  her  tale  of  what 
shouldn't  happen  to  a  star. 

"Last  summer,  not  having  had  a  vaca- 
tion for  three  years,  I  wanted  to  go  to 
Hawaii.  But  my  friends  said  no.  'Oh,  you'll 
be  bored  to  death  there,'  they  told  me. 
Then  they  suggested,  'Why  not  go  to  Mex- 
ico, so  rich  in  color  and  adventure?'" 

Gisele,  convinced  by  the  travel-poster 
build-up,  headed  for  Mexico  City,  accom- 
panied by  her  manager,  Bob  Shuttleworth. 
But  the  first  day  there,  she  heard  that  a 
very  good  friend  had  just  died.  "That  was 
a  cloud,"  she  says,  "a  dark  one. 

"The  next  day,  the  vaccination  for  small- 
pox that  I'd  been  obliged  to  have  began 
to  'take.'  My  arm  was  leprous.  My  tem- 
perature was  I  don't  know  what!  It  really 
took!  I  had  a  primary  infection  and  was 
sick  as  a  dog,  unable  to  eat  a  thing.  When 
I  was  able  to  hobble,  I  made  it — not  with- 
out qualms — to  the  dining  room.  Managing 
to  hold  my  own,  so  to  speak,  at  table, 
encouraged  Bob  to  suggest  that  we  'take 
a  look  around.  Let's  see  some  of  the  his- 
toric sights,'  he  said,  'pyramids,  churches, 
art  galleries.' " 

Gisele  dutifully  went  along,  and  returned 
to  the  hotel  with  an  acute  case  of  museum 
feet  and  a  yen  to  pack  up  her  old  kit  bag. 
Instead  she  smiled,  remembering  more  of 
the  ecstatic  drum-beating  her  friends  had 
done  about  Mexico. 

"So  we  drove  to  Acapulco — and  it  rained 
cats  and  dogs  for  three  days.  On  the  fourth 
day,  the  sun  shone.  Let's  go  out  in  a  boat, 
we  said.  On  the  boat,  I  wore  a  swim  suit 
with  bare  midriff.  Never  having  exposed 
my  mid-section  to  the  elements  before,  I 
got  back  from  the  boat  trip  scarred,  maybe 
for  life.  It  looked  like  a  steam  burn,  all 
white,  and  still  does.  I  learned  later  it  was 
a  second-degree  burn.  And  my  face  peeled 
completely.    I  was  a  real  mess  of  misery." 

Gisele  strikes  a  pose  that  would  do 
justice  to  the  leading  lady  in  "East  Lynne." 
Then  she  laughs.  "But,"  she  says,  "it 
wasn't  funny  then.  The  next  morning  I 
woke  up,  just  white  and  sick.  I  was  so  ill, 
so  miserable,  'I've  just  got  to  go  back,' 
I  said.  'Something  is  wrong  here!' 

"  'Let's  go,'  Bob  agreed.    I  went  to  my 

room  to  pack  and — my  coats  were  gone. 

My  minks,"  Gisele  says  mournfully,  "two 

mink  jackets,  one  of  them  brand-new.    It 

even  smelled  new,  that  beautiful  new  fur 

smell.    Nothing  else  was  touched.    A  cloth 

coat  was  hanging  where  I'd  left  it.  The  few 

pieces  of  jewelry  I  had  with  me,  nothing 

invaluable,  a  few  pretty  rings  and  so  on, 

T    intact.   Only  the  two  minks  missing.   Only! 

V        "The  police  came  over.    Then  they  vir- 

R     tually  accused  me  of  inventing  the  whole 

story    and    stealing    my    own    furs.     They 

asked  questions.    'Did  you  see  two  mink 


jackets,'  they  demanded  of  the  floor-maid 
who  took  care  of  my  room.  'No,'  she  said, 
'I  didn't  see  a  thing.'  The  eyebrows  of  the 
police  lifted  to  the  hairline  and  disap- 
peared." 

Gisele's  own  eyebrows  lift  as  she  re- 
counts the  vagaries  of  the  police.  "  'My 
room  had  a  balcony,'  I  pointed  out.  'A 
balcony  makes  access  easy.' 

"The  police  shrugged.  After  three  hours 
of  rilling  out  papers,  in  the  boiling  heat, 
we  finally  left,  were  'permitted'  to  leave. 
By  way  of  consoling  myself  for  my  loss, 
I  remembered  that  at  least  both  the  coats 
were  insured.  Only  I  found  out  later  that, 
due  to  a  mistake  on  the  part  of  the  insur- 
ance company,  the  policy  on  one  of  them — 
the  new  one! — had  been  cancelled.  I  was 
out  $1500." 

Gisele  smiles  quizzically.  Once  before, 
a  theft — of  a  precious  violin — had  led  her 
to  a  singing  career.  But  the  bandit  brigade 
was  really  expecting  too  much  if  they 
thought  she  would  welcome  them  forever! 

"On  the  way  back  to  Mexico  City," 
Gisele  pursues  her  tale  of  woe,  "thinking 
it  would  take  my  mind  off  my  misery, 
mink  and  otherwise,  I  did  the  driving. 
Going  through  a  pass  in  the  mountains, 
I  saw  a  little  tiny  puppy  on  the  road.  As 
I  approached  him,  he  was  slinking  off  to 
the  right.  Then  he  changed  his  mind  and 
— I  ran  right  over  him.  I'd  broken  both  his 
legs.  He  was  dying.  Mercifully,  in  a  few 
minutes,  he  did  die. 

As  I  stood  there,  crying  and  being  sick 
at  the  same  time,  a  girl,  driving  seventy 
miles  an  hour,  much  too  fast,  rounded  a 
sharp  curve.  She  tried  to  pass  us,  missed 
and — voom! — right  into  our  car  she  went. 
Our  car  had  only  minor  damages  but  she 
broke  her  radiator  and  the  darned  thing 
began  leaking  all  over  the  road.  Out  of 
nowhere,  suddenly,  natives  appeared. 
Presently,  also  out  of  nowhere,  the  police 
arrived  on  the  scene.  Out  of  the  jabber 
that  ensued  emerged  the  fact  that  they 
wanted  to  keep  me  there  for  two  days. 

"  'I  didn't  run  into  her,'  I  pointed  out  to 
them,  'she  ran  into  me.' 

"The  girl,  a  decent  sort,  bore  me  out  and, 
after  another  half-hour  or  so,  again  in  the 
boiling  heat,  again  filling  out  papers,  we 
were  again  'permitted'  to  go  on. 

"At  this  point  of  what  appeared  to  be  no 
return  from  trouble,  I  could  with  equal 
indifference  have  stayed  or  left.  Or,  pref- 
erably, I  could  have  given  up  the  ghost. 
The  pain  of  my  sunburn  was  sickening. 
And,  mind  you,  I  had  just  killed  a  dog!" 

Feeling  about  dogs  as  Gisele  does,  loving 
and  respecting  them  as  she  does — whether 
they  be  her  own  von  Bagels  or  someone 
else's  best  friend — killing  a  little  dog,  even 
by  unavoidable  accident,  couldn't  have 
happened  to  a  more  vulnerable  person. 

"That  night,  back  in  Mexico  City,  I 
cried  and  cried  and  cried,"  Gisele  relates. 
"I  can  truthfully  say  I  cried  all  over  Mex- 
ico! 

"The  next  morning  I  appeared  at  break- 
fast, eyes  swollen,  sniffling,  woebegone. 
'This  is  enough  of  this,'  Bob  said.  By  mid- 
morning,  I  was  on  a  plane  for  Los  Angeles. 
There,  right  away,  I  saw  my  doctor,  who 
treated  me  for  second-degree  burns  which 
may,  although  only  time  can  tell,  he  said, 
scar  me  for  life. 

"That  weekend,  some  friends  took  me  to 
Catalina  on  their  boat.  But  I  must  say," 
Gisele  laughs,  "they  saw  very  little  of  me, 
covered  as  I  was  with  pedal  pushers  down 
to  here,  a  couple  of  long-sleeved  shirts 
and  a  great  big  hat.  Not  a  ray  of  sun,  the 
human  eye,  or  even  radium,  I  dare  say, 
could  have  penetrated. 

"The  next  day,  on  to  Las  Vegas,"  Gisele 


sighs,  happy  to  be  north  of  the  border. 
But  then  she  lets  her  voice  creak  like  the 
door  to  a  haunted  house  as  she  shares  the 
goose-flesh  of  the  next  episode. 

"In  addition  to  the  Chamber  of  Horrors 
outline  I've  just  given  you,  I  had  a  pursuer 
— a  madman  who  pursued  me  all  summer. 
What  did  he  look  like?  No  Gregory  Peck,  I 
assure  you.  More  the  glandular  type,  I'd 
say,  of  Caspar  Milquetoast.  Which  made 
him  all  the  more  frightening. 

"You  may  wonder  why  I  blame  my 
career  for  what  happened  to  me  on  my 
vacation.  Well,  I  took  the  vacation  be- 
cause I'd  worked  terribly  hard  and — espe- 
cially since  I  did  the  Jack  Benny  show  last 
January — was  terribly  tired.  Since  scary 
things,  accidents  and  such,  happen,  I  be- 
lieve, to  tired  people,  the  demands  of  my 
career  and  the  resultant  exhaustion  were 
responsible — or  so  I've  worked  it  out  in 
my  mind — for  the  mishaps  and  miseries  in 
Mexico.  It  is  also  a  real  hair-raiser  of  a 
story,"  Gisele  grins  broadly,  "and  I  wanted 
to  tell  it. 

"Granting,  however,  that  I  rather  stretch 
the  point  when  I  blame  my  vacation  blues 
on  my  career,  the  madman  is  definitely 
attributable  to  my  career.  A  fan,  he  began 
writing  me  letters  to  the  Hit  Parade.  He 
was  in  love  with  me,  he  wrote,  wanted  to 
marry  me.  The  first  one  or  two  of  these 
effusions  I  answered  very  politely,  as  I 
answer  all  my  fan  mail.  But  that  wasn't 
enough  for  him. 

"He  arrived  on  the  scene,  then  New 
York,  but  I  had  gone  to  Dallas  where  I 
played  Nelly  Forbush  in  'South  Pacific' 
and  where,"  Gisele  smiles  happily,  "we 
broke  the  record.  He  followed  me  to  Dal- 
las, but  I'd  left  there  for  Denver.  He  fol- 
lowed me  to  Denver,  missed  me  again,  but 
caught  up  with  me  in  Las  Vegas.  I  was 
playing  blackjack  one  night  at  The  Fla- 
mingo, where  I  was  appearing,  when,  over 
my  left  shoulder,  a  voice  said,  'I'm  here.' 

"He  was  the  kind  that  hides  behind  palm 
trees.  He  used  to  phone  me  at  all  hours 
of  the  day  and  night.  He'd  write  me  mash 
notes,  catch  me  unaware  and  force  them 
on  me.  Every  time  he  took  a  plane,  he 
made  out  the  insurance  policy  in  my  name. 
One  night  he  tried  to  bribe  a  maid  to  lock 
him  in  my  dressing  room  at  The  Flamingo. 
Happily,  she  was  not  bribable — he  might 
have  killed  me.  He'd  been  married  four 
times.     'The  marrying  kind,'  he  said. 

At  Las  Vegas,  the  deputy  sheriffs  told 
him  he  was  making  me  absolutely  miser- 
able and,  furthermore,  was  invading  my 
privacy.  To  which  his  answer  was  that 
I  had  invaded  his  privacy  by  coming  into 
his  apartment,  on  the  TV  screen,  while 
he  was  in  his  pajamas. 

"He  was  quite  insane.  But  since  all  he 
was  doing,  actually,  was  following  me  and 
there  is,  it  appears,  no  law  against  'follow- 
ing,' no  legal  action  could  be  taken. 

"Then  he  followed  me  home  to  Winni- 
peg," Gisele  pauses  dramatically,  relish- 
ing a  good  story  now  that  the  very  real 
danger  no  longer  exists.  "He  found  out 
where  my  parents  live  and  phoned.  Mother 
answered  and,  having  been  forewarned, 
said,  'Very  sorry,  she's  left  for  Vancouver 
with  some  relatives.'  He  didn't  believe  it. 
Immediately,  he  jumped  into  his  car— he'd 
made  the  phone  call  from  his  home  in  the 
states  and  drove  thirty-six  hours  to  reach 
Winnipeg,  Manitoba. 

"When  he  arrived  at  the  house,  my  dad, 
who  happened  to  open  the  door,  took  him 
for  a  fan  wanting  my  autograph  and  didn't 
realize  what  was  happening  until  he  asked 
the  name.  'I  just  want  to  see  her,'  he  told 
my  dad,  'talk  to  her.     I  won't  hurt  her.' 

"  'I  don't  want  you  to  see  or  talk  to  her,' 


Dad  said.  'You  are  a  stranger.  Just  go 
away  and  don't  bother  her  again.'  And 
the  door  closed.    And  locked. 

"But  every  hour  thereafter,  on  the  hour 
and  for  hours,  he  circled  the  house  in  his 
car,  kept  circling  and  circling.  Once,  in 
passing,  he  threw  a  bundle  tied  with  string 
and  labeled  'Love  Letters'  onto  the  porch. 
Enough  reading  matter,  of  a  particularly 
lurid  variety,"  Gisele  says  with  a  wink, 
"for  three  weeks! 

"This,  at  my  own  front  door,  my  dad 
said,  was  definitely  'invasion  of  privacy,' 
about  which  the  authorities  of  Manitoba 
could  and  would  do  something.  Then  Dad 
called  the  police.  And  then,"  Gisele  laughs, 
"it  was  Dragnet.  Plainclothes  men  watched 
me  day  and  night.  They  watched  for  him, 
caught  up  with  him  and  told  him  to  get  out 
of  town.  They  escorted  him  to  the  border, 
saw  him  across,  and  told  him  to  stay  on 
the  other  side. 

"The  last  thing  he  did  before  his  com- 
pulsory departure  was  to  bring  a  big  bunch 
of  red  roses  to  the  house.  'Give  them  to 
her,'  he  told  the  maid  who  answered  the 
bell,  'with  my  love.'  The  last  thing  he  said 
to  the  police  was  'I  won't  contact  her  any 
more.  She  knows  where  to  find  me  when 
she  wants  me.'  "  Gisele's  voice  shows  the 
compassion  she  felt  for  this  man,  when  she 
didn't  feel  genuine  fear.  "As  of  today,  I 
haven't  seen  him  or  heard  from  him  again. 
I  can  only  hope  and  pray  I  never  will. 

"But,  since  the  pros  and  cons  of  any 
situation,  or  career,  usually  intermingle, 
my  Las  Vegas  experience — the  madman 
notwithstanding — was  definitely  one  of  the 
pros  of  my  career,"  Gisele  remembers 
happily.  "Largely  due  to  Jack  Benny,  who 
came  to  my  opening  at  The  Flamingo.  He 
offered  to  come,  that  was  the  best  of  it. 
And  when  the  rumor  got  around  that 
Benny  was  in  Las  Vegas  just  for  MacKen- 
zie's  opening,  that  was  a  big  boost  up! 

"Jack  not  only  came  to  my  opening,  he 
took  part  in  it.  We  played  a  comedy  violin 
duet,  as  we  did  on  Jack's  show  last  Jan- 
uary. We  sang  'Getting  To  Know  You.' 
We  clowned  around,  wise-cracked,  laughed 
it  up.  At  the  end  of  our  duet,  Jack  said, 
in  that  sort  of  meditative  tone  of  voice 
he  uses  when  the  dollar  sign  is  showing  in 
his  eyes,  T  belong  to  Actors  Equity  and 
you  should  be  paying  me  sixty  dollars  a 
week.' 

"In  the  wings,  by  pre-arrangement,  stood 
the  boss,  holding  a  tray  laden  with  sixty 
silver  dollars.  On  cue,  I  relieved  him  of 
the  tray,  presented  it  to  Jack,  who 
promptly  shoveled  the  silver,  all  of  it,  into 
his  pockets,"  Gisele  laughs,  still  delighted 
with  the  joke.  "After  the  show,  Jack 
gambled  his  'take,'  won,  and  split  with  the 
boss! 

"Another  experience  on  opening  night 
took  place  after  Jack  had  left  the  stage  and 
taken  a  seat  in  the  audience.  For  the  finale, 
I  had  a  number  to  do  in  a  three-part  cos- 
tume. The  idea  was  for  me  to  take  off  this 
beautiful  full-length  white  satin  coat  and 
reveal  some  pantalettes  such  as  grandma 
used  to  wear;  then  take  off  the  pantalettes 
and  reveal  a  short  leotard,  with  white  fox 
fur  around  the  bottom.  It  was  a  little  strip, 
in  other  words,"  she  explains,  her  eyes  lit 
with  a  twinkle,  "but  very  lady-like. 

"So  what  happened?  The  costume  just 
fell  apart,  not  one  part  after  the  other,  but 
all  at  once!  Unable  to  cope  with  the  intri- 
cate snaps  and  zippers,  I  realized  I  hadn't 
practiced  enough.  The  whole  thing  was 
revealed  in  three  seconds  and  there  I  was, 
in  the  leotard.  Trying  to  save  face — since 
nothing  else,  anatomically  speaking,  was 
possible — I  kept  saying  things  like  'Oh, 
these  snaps!  Do  you  think  I'm  keeping 
something  from  you?  A  strip  in  time  .  .  .' 
and  so  on.  Well,  the  audience  was,  to  a 
man,  convulsed.  Jack  Benny  was  just 
belting  his  knee  and  screaming. 


"Audiences,  as  I  have  said,  certainly  be- 
long on  the  credit  side  of  the  ledger.  Also 
on  the  credit  side  of  such  a  career  as  mine 
are  the  friends  you  make.  Such  special, 
all-out-for-you,  great-hearted  friends  as 
can  only  be  found,  I  suspect,  on  mike,  on 
camera,  on  stage. 

"I'm  a  little  independent,"  Gisele  admits 
frankly,  "and  I  like  to  be  able  to  afford 
things  myself.  I  love  furs,  jewels,  per- 
fumes. And  so,  when  I  want  to  buy  a  fur 
or  a  string  of  pearls,  the  fact  that  I  don't 
have  to  ask  a  husband's  permission  is  one 
of  the  pros  of  being  a  career  girl.  Although, 
on  the  other,  the  con  side,  I  have  a  business 
manager  and  business  accountant  who  fall 
down  my  neck  at  the  drop  of  a  mink  stole! 

"  'Well,  it's  your  money,'  they  say.  'If 
you're  penniless,  don't  blame  us.' 

"  'If  I'm  going  to  be  penniless,'  I  tell  them, 
'I'll  be  well-dressed  while  getting  there.' 
Meanwhile,  I  don't  have  to  hanker  after 
some  bit  of  goods,  like  a  Dior  dress. 

INot  that  it's  fun  to  live  alone,"  Gisele 
adds  quickly,  "even  though  I  do  have  the 
comfort  and  companionship  of  the  von 
Bagels  and  my  new  apartment,  which  I 
love.  I  love  to  cook  and,  when  I  have 
time,  to  invent  all  kinds  of  little  dishes. 

"I'd  like  to  marry.  Of  course,  I  would. 
That  I  haven't  is  certainly  no  fault  of  my 
family  and  friends,"  she  says,  making  a 
comic  face.  "They  give  me  the  business 
every  time  I  go  home,  shake  their  heads, 
purse  their  lips.  'Well,  Gisele,'  they  say, 
'you're  getting  to  be  an  old  maid.' 

"Or  I  go  to  a  wedding,  catch  the  bridal 
bouquet — I  always  catch  the  bridal  bou- 
quet— and,  with  something  between  rap- 
ture and  relief,  the  members  of  the  wed- 
ding squeal,  'Now  it's  your  turn!'  Or  else 
they  tell  me,  'Oh,  Gisele,  there's  a  wonder- 
ful chap  here  in  Winnipeg  and  he  likes 
music  and  he  doesn't  care  a  bit,  he  as  good 
as  said  so,  if  you  make  an  occasional 
record!' 

"Recently,  I  was  told  that  because  I  like 
trees  and  trees  are  a  symbol  of  security, 
a  tall,  quiet,  strong-minded,  tree-like  man 
will  be  the  type  with  whom  I'll  fall  in  love. 
Could  be,"  she  smiles.    "Sounds  fine. 

"I'm  not,  however,  overly  choosy,"  Gisele 
says.  "As  the  daughter  of  a  doctor  who 
worked  too  hard  all  his  life,  a  dedicated 
life,  but  not  normal,  I  would  prefer  not  to 
marry  a  doctor.  If  there's  any  preference 
at  all,  it  is,  I  think,  for  a  man  in  my  own 
profession.  Otherwise,  a  'tree-man,'  in  any 
art  or  craft,  would  do  nicely. 

"I  am  normally  susceptible,  I  think.  I 
fell  in  love,  at  the  age  of  six,  with  the 
milkman.  I've  been  seriously  in  love," 
Gisele  adds  seriously,  "twice.  It  didn't 
work  out  either  time.  One  wanted  me  to 
give  up  everything.  The  other  .  .  ."  she 
shrugs.  "Rather  than  to  marry  just  in 
order  to  say  I'm  married,  and  get  in 
trouble  later,  no.  So,  if  I  don't,  well,  that's 
just  too  bad." 

But  there's  a  note  of  wistfulness  as  Gisele 
says,  "Only  thing  is,  I  love  kids,  always 
have  .  .  . 

"I  also  love  my  work.  It's  satisfying.  I 
felt  so  good  when  my  record  of  'Hard  to 
Get,  which  I  sang  for  the  first  time  oh 
NBC-TV's  dramatic  show,  Justice,  last 
winter,  played  all  summer  long  on  NBC 
Radio's   Hit  Parade. 

"That  I  love  my  work,  and  the  people 
I  work  with — Dorothy  Collins,  Raymond 
Scott,  Snooky  Lanson,  the  whole  gang,  not 
to  mention  the  people  in  the  audiences, 
'live'  and  in  their  homes — this  is  the  big 
item  on  the  credit  side.  So  big,"  Gisele 
smiles  happily,  "that  it  cancels  out  all  the 
items,  such  as  jinxed  vacations  and  mad- 
men, on  the  debit  side."  Then,  for  em- 
phasis, she  repeats,  "All  of  them!" 

Yes,  for  Gisele  MacKenzie,  the  books 
more  than  balance.    It's  fun  to  be  famous! 


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77 


The  Other  Side  of  Godfrey 


(Continued  from  page  39) 
not  a  dreamer.  He's  a  doer,  who  has  con- 
fidence in  himsel  and  inspires  confidence 
in  others.  He's  loaded  with  brains,  per- 
sonality, administrative  ability.  If  he  were 
shaped  a  little  differently,  he  would  prob- 
ably be  the  first  space-ship  to  reach  the 
moon. 

But  just  what  makes  him  a  great  enter- 
tainer— well,  that's  a  little  harder  to  figure 
out.  Arthur  isn't  a  dancer,  or  a  singer,  or 
a  comedian.  He  has  no  "act."  On  the  air, 
all  he  has  to  be  is  Arthur  Godfrey.  And 
he's  on  the  air  about  a  dozen  hours  a 
week.  He  lives  on  the  air.  He  ad-libs  with 
his  audiences  as  easily  and  naturally  as  a 
housewife  discussing  a  new  recipe  with 
her  neighbor.  He  holds  nothing  back — 
his  impish  glee,  his  sudden  indignation, 
his  most  mischievous  thoughts,  his  most 
deeply  felt  principles.  His  audience  is  his 
closest  friend,  and  he  is  theirs,  in  the  most 
honest  way  he  knows  how  to  be. 

Arthur  Godfrey  himself  puts  it  very 
simply:  "Every  morning,  before  I  go  into 
the  studio,  I  say  a  prayer.  I  say  it  every 
day.  The  same  one.  'Lord,  keep  me  from 
making  a  mistake.'  I  pray  that  I  will  say 
the  right  thing." 

And  he  continues,  "I  think  of  all  those 
people  who  will  be  listening  and  of  all 
the  people  in  the  studio  who  got  up,  hours 
early,  to  come  in  from  New  Jersey  and 
Connecticut  and  even  Pennsylvania,  and 
I  don't  want  to  let  them  down.  I  want  them 
•  to  go  away  happy,  feeling  a  little  better 
for  the  visit.  That's  why  I  pray  in  the 
morning.  Because,  when  you  do  this  job 
day  after  day,  year  on  end,  you've  got  to 
be  careful — especially  when  you're  think- 
ing as  you're  talking,  with  nothing  planned. 
With  so  many  thousands  of  broadcasts, 
the  mistake  could  happen,  but  it  never  has. 
I  guess  I'm  getting  good  response  to  my 
prayers." 

For  all  the  headlines  about  Godfrey's 
hiring  and  firings,  Arthur  has  just  as  deep 
a  concern  for  the  feelings  of  his  cast.  He's 
not  the  kind  of  boss  who  can  say  grimly, 
just  before  a  broadcast,  "Do  the  job  right — 
or  get  off  the  show."  With  all  his  heart,  he 
wants  his  performers  to  look  and  sound  to 
their  own  best  advantage.  He  tries  to  high- 
light their  most  attractive  points.  He 
tries  to  cover  up  for  them  when  his  in- 
stinct for  showmanship  tells  him  they're 
not  at  their  best. 

And  he  tries  to  explain  his  theories  to 
others:  "Maybe  a  gal's  got  a  great  voice, 
but  that's  not  enough  on  our  show.  I  want 
her  to  appear  charming  and  friendly,  to 
boot.  Or  maybe  one  of  the  kids  has  a 
grouch  in  his  voice,  so  I  ignore  him.  He 
thinks  I'm  being  unfair.  Maybe  I  know 
he  would  sound  silly  on  the  subject  un- 
der discussion,  and  I  want  to  save  him,  so 
I  cut  him  off.  He's  mad  at  me."  Arthur 
grins,  as  he  goes  on,  "No  one's  got  a  worse 
voice  than  I  have,  when  it  comes  to  sing- 
ing, so  what  I'm  saying  has  nothing  to  do 
with  me.  But  sometimes  one  of  the  kids 
has  a  bad  arrangement,  or  the  song's 
wrong.  So  I  just  keep  talking  until  there 
isn't  time  for  the  song — and  someone 
thinks  he  got  crossed  up." 

Godfrey  never  forgets  th  '  the  chief 
purpose  of  his  shows  is  to  entertain.  That's 
why  he  has  told  his  cast,  many  times, 
"There  is  only  one  thing  you're  honor- 
bound  to  do,  and  that  is  to  give  a  good 
performance." 

No  one  can  deny  that  Arthur's  Little 
Godfreys  learned  to  give  a  good  per- 
-  formance.  With  the  exceptions  of  Janette 
v  Davis  and  Frank  Parker,  Arthur  found 
every  one  of  them  in  relative  obscurity. 
Most  of  them  knew  next  to  nothing  about 
show  business.  Few  had  earned  as  much 
in  six  months   as  he  paid  them   in  their 


first  week  on  his  programs.  They  won 
themselves  a  scholarship-with-pay  to  the 
Godfrey  College,  with  courses  in  ballet 
and  ballroom  dancing,  skating,  riding, 
singing,  speech,  and  even  good  grooming. 

As  Godfrey  Graduates,  they  left  with 
fame — their  names  and  talents  known  from 
coast  to  coast;  with  fortunes — not  a  million 
in  cash,  but  with  the  kind  of  money  few 
of  us  see  in  a  lifetime;  with  recording  con- 
tracts and  important  friends  and  business 
know-how;  with  poise  and  experience  and, 
sometimes,  better  looks — though  Godfrey 
is  the  last  to  claim  to  be  a  beautician. 

The  reasons  for  their  leaving  were  as 
many  and  varied  as  their  talents  and  per- 
sonalities— though  not  as  many  and  varied 
as  the  "explanations"  which  have  screamed 
from  the  headlines.  And  sometimes  the 
stories  which  have  been  printed  in  the 
columns,  or  whispered  around,  just  didn't 
take  place  at  all.  Perhaps  you  yourself 
were  listening,  when  this  conversation 
took  place  between  Godfrey  and  Frank 
Parker  on  a  program: 

"Frank,"  Arthur  asked  curiously,  "how 
many  times  do  you  think  you  ought  to 
warn  a  man  that,  if  he's  drunk  on  the  job, 
you'll  fire  him?" 

Frank  thought  a  moment,  then  replied, 
"A  couple  of  times." 

"Seven  times  I  took  it,"  Arthur  said. 
"Seven  times,  and  I  told  him  every  time, 


IT'S  A  DATE! 

the   February  issue  of 
TV  RADIO  MIRROR 

at  your  favorite  newsstand 

January  5 


'Once  more  and  that's  the  end.'  Yesterday 
I  fired  him.  The  one  thing  I'll  not  tolerate 
on  this  program  is  drunkenness  on  the  job." 

The  conversation  took  place,  that  much 
is  true.  You  may  have  heard  it,  or  you 
heard  about  it.  But  did  you  hear  that  the 
firing  never  took  place,  after  all?  Someone 
who  knew  the  man  intimately  walked 
into  Godfrey's  office  and  gave  a  more 
complete  explanation.  The  "drinker"  was 
a  good  man  and  a  conscientious  one,  but 
beset  by  many  problems  which,  temporarily 
at  least,  had  seemed  too  burdensome  to 
face.  Arthur  revoked  the  firing.  It  was  an- 
other proof  that  Arthur  is  more  soft- 
hearted than  hard-headed. 

In  reality,  Arthur  is  easily  touched.  A 
great  show  in  himself,  he'"  has  an  uncanny 
sense  of  what  is  good  entertainment  when 
provided  by  others,  too.  He  personally  and 
positively  enjoys  the  performances  of 
people  on  his  programs,  and  his  taste  is 
hard  to  argue  with.  And  there's  another 
thing  hard  to  argue  about — his  generosity, 
which  should  be  proverbial  but  isn't,  for 
good  and  sufficient  reasons  of  his  own. 

The  generosity  doesn't  extend  only  to 
performers  but  includes  his  staff,  from  re- 
ceptionist to  office  manager.  The  girls  get 
shooed  home  on  hot  days  or  when  a  hur- 
ricane threatens  or  when  snow  begins  to 
snarl  traffic.  One  winter,  he  took  the  whole 
cast  and  staff — fifty-five  people — to  Miami 
for  shows.  And  he  arranged  it  so  that  they 
got  two  completely  work-free  weekends 
there.  The  cost  was  $43,000  over  the  bud- 
get, and  he  paid  for  it  out  of  his  owij 
pocket.  This  past  fall,  when  Arthur  post- 
poned his  return  from  the  farm  for  a  week, 
everyone  shared.  He  phoned  the  office'  and 
gave  everyone  else  the  whole  week  off. 

Cast  members  have  always  found  his  door 


open  for  advice  on  personal  or  business 
matters.  As  he  himself  has  stated,  he  feels 
like  a  "father"  toward  most  of  them.  New 
to  the  business  and  to  fame  and  business 
problems,  they  have  needed  help.  Arthur 
has  always  been  ready  to  advise  them  but 
— contrary  to  the  headlines  and  gossip 
columns — he  has  never  advised  them 
against  marriage.  In  fact,  he  has  said,  "The 
more  they  are  married,  the  happier  I  am 
about  it — because  I  happen  to  be  happily 
married.     I  know  it's  a  nice  thing  to  be." 

Many  a  newspaper  columnist  blamed 
Arthur  when  Lu  Ann  Simms  delayed  her 
wedding  date.  They  intimated  that  God- 
frey had  been  "laying  down  the  law."  It 
was  only  later  that  they  learned  the  real 
reason  was  that  Lu  Ann's  mother  was 
very  ill.  Despite  later  events,  the  true  story 
at  that  time  is  that  he  called  a  special 
meeting  of  the  cast  and  said:  "Now  let's 
talk  about  Lu.  Let's  see  what  there  is  we 
can  do  for  Lu  to  help  her,  to  take  her  mind 
off  some  of  her  worries." 

Arthur  has  given  specific  instructions  to 
his  press  representative  that,  when  it 
comes  to  publicity,  "forget  about  God- 
frey." When  newspapers  and  magazines 
want  to  do  stories  about  his  shows,  they 
are  to  be  directed  to  others  who  are  fea- 
tured on  the  programs — not  Arthur.  Ninety 
percent  of  all  requests  to  do  articles  on 
Arthur  are   turned  down. 

There  is  another  specific  rule,  and  that 
is  about  looking  the  other  way  when  Ar- 
thur indulges  in  one  of  his  many  secret 
charities.  Arthur  has  made  many  cash 
gifts  to  hospitals  and  other  worthy  or- 
ganizations, but  always  with  the  request 
that  these  donations  be  kept  anonymous. 
One  woman,  who  works  for  the  Henry 
Street  Settlement,  got  furious  when  she 
read  some  of  the  headlines  about  Godfrey. 
She  called  his  office  and  said,  "If  it's  all 
right  with  you,  I'm  going  to  give  out  a 
story  about  all  the  help  you've  given  us 
here."  Arthur  was  deeply  grateful,  but 
begged  her  not  to  do  so. 

He  has  paid  doctor  and  hospital  bills  for 
friends  and  strangers,  usually  anonymous- 
ly, other  times  under  a  pledge  of  secrecy. 
He  may  read  in  a  newspaper  or  in  his  mail 
of  some  suffering  youngster — or  he  may 
read  of  an  act  of  heroism.  Through  his 
private  secretary,  out  goes  a  gift  or  a  re- 
membrance. No  one  else  on  his  staff 
knows  about  it.  Perhaps  the  recipient  talks 
and  a  local  newspaper  hears  of  it  and 
prints  the  story.  A  clipping  service  sends 
it  on,  and  that's  the  first  time  anyone 
else  in  New  York  knows  of  it.  The  clip- 
pings are  then  routed,  by  order,  to  Ar- 
thur's desk — where  they  disappear. 

Honest  sentiment  plays  a  large  part  in 
Arthur's  personality.  Almost  anyone  who 
has  ever  worked  with  Godfrey  has  seen 
him  weep  unashamedly,  with  joy  as  well 
as  with  sorrow.  Once,  the  Wednesday- 
night  cast  had  a  particularly  difficult  pro- 
duction number  to  do.  They  worked  hard 
and  long  to  get  it  right.  Arthur  was  watch- 
ing from  the  control  booth  when  the  num- 
ber went  off  as  smoothly  as  a  seagull's 
flight.  He  cried  without  self-conscious- 
ness, the  way  he  does,  and  said,  "I'm  proud 
of  them.  I  love  those  kids." 

As  he  is  easily  touched  to  tears,  he  can 
also  be  touched  to  anger.  Arthur  freely 
admits  that  he  can — and  does — lose  his 
temper  occasionally:  "Look,  in  the  ex- 
citement and  tension  of  rehearsal,  maybe 
I'll  bawl  someone  out.  Just  that.  But  that's 
for  the  big  wheels.  Never  the  little  kids. 
Never  the  little  ones.  That's  for  sure." 

Not  such  a  "mystery  man,"  after  all, 
this  Arthur  Godfrey.  A  star  among  stars, 
yes.  A  master  showman,  surely.  But,  be- 
hind the  mikes  and  cameras,  very  much  a 
human  being. 


_- 


Charita' s  Guiding  Light 


(Continued  from  page  57) 
far.  And  she  needn't  worry  about  Michael 
for  the  rest  of  the  afternoon.  He  would 
be  off  the  streets,  playing  with  Peter 
Gabel,  Arlene  Francis's  boy,  and  his  oth- 
er  little   friends   in   his   cellar  workshop. 

Since  she  was  in  the  kitchen,  anyway, 
she  might  as  well  fix  herself  a  snack.  A 
few  moments  later,  she  was  curled  up  on 
a  sofa,  munching  a  sandwich,  poring  over 
the  travel  folders  which  were  her  favorite 
literature,  at  the  moment,  and  thinking 
that  life  could  be  very  good  indeed. 

If  Charita  gives  a  convincing  perform- 
ance each  day  in  The  Guiding  Light,  that 
absorbing  story  of  human  frailties  and 
emotional  development,  it  is  because  she 
is  not  unacquainted  with  such   problems. 

The  feeling  you  get  after  an  hour  or  two 
of  talking  with  Charita  is  that  you  have 
just  encountered  a  jeep  with  a  jet  motor — 
a  little  woman  with  enormous  drive.  But 
you  do  not  feel  worried  about  her.  Her 
hands  are  strong  and  capable  and  steady. 
She  shifts  from  chair  to  table-edge  to 
window  sill  as  lightly  as  a  bird — effortless- 
ly, hardly  seeming  to  move  at  all.  Her 
pleasant  voice  commands  attention.  She 
is  completely  without  self-consciousness, 
a  young  woman  with  a  mission — to  make 
a  success  of  her  job,  to  raise  her  child 
properly,  to  strive  for  the  best  in   life. 

Even  as  a  little  girl,  growing  up  in  her 
parents'  apartment  in  Jackson  Heights, 
on  New  York's  Long  Island,  she'd  had  a 
mind  of  her  own.  One  evening  when  she 
was  five,  she  packed  a  suitcase  with  a 
comb  and  brush  and  her  ballet  shoes,  and 
determinedly  stalked  out  of  the  apart- 
ment, the  big  suitcase  banging  against  her 
short  legs.  She  didn't  feel  like  going  to  bed 
early — and  if  her  mother  insisted  upon  it, 
why,  she  would  just  leave! 
~  She  returned  a  little  later,  remarking 
that  she  had  forgotten  her  toothbrush — 
and  then  allowed  herself  to  be  cajoled  into 
staying.  But  she  did  not  go  to  bed  early 
that  night.  However,  the  next  time  she 
found  herself  in  disagreement  with  her 
parents'  policies,  she  thought  twice  before 
attempting  to  avoid  her  little  problems 
by  running  away  from  them. 

Charita  can't  remember  when  she  didn't 
love  to  sing  and  dance,  or  when  she  didn't 
have  a  burning  ambition  to  be  an  actress. 
Her  father,  an  engineer,  could  afford  to 
send  her  to  special  classes.  Her  mother 
believed  in  encouraging  the  girl.  In  fact, 
Charita  was  an  only  child  and  there  wasn't 
much  that  she  wanted  that  wasn't  given 
to  her — even  if  they  did  expect  her  to  go 
to  bed  early  and  face  up  to  her  problems. 

The  first  time  she  ever  knew  the  thrill 
of  being  the  center  of  attention  and  ap- 
plause was  during  a  fashion  show  at  Bam- 
berger's department  store  in  Newark,  New 
Jersey.  She  was  still  a  small  child,  but 
that  taste  was  enough.  The  Brownie 
Scouts,  of  which  she  had  been  a  member 
for  three  weeks,  would  have  to  go  on 
without  her — a  professional  photographer 
had  asked  her  to  pose  for  him,  and  her 
folks  had  consented. 

She  was  a  professional  model  for  a  time — 
until,  one  day  when  she  was  fourteen,  a 
call  came  in  asking  her  to  model  some 
long  winter  underwear.  She  drew  the 
line  at  that  She  was  now  a  young  lady. 
She  had  attended  school  at  P.S.  12  in 
Woodside,  Long  Island,  until  she  was 
nine,  and,  since  then,  had  been  going  to 
the  Professional  Children's  School  in  New 
York,  where  the  curriculum  is  so  arranged 
that  if  a  youngster  is  away  on  tour — or 
has  to  skip  classes  because  of  professional 
commitments — he  can  do  the  work  at  other 
times  or  have  his  lessons  sent  to  him. 
Charita  did  a  great  many  of  her  lessons 
by  correspondence,  because  it  was  appar- 


ent from  the  beginning  that  she  was  a 
natural  for  show  business. 

The  list  of  the  Broadway  shows,  the 
summer  stock  and  the  radio  hits  in  which 
she  played  will  give  some  small  idea.  She 
was  in  "Thunder  on  the  Left,"  "Remem- 
ber the  Day,"  "The  Women,"  "Madame 
Capet,"  "The  Life  of  Riley,"  and  "Good 
Morning,  Corporal."  And  she  played 
stock  at  Skowhegan,  Millbrook,  the  Lake- 
wood  Playhouse,  Maplewood,  Locust  Val- 
ley, Bronxville,  and  dozens  of  other  well- 
known  summer  playhouses.  By  that  time, 
she  was  well  established  in  radio,  too.  She 
has  appeared  in  The  Lady  Next  Door, 
March  Of  Time,  Cavalcade  Of  America, 
Lux  Radio  Theater,  Second  Husband, 
Maudie's  Diary,  The  Aldrich  Family,  City 
Hospital,  Mr.  Keen,  My  True  Story,  FBI 
In  Peace  And  War  and  now — both  on 
television   and   radio — The   Guiding  Light. 

There  wasn't  much  time  for  romance. 
But,  during  the  emotional  war  years,  Cha- 
rita got  married.  The  marriage  was  not 
destined  to  last  long,  but  it  did  bring  young 
Michael  into  her  life,  and  for  this  she  is 
deeply   grateful. 

r  rom  the  first,  Charita  was  resolved  that 
Michael  should  have  the  best  of  every- 
thing, as  she  had  had.  To  provide  this, 
she  had  to  work.  But  she'd  have  done 
that,  anyway.  Charita  can't  help  working 
and  trying  to  make  a  good  job  of  it. 

But  there  had  to  be  a  home  for  Mike, 
too.  A  real  home.  Some  place  where 
Mike  could  play — with  someone  to  fix  him 
a  snack  when  he  returned  from  school 
while  Charita  was  away  at  work. 

She  made  up  her  mind.  The  next  day, 
she  made  the  suggestion  to  her  parents. 
And,  the  day  following,  Charita  was  hunt- 
ing for  a  house.  She  found  one  in  the 
East  Eighties,  a  tiny  brownstone  four 
stories  tall.  Many  things  were  wrong 
with  it — the  paint  and  plaster,  plumbing, 
electrical  wiring,  floors  and  woodwork 
were  indescribable.  But  it  was  a  sturdy 
house,  with  charm,  and  her  engineer  fath- 
er confirmed  her  belief  that  it  could  be 
made  into  a  real  home. 

"I  don't  know  how  long  it  took  us,"  Cha- 
rita said.  "We're  still  working  on  it.  We 
designed  all  the  changes  ourselves.  And 
when  I  walk  in  and  see  the  mahogany 
banisters,  the  finely  carved  mantels — all 
the  treasures  which  had  been  hidden 
under  layers  of  paint — well,  there's  a  re- 
ward in  that." 

And  now  Charita  has  had  her  cherished 
vacation  at  last.  With  her  money  saved 
and  her  tickets  bought,  with  a  new  ward- 
robe, and  a  free  heart,  she  took  off  with 
Elaine  Rost,  another  actress  and  dear 
friend,  for  Europe.  And  they  had  them- 
selves a  ball.  "I  didn't  get  much  out  of 
Paris,"  she  admits.  "I  don't  know  why. 
But  Venice — I'd  relaxed  by  then,  I  sup- 
pose, and  besides  it  was  so  beautiful.  I 
did  everything  there  was  to  do,  went 
everywhere.  I  rode  along  the  Grand  Ca- 
nal, soaking  it  all  up  like  a  sponge.  And 
then,  on  the  last  day,  I  stepped  out  of  a^ 
gondola  onto  a  landing  and  a  lady  waiting 
there  said,  in  a  fine  Midwestern  accent, 
'Why,  Bertha  Bauer,  whatever  are  you 
doing  way  over  here?'  It  gave  me  a  won- 
derful feeling,  being  recognized  like  that. 
It  was  time  to  go  home." 

And  "home"  was  there  waiting  for  her, 
even  more  wonderful  than  she'd  remem- 
bered it.  There  was  the  familiar  hum 
of  the  studios,  the  work  she  knew  and 
loved.  There  was  the  house,  and  her  be- 
loved parents,  and  her  son  Mike.  Above 
all,  there  was  Mike,  the  boy  Charita  Bauer 
wouldn't  trade  for  any  other  boy  in  the 
world — not  even  Bertha  Bauer's  boy,  of 
the  same  name,  on  The  Guiding  Light! 


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79 


Mother  Burton's  Gifts 


(Continued  from  page  40) 
(Mrs.  John  Almy),  "Pam's  Kathy  comes 
East  with  her  mother,  and  Virginia's  two 
little  girls — Heide  and  Diana  Lee — are 
with  us,  off  and  on,  through  the  year.  But, 
always  before,  it's  been  one  of  the  chil- 
dren, two  of  the  grandchildren.  This 
Christmas,  for  the  first  time,  they'll  all  be 
here — the  whole  bouquet  of  them! 

"And  in  our  own  home,  too — John's  and 
mine — which  makes  it  extra-special  to  me. 
For  this  actually  is  the  first  time  that  I 
have  had  a  home,  properly  speaking,  in 
my  adult  life.  I've  lived  in  apartments 
(mostly  furnished  apartments)  and  in 
hotels.  Now,  under  my  own  roof -tree,  here 
in  Westport,  we'll  have  all  our  family,  the 
tree  to  trim,  the  childrens'  stockings  to 
hang  by  the  chimney — our  own  chimney — 
and  the  carols  to  sing.  And  the  turkey 
dinner,  with  all  the  trimmings,  which  I 
will  cook  myself.  (I  may  not  be  a  good 
actress,  but  I  really  can  put  a  dinner  on, 
if  I  do  say  so  myself!)  And  the  fun  of 
unwrapping  gifts,  all  of  us  together.  And 
childrens'  toys,  doll-babies  and  drums  and 
scooters,  making  a  merry  clutter.  This  is 
Christmas. 

"This,"  Ethel  glows,  "is  riches.  .  .  .  And 
that  makes  me  think  of  the  many  riches 
with  which  my  life  is  filled,  of  the  many 
gifts  I've  been  given — not  all  of  them  at 
Christmas  time.  .  .  . 

"The  housecoat,  for  instance,"  Ethel 
laughs,  "the  housecoat  Jack  gave  me. 
Not  for  Christmas  but — thoughtful  as  he 
always  is,  and  not  needing  to  be  reminded 
by  Christmas  to  give  me  a  gift — several 
weeks  before  Christmas.  A  gorgeous  house- 
coat, yellow  velvet  studded  with  rhine- 
stones,  so  beautiful  you  could  eat  it!  I 
opened  the  box,  shook  out  the  lovely  thing 
— and  it  was  a  size  12. 

"When  I  asked  Jack,  'What  made  you 
think,  dear,  that  I,  who  wear  a  size  20, 
could  possibly  wear  a  size  12?' — his  answer 
was  even  more  beautiful  than  the  gift  he 
gave:  'I  told  the  saleswoman,'  he  said, 
'what  you  look  like.' 

"Jack  loves  to  hear  me  on  radio,  seldom 
misses  CBS  Radio's  The  Second  Mrs.  Bur- 
ton, in  which  I  have  the  featured  role  of 
Mother  Burton.  He  enjoys  seeing  me  on 
television,  too — providing  that  he  can  be 
in  the  studio  audience.  He  gets  nervous  if 
he  watches  me  on  TV  at  home!  He  has 


gone  all  the  way  to  Brooklyn  to  watch 
me  when  I  did  the  Betty  Hutton  NBC- 
TV  spectacular  there.  He's  always  been  in 
the  audience  when  I've  been  on  The  Jackie 
Gleason  Show.  But  he  doesn't  like  his  'pic- 
ture' of  me  disturbed,  which  is  proven 
by  the  fact  that  he  does  not  like  to  see  me 
do  gun  molls,  or  rough  or  shabby  women 
of  any  kind.  On  Treasury  Men  In  Action, 
not  long  ago,  I  played  what  I  considered 
one  of  the  best  and  most  challenging  roles 
I've  ever  had.  But  Jack  found  it  rather 
disturbing  to  see  me  in  such  a  villainous 
role.  He  insists  upon  seeing  me  as  'the 
perfect  lady.'  This  is  another  of  the  'gifts' 
he's  given  me.  And  I  treasure  it. 

"Speaking  of  radio  and  television,  work 
— the  ability  to  work — is  a  real  gift,  too.  I 
think  work  is  the  most  important  thing  in 
the  world.  To  be  a  part  of  the  working 
world  is  wonderful.  You  get  such  a  feeling 
of  inner  satisfaction.  You  get  so  much 
more  respect  from  everyone,  from  your 
husband  on  down  .  .  . 

"The  children  are  extremely  proud  of 
me — and  that's  a  gift,  your  children's  pride 
in  you — and  so  are  the  grandchildren. 
They're  very  proud  of  me.  They  spot  me, 
sometimes  unexpectedly,  on  a  TV  show 
and  they  shout,  'There's  Grandma!  There's 
Grandma!'  When  I  played  Betsey  Trot- 
wood  in  Robert  Montgomery's  two-part 
version  of  'David  Copperfield'  last  year, 
all  three  of  them  were  permitted  to  sit 
up  and  'see  Grandma  as  Betsey  Trotwood.' 

"Occasionally,"  Ethel  laughs,  "their  'pride 
goeth  before  a  fall' — as  when  Kathy  told 
some  of  her  little  playmates  in  Hollywood, 
'My  grandmother  is  on  The  Jackie  Glea- 
son Show.'  One  of  the  group  jibed,  'Oh,  she 
is  not — they  don't  have  old  ladies  on  The 
Jackie  Gleason  Show!' 

"But  I  was,"  Ethel  laughed  again,  "and 
they  do.  I've  been  on  the  Gleason  show 
many  times,  as  a  matter  of  fact,  and  have 
played  many  characters — Aunt  Ethel,  for 
one,  and,  in  other  Honeymooners  sketches, 
I  wear  a  red  wig  and  play  Audrey  Mead- 
ows' mother  And  I  love  every  minute  of 
it.  I've  worked  with  most  of  the  comedians 
in  the  business,  I  think,  and  one  of  my 
fondest  memories  is  my  first  appearance 
with  Gleason — when  he  put  me  on  my 
mettle  in  a  'Rudy  the  Repairman'  sketch. 
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to  the  words  in  rehearsal.  So  the  surprise 
elements  of  the  show  were  as  great  to  me 
as  they  were  to  the  audience.  Beyond 
speaking  my  lines,  all  I  had  done  was  to 
follow  instructions:  'You're  a  trouper,' 
Jackie  had  said.  'Just  get  in  my  way  as 
much  as  possible.  Good  hick — and  away  we 
go!'  And  so  we  did,  to  a  photo  finish. 

"I  love  the  business,  the  people  in  the 
business,  and  being  one  of  them  is  certain- 
ly another  gift  given  me  which  I  hope 
will  never  be  taken  away  from  me. 

"Another  gift,  this  one  intangible — not, 
that  is,  wrapped  in  tissue  paper  and  tied 
with  ribbons — is  my  sense  of  humor,  which 
has  carried  me  through  life  when  life  was 
not,  for  me,  the  way  it  is  today  .  .  .  over  a 
very  rough  period,  for  instance,  when  I 
was  left  a  young  widow  with  three  small 
girls.  (The  oldest,  Mary,  was  then  a  mere 
seven  years  old.) 

After  studying  many  possibilities,  I 
decided  to  capitalize  on  the  family  hobby 
— raising  Doberman  Pinschers — as  a  means 
of  livelihood.  I  had  modest  kennels  and 
proceeded  to  enlarge  upon  them  by  adding 
eighty  more.  I  hired  a  veterinarian  and 
established  the  project  as  a  full-fledged 
animal  hospital.  We  opened  with  six 
'patients' — my  own  dogs — but  soon  had 
any  number  of  other  dogs,  cats,  monkeys, 
and  even  lions!  Within  five  years,  I  had 
liquidated  some  of  the  mortgage  and  most 
of  my  fears. 

"I  faced  the  fact  that  not  only  the  en- 
tire inheritance  of  my  children  but  a  sub- 
stantial amount  of  borrowed  funds  were 
represented  in  this  challenging,  but  highly 
problematic,  project.  During  the  first  years, 
by  grim  necessity,  I  drew  on  every  talent 
I  possessed  and  on  many  I  never  knew  I 
had.  Under  the  tutelage  of  the  able  vet- 
erinarian I  employed,  I  learned  to  give  the 
anesthetics,  also  became  the  hospital  dieti- 
tian for  our  clientele  (including  the  lions 
and  the  bears). 

"It  was  during  these  years  that  I  first 
appreciated  the  laughs  and  what  they  can 
do  for  you  .  .  .  - 

"One  day  a  woman,  a  stranger  to  me, 
phoned.  'Mrs.  Owen,'  she  said,  'you  have  a 
reputation  for  being  very  kind  and — well, 
I  am  so  fond  of  my  little  dog,  so  fond 
that  no  one  will  take  the  responsibility  for 
him.  Now,  I  am  going  away  overnight  and 
if  I  may  leave  him  with  you  .  .  .' 

"  'Bring  him  along,'  I  said,  'and  his  own 
pillow.  Helps  when  they're  homesick.' 

"  'Oh,  but  you  don't  understand,'  his 
owner  said,  'I  want  him  to  sleep  in  your 
bed!' 

"Needless  to  say,  we  couldn't  accom- 
modate the  dog. 

"Another  woman,  a  regular  client,  went 
to  Europe  and  left  her  two  pets — not  pure- 
breds,  just  dogs — with  me.  She  wrote  them 
cards  every  day,  one  to  each  of  them,  from 
Europe.  The  first  few  weeks  we  had  them, 
they  wouldn't  eat  or  sleep,  lost  weight. 

"Now  this  woman  had  a  peculiarly 
pitched  voice,  and  one  day,  playing  a 
hunch,  I  picked  up  the  cards  and  read 
what  she  had  written  to  her  dogs  in  her 
tone  of  voice.  Well,  they  nearly  went 
crazy  with  joy,  tore  the  place  down,  ate, 
slept,  were  just  fine  and  didn't  seem  to 
care  when  the  owner  returned. 

"Understanding  now  how  to  relieve  the 
homesickness  of  the  pets  in  my  care,  I  be- 
gan to  improve  upon  my  just-discovered 
gift  of  mimicry.  The  pampered  Pomera- 
nian of  a  doting  old  lady  was  cajoled  into 
eating,  the  local  organ-grinder's  monkey 
dried  his  tears,  even  a  lion  relaxed. 

"Another  gift  given  me,  as  a  result  of 
this  experience,  was  gratitude — the  grati- 
tude of  the  animals  whose  pain  or  fear  or 


homesickness  I  helped  relieve.  Animals 
are  so  grateful — more  so,  I  suspect,  than 
many  human  beings. 

"Another  gilt-edged  bonus  given  me  as 
a  result  of  the  animal  hospital  work  was, 
actually,  the  work  I  am  doing  now.  For, 
when  one  of  the  local  newspapers  signed 
me  to  write  a  daily  column  of  advice  on 
pets,  its  success  brought  me  an  offer  from 
a  local  radio  station  to  broadcast  a  daily 
program,  not  only  on  pet  problems  but  on 
household  problems,  as  well.  Since  I'd 
always  loved  the  theater  and,  before  I 
married,  had  enjoyed  some  stage  success, 
I  promptly  accepted  the  offer,  took  to  the 
air  like  a  bird — and  here  I  am! 

"The  laughs,  I  am  happy  to  say,  I  al- 
ways have  with  me,  in  strange  circum- 
stances and,  at  times,  in  somewhat  inap- 
propriate places.  In  church,  for  instance, 
the  Episcopal  Church  in  Pelham,  New 
York,  where — three  weeks  after  our  first 
meeting — I  walked  down  the  aisle  to  ex- 
change the  marriage  vows  with  John  Almy. 
It  was  the  first  time  I  ever  had  stage 
fright,  by  the  way.  I  was  petrified.  Walk- 
ing down  the  aisle,  my  knees  shook.  In 
repeating  the  vows,  my  voice  shook.  Mary 
was  my  matron  of  honor.  The  elder  of 
John's  two  sons  was  his  best  man. 

"Photographers  were  among  those  pre- 
sent and,  as  we  were  greeting  our  guests 
in  the  church  vestibule  immediately  after 
the  service,  I — in  my  conservative  blue 
suit  and  hat — was  elbowed  aside  by  one 
of  them  with  a  breathless:  'Will  you  step 
out  of  the  way  for  just  a  minute,  please. 
We  are  here  to  get  pictures  of  the  bride.' 
Whereupon  he  wheeled  about  and  trained 
his  lens  on  my  daughter  Mary! 

"Fortified  by  my  hat  (which,  while  con- 
servative, was  a  fabulous  Laddie  North- 
ridge),  by  the  orchids  ornamenting  my 
shoulder  and  by  the  sense  of  happiness 
that  was  mounting  in  me,  full  tide,  I  said, 
'But  I  am  the  bride.' 

"This  was  six  years  ago  and  I  have  prov- 
identially forgotten,"  Ethel  laughs  her 
full-throated  laugh,  "the  expression  the 
young  man's  face  must  have  worn. 

"Six  years  ago.  But  I  have  not  forgot- 
ten, and  never  will,  that  this  day  put  a 
period  to  the  lonely  years,  twenty  of 
them.  .  .  . 

W  ithout  the  children,  those  years  would 
have  been  unbearably  lonely.  Even  with 
the  children — who  had,  as  children  must 
have,  their  own  lives — they  were  extreme- 
ly lonely.  For,  when  you  are  alone,  you 
are  always— no  matter  how  many  social 
activities  you  may  have — the  fifth  wheel 
on  the  wagon.    The  'odd  'un.' 

"  'Mother,'  the  children  used  often  to 
say,  'you  ought  to  go  out  more.'  Many 
times  I'd  get  all  dressed  up,  tell  them 
gaily,  'I'm  going  out!'  Then,  after  they 
were  in  bed,  I'd  take  my  glad-rags  off, 
satisfied  that  they'd  gone  to  sleep  happily 
believing  I  was  having  'a  good  time.' 

"Even  the  lonely  hours  had  a  gift  to 
give,  however,  for  it  was  during  that  time 
I  became  a  good  cook.  Many  a  night, 
when  I  was  supposed  to  have  'gone  out,' 
I  was  out  in  the  kitchen  poring  over  cook- 
books (of  which  I  now  have  a  collection 
of  fifty) ,  experimenting  with  recipes,  learn- 
ing about  herbs,  developing  a  food  sense. 

"Not  until  after  I  met  Jack,  and  married 
him,  did  I  actually  realize  how  dreadful 
it  is  to  be  alone,  just  dreadful!  Now, 
when  Jack  drives  me  to  the  station  in  the 
morning,  as  he  always  does — and,  best  of 
all,  when  I  see  him  there  waiting  for  me 
at  night — that's  something!  That's  pretty 
much  everything.  It's  the  cared-about 
feeling,  as  when  he  realizes,  without  my 
saying  so,  that  I'm  tired,  and  he  says, 
'Let's  eat  out  tonight.  It  will  be  more  re- 
laxing for  you.' 

"If  I  really  want  to  eat  dinner  out," 
laughs    Ethel,   who   is    100%    feminine,    "I 


can  get  that  feeling-tired  look  very  quick- 
ly! I'm  as  good  an  actress  at  home  as 
on  mike,"  she  laughs  again,  "probably 
better! 

"But  it's  wonderful.  He's  just  wonder- 
ful! He's  toned  me  down  considerably, 
without  knowing  it.  He  hasn't  meant  to. 
Just,  you  might  say,  automatically.  He 
isn't  geared  to  the  pitch  I'm  geared  to. 
An  executive  of  The  Metropolitan  Life  In- 
surance Company  for  forty  six  years  (now 
retired) ,  he  is  a  dignified  man.  And  that's 
the  way  I  like  it. 

"The  companionship  is  wonderful.  We 
have  fun  together.  At  night,  just  pick- 
ing up  after  dinner — fun!  Dinner  guests 
(we  like  to  entertain)  and  talking  over 
the  evening  after  the  guests  have  gone — ■ 
fun!  Discussing  any  changes  for  our 
home  and  its  furnishings — although  he 
leaves  the  decorating  entirely  to  me,  and 
he  approves  the  Williamsburg-green  shade 
I  chose  for  our  living-room  walls,  the 
green-and-white  striped  French  Provin- 
cial furniture,  the  pale  blue  and  sort  of 
lilac  and  magenta  of  our  bedroom. 

"We  adapt  so  well,  one  to  the  other.  I 
don't  have  any  hobbies,  other  than  trying 
out  new  recipes.  I  cook,  love  to  cook.  In 
our  home  I  am  the  cook.  The  decorating 
of  our  home  was  another  'best  thing'  to 
me.  And  the  rose  garden  we  started  last 
spring — we  planned  it  ourselves  too — this, 
to  me,  who  never  had  any  growing  things 
before,  was  a  thrill.  We  have  five  bloom- 
ings, too!  Giant  American  Beauty  roses 
in  vases,  the  summer  long. 

"But  food  and  homes  and  gardens  are 
not  hobbies,  they're  basics.  When  I  say 
I  have  no  hobbies,  I  mean  that  I  don't 
play  bridge  or  Scrabble.  I'm  not  a  col- 
lector of  anything.  I'm  not  an  outdoor 
type,  I  don't  play  golf.  I  don't  play  ten- 
nis. I  don't  like  to  travel.  I  don't  like 
exercise.  I  don't  even  like  to  walk.  If  I 
get  thin — thin  enough  to  wear  that  size 
12! — it's  going  to  be  pounded  off  me!  I'm 
not  very  clothes-conscious.  I  should  be, 
but  I'm  not.  I'm  a  big  woman  and  so  I 
am  obliged  to  buy  good  clothes — the  best 
— and  I  do.  But  I  can  bring  them  out 
year  after  year — and  do. 

"Jack,  on  the  other  hand,  is  a  man  of 
many  hobbies.  He  hunts  and  he  fishes 
and  he  plays  golf.  He  was,  at  one  time, 
All-American  quarterback  at  the  Univer- 
sity of  Southern  California.  That  he  has 
so  many  interests — this,  too,  is  fortunate, 
for,  it  means  that  when  I  am  working,  his 
time   is  fully   occupied,  too. 

"It  is  all  so  fortunate,  for  you  can  really 
make  a  great  mistake,"  Ethel  says,  not 
laughing,  "when  you  get  to  be  a  woman 
of  my  age.  A  lonely  woman  of  my  age. 
You're  liable  to  be  gullible.  But  this 
seemed,  from  the  moment  we  met,  to  be 
so  right.     It  is  so  right.   .   .   . 

"And  don't  ever  let  anyone  tell  you,  by 
the  way,  that  finding  romance  after  you 
become  a  grandmother  is  less  romantic 
than  when  you  were  young.  It  is  far 
more  romantic.  For  when  you  marry  at 
this  age,  you  know  that  you  really  want 
this  man.    And  that  he  wants  you. 

"So,  on  this  Christmas  day,  I  count  my 
gifts  .  .  .  those  under  the  tree  .  .  .  those 
in  my  heart.  John.  Our  home.  Our  hap- 
piness. My  children  and  my  pride  in  them. 
The  thrill  of  watching  these  little  chil- 
dren grow  up — my  grandchildren.  The 
ability  you  have,  as  a  grandmother,  to  sit 
back  and — with  less  responsibility  than 
you  ever  have  as  a  mother — drool  over 
them.  My  work.  And  my  love  of  it.  The 
laughs.  And  the  gift  of  awareness — which 
encompasses  all  the  other  gifts — that  this, 
for  me,  is  the  way  it  is,  the  lovely  way, 
the   abundant  way. 

"How  could  I  not  believe  in  Santa 
Claus?  I  do  believe  in  him.  I  do,"  says 
this  grownup  who  looks  as  young  and  as 
happy  as  she  feels,  "I  do,  indeed!" 


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Heart  of  a  Child 


(Continued   from   page   34) 
school  work."    And  the  choke  in  his  voice 
didn't  help  the  lisp  on  his  tongue,  as  he 
added,     "But,     every    time     I    open    my 
mouth,  the  kids  laugh.    What  can  I  do?" 

Pinky's  teachers  were  usually  sympa- 
thetic, and  they  tried  talking  to  the  other 
children  in  the  class.  But,  within  a  few 
days,  the  teachers'  admonitions  were  for- 
gotten. Soon,  Pinky  stopped  volunteering. 

There  are,  in  this  country,  millions  of 
parents  whose  children  are  different. 
Some  youngsters  have  a  speech  defect  like 
Pinky's,  some  an  odd  birthmark  which 
makes  them  self-conscious.  Others  have 
more  tragic  physical  handicaps.  But  all 
parents  with  a  "different"  child  face  a  sim- 
ilar problem:  How  to  help  their  child  to 
develop  into  a  happy,  self-confident  adult. 

Today,  thirty -odd  years  later,  Pinky  Lee 
has  turned  his  disadvantages  into  advan- 
tages. His  lisp  has  taken  him  into  the 
hearts  of  some  15,000,000  American  chil- 
dren between  the  ages  of  three  and  thir- 
teen, and  his  short  stature  has  made  him 
a  giant  in  the  entertainment  industry. 

About  five-foot-nothing  in  his  stocking 
feet — his  trademark,  a  checkered  coat, 
covering  him  like  the  dust  cloth  on  a 
magic  lamp — Pinky  has  become  something 
of  a  twentieth-century  genie.  His  black 
eyes  flash  like  marbles  in  the  sun,  under 
the  brim  of  his  famed  dinky  hat,  and  the 
kids  follow  him  like  the  Pied  Piper. 

Made  doubly  sensitive  to  the  needs  of 
children  by  the  memories  of  his  own 
childhood,  Pinky  has  become  their  special 
confidant  and  friend.  His  audience,  spread 
out  across  3000  miles,  write  him  five  to  six 
thousand  letters  a  week,  detailing  their 
problems.  A  half-million  other  children 
in  Southern  California  have  all,  at  one 
time  or  another,  made  the  trip  to  that 
magic    place — the    NBC    Burbank    Studio. 

x  inky's  heart  goes  out  most  to  the  chil- 
dren who,  like  himself,  have  problems  of 
feeling  different.  Out  of  his  experiences 
with  youngsters,  with  his  own  background 
of  troubled  childhood — and  with  his  sub- 
sequent success  to  point  to — Pinky  thinks 
he  can  help  the  children  and  the  parents. 

"Treat  them  naturally,"  he  says.  "That's 
the  first  thing  to  remember.  Sure,  if  your 
child  is  too  short,  or  if  he  lisps  or  has 
some  other  defect,  it  naturally  upsets  par- 
ents. But,  if  the  parents  show  they're 
upset,  the  child  can  only  reflect  it. 

"You  have  to  ask  yourself  this  question: 
Does  any  defect,  no  matter  how  serious, 
make  a  child  unhappy?  I  would  say  that 
answer  is  no.  But,  if  the  parents,  from 
the  very  beginning,  keep  the  child  sep- 
arated from  others  his  own  age,  if  they 
overprotect  him,  then  he  can't  help  but 
grow  up  with  a  feeling  of  being  different. 

"But  if  his  parents  let  him  travel  with 
children  of  his  age  group,  let  him  mingle, 
and  ignore  his  little  difference  as  though 
it's  not  of  great  importance,  then  the 
youngster  will  accept  the  idea  that  he's 
a  regular  fellow." 

Pinky's  parents,  for  example,  recognized 
Pinky's  lisp  early  in  his  infancy.  It  was 
hereditary.  There  was  nothing  they  could 
do  about  it,  so  they  ignored  it.  Pinky 
later  grew  up  to  ignore  it,  too.  "I'm  not 
conscious  of  the  lisp,"  he  says  today,  "ex- 
cept when  other  people  point  it  out." 

However,  in  his  childhood  the  lisp  was 
more  prominent  and  Pinky  was  constantly 
teased  about  it.  His  parents  knew  this 
would  happen.  They  fought  this  childish 
T  cruelty  with  greater  love  and  understand- 
ing at  home.  But  they  knew,  according 
to  Pinky,  that  the  best  thing  for  him  was 
8  to  send  him  out  as  early  as  possible  to  be 
with  the  other  children.  If  he  were  shut 
up  every  day  after  school  for  protection, 
oZ 


then  the  days  he  had  to  go  out  would 
make  the  remarks  ten  times  worse.  If  he 
learned  to  take  the  jibes  every  day,  he 
would  soon  get  used  to  them.    He  did. 

But  much  of  his  childhood  was  painful 
for  Pinky.  In  addition  to  his  small  size 
and  lisp,  his  family  was  poor.  His  father 
was  the  orchestra  leader  at  the  Garrick 
Theater  in  St.  Paul,  Minnesota,  and  later 
a  sales  manager  for  the  Royal  Lemon 
Washing  Powder  Company.  When  Pinky 
was  thirteen,  he  went  to  a  high  school 
prom.  Since  he  didn't  have  money  for  a 
new  suit,  he  was  forced  to  wear  the  fancy 
tux  which  was  intended  for  stage  appear- 
ances. At  that  time,  Pinky  was  little  more 
than  four  feet  tall.  "My  girl,"  he  says, 
"was  at  least  five-foot-ten.  And  my  full- 
dress  costume  made  me  as  different  from 
the  others  as  night  from  day." 

However,  Pinky  feels  that  some  pain  is 
necessary.  The  child  who  is  different  can- 
not forever  be  tied  to  his  mother's  apron 
strings.     He  must  get  out  and  mingle. 

Every  child  with  a  defect  will  be  hap- 
pier if  treated  without  pity.  This  is  Pinky's 
second  bit  of  advice  to  parents.  "I  re- 
member a  boy  in  the  neighborhood,"  he 
recalls,  "with  a  pronounced  birthmark  on 
one  side  of  his  face.  His  mother  had  three 
other  children  who  did  all  the  chores 
around  the  house — the  boy  did  nothing. 
He  was  pampered.  As  a  result,  he  soon 
learned  he  could  get  away  with  anything. 
He  was  mean  to  his  sisters,  snippy  with 
his  mother,  enjoyed  a  chip-on-the-shoul- 
der  'popularity'  with  the  other  children. 

"I  can  understand  how  parents  can  be- 
come over-easy  with  such  a  child,  feel  too 
sorry  for  him  for  the  child's  own  good, 
expect  too  little  from  him.  But  pity  is  a 
drug.  Though  kids  resent  it,  they  can 
easily  come  to  rely  on  it." 

Pinky  received  no  pity  from  his  own 
parents.  Love  and  understanding,  yes. 
But  pity,  no.  For  example,  late  one  after- 
noon, on  his  way  home  from  the  theater 
where  he  performed  as  a  child,  Pinky  fell 
into  an  ambush  of  young  thugs  on  a  street 
corner  in  St.  Paul.  For  days,  the  gang 
had  been  riding  him  about  his  fancy  show 
costume.  That,  together  with  his  lisp,  was 
reason  enough  for  them  to  jump  on  the 
"sissy."  Pinky  says  the  battle  lasted  three 
hours  before  the  gang  gave  up.  When  he 
finally  arrived  home,  his  mother  clucked 
over  him  for  a  few  minutes.  But  his  fath- 
er, seeing  no  permanent  damage,  only 
wanted  to  be  reassured  that  his  son  had 
won.  Pinky  had  expected  a  little  pity,  he 
was  surprised  when  he  didn't  get  it — then 
grateful  that  he  hadn't. 

Love  each  child  for  himself.  That's 
Pinky's  final  bit  of  advice  to  parents  with 
different  children.  "I  knew  a  twelve- 
year-old  boy  in  the  East,"  says  Pinky, 
"who  was  tiny,  just  as  I  was  as  a  child. 
He  had  a  ten-year-old  sister  who  already 
was  taller  than  he.  His  parents  felt  this 
was  a  major  tragedy.  They  kept  urging 
him  to  eat,  saying,  'Eat!  Sister  is  already 
twice  your  size.'  The  poor  kid — he  was 
reminded  at  the  dinner  table  how  short 
he  was!     How  could  he  have  an  appetite? 

"What  children  need  is  confident  reas- 
surance. A  child  may  wear  glasses,  be 
short  for  his  age,  have  any  of  a  thousand 
things  wrong.  Every  once  in  a  while,  he 
needs  to  be  told  that  it's  not  important." 

His  own  parents,  says  Pinky,  were 
everything  a  boy  could  expect.  They  were 
loving,  kind,  understanding.  His  orches- 
tra-leader father  encouraged  his  early 
interest  in  music.  His  father  considered 
Pinky  a  prodigy,  with  his  God-given  voice. 

Pinky  sang  his  first  song,  "When  You 
Wore  a  Tulip" — lisp  and  all — at  the  age  of 
three.  At  five,  he  made  his  first  amateur 
appearance  at  the  Blue  Mountain  Theater 


in  St.  Paul.  He  then  traveled  with  kiddie 
shows,  dancing  and  singing  such  songs  as 
"Hurray,  Hurray,  It's  a  Ray,  Ray,  Rainy 
Day"  and  "Pretty  Baby."  Everybody 
loved  Pinky,  and  he  was  a  great  success 
in  the  kiddie  circuit.  But,  on  his  thir- 
teenth birthday,  his  voice  changed  and 
he  woke  up  out  of  work. 

Pinky  talked  his  part  of  the  act  until 
his  voice  finally  settled  down.  In  the 
meantime,  he  added  to  his  dance  routines. 
That  was  in  1927  and  Pinky  invited  all 
the  hungry  performers  to  his  home  for 
dinner  on  the  promise  that  they  would 
teach  him  their  dance  steps. 

After  thirteen,  Pinky  went  into  St. 
Paul's  Mechanic  Arts  High  School.  He 
taught  himself  to  play  the  drums  and 
learned  to  read  music.  At  that  time,  he 
longed  to  become  an  attorney,  but  the 
jokes  of  his  school  chums  changed  his 
mind.  He  found  he  could  easily  make 
them  laugh,  so  he  turned  to  comedy.  But 
Pinky's  mother  wanted  him  to  be  any- 
thing excepting  "a  hungry  actor." 

Pinky  found  that,  whenever  he  talked 
seriously  on  a  subject,  his  lisp  got  laughs. 
It  was  not  such  a  long  step  frbm  that  into 
musical  comedy  stock,  and  later  into  vaud- 
eville. Then,  for  a  short  period,  he  fol- 
lowed his  mother's  wishes.  When  his 
father  became  sales  manager  for  the  Royal 
Lemon  Washing  Powder  Company,  Pinky 
joined  him  on  the  road. 

He  bought  his  first  car,  a  1931  Stude- 
baker,  and  visited  all  the  "hard-sell" 
stores  in  three  Eastern  states.  Pinky 
thought  his  lisp  might  be  a  deterrent  to 
successful  selling,  but  he  decided  to  live 
above  it.  His  success  proves  that  the  at- 
titude is  more  important  than  the  defect. 

Then  came  a  reunion  with  Gus  Edwards, 
impresario  of  Pinky's  childhood  act.  Gus 
wanted  Pinky  for  vaudeville,  arid  the 
smell  of  grease  paint  soon  washed  soap- 
selling  out  of  Pinky's  system.  After  his 
contract  with  Edwards  was  up,  Pinky  went 
into  "Rice  Pudding,"  as  a  song-and-dance 
man,  with  Felix  Rice  at  the  piano  and 
singer  Bobbie  Arnst.  There  were  times- 
after  the  talkies  came  in  and  vaudeville 
suffered — when  Pinky  got  by  on  two  or 
three  dollars  a  week,  stayed  in  the  New 
York  YMCA,  lived  on  bread  and  water. 

Then  came  a  lucky  break  at"  the  Fox 
Theater  in  Detroit,  where  he  was  held  over 
for  eight  weeks.  He  joined  Al  Jolson  in 
"The  Singin'  Fool,"  in  Chicago.  And, 
from  there,  he  went  to  the  Academy  The- 
ater in  New  York. 

Pinky  met  his  wife  BeBe  in  1932  while 
playing  at  the  Academy  on  the  Fanchon 
and  Marco  Circuit.  On  the  bill  were 
twelve  songwriters  playing  six  pianos, 
singing  their  own  songs.  Al  Sherman, 
one  of  the  twelve,  and  his  wife  were  kind 
to  Pinky.  Pinky  said  he  wished  Al's  wife 
had  a  sister.  The  next  Sunday,  he  did, 
indeed,  meet  sister  BeBe.  They  were 
married  in  a  judge's  chambers,  spent  their 
honeymoon  on  a  trip  to  St.  Paul,  and  then 
bought  a  Chevrolet  touring  sedan — for 
$75.00 — and  went  back  on  the  Fanchon 
and  Marco  circuit.  In  the  winters,  they 
stuffed  newspapers  under  the  floorboards 
of  their   Chevrolet  to  keep   out  the   cold. 

After  thirty  years  of  hard  knocks  in 
show  business,  and  the  insecure  years  of 
his  own  troubled  childhood,  Pinky  has 
found  the  place  where  he  really  belongs — 
in  the  hearts  of  15,000,000  children. 

Pinky  says  it  was  his  destiny  that  God 
blessed  him  with  a  small  frame  and  a 
lisp — so  that  these  same  children,  who 
watch  him  daily,  would  more  readily  ac- 
cept him  as  one  of  their  own,  making  it 
easier  for  him  to  come  into  their  hearts, 
bringing   all   the   happiness   they    deserve. 


They  Count  Their  Blessings 


(Continued  from  page  47) 
last.  They  are  also  learning  that,  in  ad- 
dition to  the  laws  of  God  and  of  country, 
there  is  also  the  law  of  the  family.  The 
family  in  which  each  has  his  own  special 
place  that  no  one  else  could  possibly  fill, 
and  where  no  one  therefore  must  attempt 
to  usurp  the  rights  of  any  of  the  others. 

All  this  took  a  little  doing  in  the  begin- 
ning, especially  among  the  younger  chil- 
dren. Sandy,  now  eight,  came  from  Ken- 
tucky to  join  the  Rogers  household  about 
two  years  ago  and,  at  first,  Dusty — just  a 
year  older  than  Sandy  and  usually  the 
most  lovable  and  generous-hearted  little 
boy — rather  resented  this  newcomer  play- 
ing with  his  favorite  toys.  Roy  tells  how 
Dusty  began  to  hide  his  toys  under  the  bed. 
"We  understood  how  he  felt  when  one  day 
he  asked,  'How  long  is  he  going  to  be 
around  here?'  But  soon  he  wanted  to  share 
everything  he  had  with  his  new  brother, 
and  to  help  make  a  place  for  him  in  the 
family  circle." 

Dale  tells  how,  when  they  brought 
Dodie  home,  the  children  noted  her  big 
black  button  eyes  and  the  straight  black 
Indian  hair.  Dale  and  Roy  explained  that 
Dodie  was  part  Choctaw — the  same  strain 
of  which  there  is  a  little  in  Roy.  Dusty  was 
the  one  who  piped  up.  "Mom,  when  she 
grows  up  she's  going  to  be  an  Indian!" 
This  was  their  chance  to  impress  upon  all 
the  children,  as  they  had  many  times  be- 
fore,' that  their  Heavenly  Father  loves 
every  race  and  color  equally  and  that  all 
are  really  one  under  God.  They  pointed 
out,  too,  how  strange  they  themselves 
must  sometimes  seem  to  people  of  other 
races  and  countries.  It  was  a  practical  les- 
ion but  they  hardly  needed  it,  because 
Dodie  so  quickly  smiled  her  way  into  all 
their  hearts. 

This  is  not  to  say  that  all  is  sweetness 
and  light  all  the  time  in  the  Rogers  house. 
Apologies  must  be  made  by  the  kids  from 
time  to  time  for  unkind  things  said  and 
done  during  childish  quarrels,  for  be- 
longings "borrowed"  without  permission, 
for  rights  trampled  upon.  On  New  Year's 
Eve,  however,  each  child  resolves  to  try  to 
overcome  the  shortcomings  that  might 
spoil  the  peace  and  harmony  of  the  family, 
as  well  as  to  work  and  pray  for  those 
things  he  wants  to  come  to  pass  in  his  own 
life. 

Ever  since  Roy  and  Dale  have  been  rid- 
ing in  the  Pasadena  Rose  Parade  on  New 
Year's  Day,  they  have  had  to  be  in  Pasa- 
dena the  night  before,  leaving  the  children 
at  home,  where  they  can  watch  the  parade 
next  day  on  television,  in  common  with 
millions  of  kids  all  over  the  country.  Be- 
fore their  parents  leave,  the  children  de- 
clare their  resolutions— "So  we  can  all  help 
by  reminding,  when  they  are  tempted  to 
break  them." 

Cheryl  Rogers,  who  is  fifteen,  and  the 
Scottish  foster-child,  Marion  Fleming,  just 
fifteen  in  December,  are  the  oldest.  They 
are  classmates,  and  both  are  musical  and 
have  marked  aptitudes  for  show  business. 
What  they  will  do  about  it  remains  to  be 
seen,  but  Cheryl  seems  more  inclined  to 
think  that  marriage  and  a  family  of  her 
own  will  take  first  place  in  her  life  when 
she  finishes  her  schooling.  This  is  good, 
her  parents  agree. 

Marion  can  make  her  own  choice  about 
remaining  with  the  Rogers  when  she  fin- 
ishes high  school,  or  she  can  go  back  to 
Scotland.  There  seems  little  doubt  that  she 
will  remain  and  become  a  United  States 
citizen.  Dale  and  Roy  met  Marion  in  Glas- 
gow at  the  childrens'  home  where  she 
lived,  when  they  toured  the  British  Isles 
in  the  winter  of  1954.  The  little  girl,  then 
thirteen,    sang    in    the    entertainment    the 


children  put  on  for  the  guests,  and  she 
captured  their  hearts.  This  will  be  her 
second  Christmas  with  her  new  family. 

Linda — sometimes  more  formally  ad- 
dressed by  her  full  name  of  Linda  Lou — is 
a  sensitive,  lovely  little  girl  who,  at  twelve, 
is  a  fine  potential  comedienne.  She  is  also 
a  born  homemaker,  sweet  and  understand- 
ing with  younger  children.  Her  parents 
think  Linda  may  become  a  teacher,  or  a 
nurse,  if  she  doesn't  follow  some  branch  of 
show  business. 

Nine-year-old  Dusty  is  like  his  dad,  in 
appearance  and  manner  and  disposition, 
and  he  bears  his  daddy's  name.  But  no 
one  would  ever  address  this  shy,  lovable 
little  boy  by  the  imposing  name  of  Roy 
Rogers,  Jr.  Just  like  Roy,  he's  a  fellow  who 
doesn't  do  a  lot  of  talking,  but  thinks 
things  out  for  himself.  "Dusty  has  a  nice 
voice,  but  it's  too  early  to  predict  what  he 
will  do,"  his  daddy  says.  "He  did  just  fine 
in  a  small  part  in  one  of  our  TV  pic- 
tures, but  he  has  some  other  ideas  for  the 
time  when  he  gets  all  grown  up." 

Sandy  is  the  extrovert  among  the  males 
of  Rancho  Rogers.  He  is  Dusty's  direct  op- 
posite, a  talkative  little  fellow  who  bubbles 
over  with  mischief  and  fun.  Dale  has  an 
idea  that  Sandy  might  go  into  the  ministry, 
something  they  would  be  very  happy 
about.  The  family  thinks  that  Sandy  would 
attract  folks  to  church  through  the  sheer 
joy  in  living  that  he  radiates. 

Dodie — as  the  children  immediately 
named  the  youngest  of  the  Rogers  when 
their  parents  brought  her  home  from  Texas 
— is  really  Mary  Little  Doe,  as  winning  a 
bit  of  girl-child  as  anyone  could  wish  for. 
She  is  extremely  bright — "a  pretty  little 
fireball,"  Roy  calls  her.  Dodie,  now.  three 
years  old,  was  adopted  shortly  after  the 
death  of  their  own  two-year-old  Robin  in 
August,  1952,  about  whom  Dale  wrote  the 
book,  Angel  Unaware,  which  has  comforted 
many  other  parents  of  retarded  children. 
(The  proceeds  from  its  sale  go  to  help  a 
fund   for   such    children.) 

"No  one  could  take  Robin's  place,  and 
Dodie  was  not  intended  to,"  Dale  says  of 
her  youngest  daughter.  "We  needed  Dodie, 
and  she  needed  us,  and  our  home.  It's 
wonderful  the  way  adopted  children  walk 
into  your  heart,  until  they  become  your 
very  own.  We  think  they  do  more  for  the 
parents  than  the  parents  could  possibly 
do   for   them." 

Sometimes,  as  Dale  and  Roy  sit  and  lis- 
ten to  their  brood  talking  and  laughing  to- 
gether, they  themselves  begin  to  laugh  at 
the  differences  which  still  show  up  in  man- 
ner and  speech.  There  is  Marion's  Scot- 
tish dialect.  And  her  courtesy,  which  has 
impressed  her  more  rough-and-ready 
young  American  brothers  and  sisters.  There 
is  Sandy,  with  his  soft  Kentucky  speech, 
and  Cheryl's  very  proper,  careful  diction — ■ 
as  befits  a  young  lady  of  fifteen — which, 
however,  sometimes  lapses  into  typical 
teen-age  slang.  And  Linda  and  Dusty, 
with  their  matter-of-fact  Western  way  of 
expression,  and  Dodie  chiming  in  v^ith 
her  peculiar,  emphatic  babyish  talk.  All 
blended  into  one  voice,  the  voice  of  chil- 
dren who  are  well-loved,  secure,  happy. 

There  is  no  wish  to  trade  on  the  TV  and 
rodeo  and  movie  popularity  of  their  par- 
ents, and  little  opportunity  to  do  so  if  they 
wanted  to.  The  children  go  to  public 
schools,  are  required  to  be  punctual  and 
studious,  and  are  helped  in  every  way  to 
lead  the  normal  lives  of  children  their  own 
age.  To  them,  Roy  Rogers  and  Dale  Evans 
are  merely  Daddy  and  Mom.  While  they 
sometimes  go  on  location  and  on  the 
sets  where  Roy  and  Dale  are  making  pic- 
tures, and  occasionally  participate  in  some 


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small  way,  they  know  this  is  all  in  fun. 
Their  real  business  right  now,  they  under- 
stand, is  to  grow  up  into  stable,  respon- 
sible manhood  and  womanhood. 

The  family  loves  the  comfortable  old 
house,  to  which  additions  have  been  made 
without  spoiling  any  of  its  charm.  There 
are  six  bedrooms,  a  living  room,  dining 
room,  kitchen,  study — and  Roy's  huge 
Western  den,  filled  with  trophies  and  with 
mementoes  of  the  Old  West.  There  are  two 
huge  fireplaces,  one  of  them  made  of  petri- 
fied wood.  When  the  family  gathers  around 
the  dining  table  in  the  lovely  wood-paneled 
room,  they  always  say  grace.  At  dinner,  it's 
the  custom  for  each  to  pray  individually 
before  the  Bible  readings. 

The  house  is  approached  by  a  winding 
road,  up  the  knoll  on  which  it  stands  in  the 
shadow  of  a  huge  oak  tree.  There's  a  white 


fence  and,  near  by,  there's  a  lovely  lake. 
To  the  back,  there  are  meadows  and  woods, 
and  enormous  rock  formations  which  are 
beautiful  to  see,  and  an  olive  grove.  There 
are  always  a  few  head  of  cattle,  sheep,  a 
cow  and  maybe  a  pig  or  two,  chickens  and 
rabbits — and,  of  course,  dogs.  The  chil- 
dren have  two  pet  squirrels  at  the  moment, 
bottle-raised,  named  Squeaky  and  Bobo;  a 
Persian  cat  named  Smoky,  and  two  rather 
questionable  kittens,  Punkin'  and  Puddin'. 
There  are  chores  and  various  small  duties 
by  which  allowances  are  earned.  There  is 
"roamin'  room"  for  small  boys  and  girls, 
trees  to  climb  and  fences  to  vault,  far 
fields  to  explore  on  the  130  acres  of  prop- 
erty. Roy,  who  hasn't  forgotten  at  all  what 
it  feels  like  inside  to  be  a  kid,  takes  the 
boys  on  camping  trips  and  on  fishing  ex- 
peditions— where  Dusty  is  always  on  the 


look-out  for  new  specimens  for  his  vari- 
ous collections,  including  butterflies  and 
insects.  The  girls  are  learning  housewifely 
arts,  along  with  participating,  in  a  lot  of 
the  outdoor  fun  of  the  family.  Altogether, 
it's  a  wonderful  way  of  life  for  a  bunch  of 
kids  and  a  couple  of  young-at-heart  par- 
ents, and  the  Rogers  are  very  much  aware 
of  all  their  blessings. 

"Roy  and  I  always  say  a  silent  prayer  at 
the  stroke  of  midnight  on  New  Year's  Eve, 
regardless  of  where  we  are  or  with  whom 
we  are,"  Dale  says.  "This  year,  as  always, 
we  have  much  for  which  to  thank  God,  for 
His  innumerable  blessings.  It  has  been  a 
year  rich  in  giving  and  receiving.  We  ap- 
proach the  New  Year  with  humble  and 
hopeful  hearts,  with  prayers  that  we  will 
not  fail  to  appropriate  the  coming  gifts  of 
golden  opportunities  for  love  and  service." 


(Continued  from  page  50) 
so  many  years  of  being  close  to  her.  But 
Terry  Burton  is  also  a  wonderful  woman, 
and  playing  her  is  a  real  challenge.  So 
are  many  of  the  roles  I  get  on  TV,  too — 
all  sorts  of  women — women  with  warmth 
and  humor  and  kindness,  and  women  who 
are  bitter  and  jealous  and  unhappy.  It  all 
adds  up  to  an  exciting  life  for  me." 

Terry,  too,  identifies  himself  whole- 
heartedly with  the  roles  he  portrays.  For 
a  long  time,  he  played  the  male  lead  on  the 
daytime  drama,  Search  For  Tomorrow, 
but,  now  that  he  is  reporter  Elliott  Norris, 
his  viewers  have  come  to  feel  that  he 
actually  is  this  newspaper  man.  As  far 
afield  as  Jamaica,  British  West  Indies — 
where  he  recently  vacationed  with  Jan 
— he  was  recognized  by  people  who  hailed 
him  as  "Elliott."  And  in  a  restaurant  in 
South  Bend,  during  the  filming  of  Big 
Story,  in  which  he  played  a  state  trooper, 
he  was  approached  by  a  man  who  couldn't 
seem  to  believe  his  own  eyes.  "You  can't 
be  Elliott  Norris,  out  here  in  South  Bend 
as  a  trooper,"  the  man  said,  "but  you  must 
be  his  brother.  I  didn't  know  one  of  our 
troopers  had  a  brother  in  television."  Terry 
laughed,  explained  the  uniform  was  bor- 
rowed from  real  trooper  Art  Hampshire, 
whose  measurements  closely  approximated 
his  own — and  also  explained  that  he  was 
really  actor  Terry  O'Sullivan,  as  well  as 
Valiant  Lady's  Elliott  Norris. 

These  new  directions  in  the  careers  of 
both  Terry  and  Jan  are  exciting,  but  they 
are  sometimes  disconcerting  when  the 
O'Sullivans  want  to  run  up  to  the  farm  for 
a  few  days.  TV  requires  much  more  re- 
hearsal time.  So,  when  the  telephone  starts 
ringing  close  to  the  time  when  they  want 
to  leave,  it  becomes  what  Terry  calls  a 
"threat."  Even  the  most  tempting  part 
seems  less  tempting  when  the  peace  and 
quiet  of  the  farm  is  weighed  against  it. 
Up  in  Meredith,  they  will  find  Jan's  dad, 
Walter  Miner,  a  retired  orthodontist,  more 
interested  in  television  now  than  in  any- 
thing else — and  ready  to  report  his  opin- 
ions of  all  the  programs,  especially  those 
of  Terry  and  Jan,  which  the  home  folks 
never  miss.  Jan's  mother,  Ethel,  an  artist 
of  considerable  talent  who  has  been  paint- 
ing since  girlhood,  may  be  in  the  middle 
of  a  portrait  of  some  member  of  the  family 
or  taking  time  out  to  decorate  a  tray  or 
to  do.  some  other  decorative  work.  Some- 
times Jan's  three  brothers,  Sheldon,  Don- 
ald and  Lindsey,  will  all  be  there  with 
their  wives  and  children.  Very  occasion- 
ally, Terry's  dad  and  his  mother  can  come 

T    on  from  Kansas  City,  Missouri,  where  Ted 

V    O'Sullivan    is    still    active    in    the    grain 

R    business. 

In  summer,  when  Terry's  daughters  are 
on  vacation,  there's  a  three-girl  addition 

84 


Happy  Days  Ahead 

to  the  family  gatherings.  Colleen,  seven- 
teen, is  a  blue-eyed  brunette,  Molly,  thir- 
teen, is  sparkling  and  dark-haired  and 
brown-eyed.  Kathleen,  sixteen,  is  the 
blonde,  with  lovely  amber  eyes.  "Like 
Terry's,"  Jan  says.  "Only  I  call  his  'agate 
eyes,'  because  they  look  like  the  aggies  I 
used  to  play  marbles  with." 

Kathleen  and  Molly  think  they  would 
like  to  be  actresses — or  they  did  until  they 
were  East  last  summer  and  spent  some 
time  in  New  York,  as  well  as  up  on  the 
farm.  "When  they  saw  Jan  and  me  study- 
ing lines  almost  every  night  for  our  tele- 
vision shows,  the  whole  idea  didn't  seem 
quite  so  glamorous  as  it  had  from  a 
distance.  But  by  this  time  it  may  again," 
Terry  commented,  as  Jan  went  on  to  tell 
how  Colleen  shows  an  aptitude  for  clothes 
design.  "She  has  such  good  taste,"  Jan 
said.  "Already  she  shows  great  creative 
ability  in  her  own  wardrobe  and  in  sug- 
gestions to  her  sisters,  her  mother  and  me." 

Colleen  must  get  some  of  her  eye  for  line 
and  color  from  her  father,  says  Jan,  be- 
cause, "Terry  is  responsible  for  the  sim- 
plicity and  uncluttered  look,  and  the  color 
harmony  of  our  New  York  apartment — in 
contrast  to  the  farm,  where  I  have  shipped 
a  lot  of  pieces  I  used  to  live  with  before 
I  married  Terry!"  Sometimes,  when  she 
walks  into  the  apartment,  Jan  is  inclined 
to  think,  "Where  is  the  furniture?"  But,  to 
Terry,  furniture  is  functional  and  there 
should  be  just  enough  of  it  to  fill  the  needs 
of  the  people  who  use  it.  He  likes  some 
"open  spaces"  in  the  rooms,  and  Jan  has 
come  to  believe  that  he  is  right.  "It's  a  rest- 
ful atmosphere  for  people  like  us,  who  are 
so  busy  every  minute  and  have  so  little 
time  to  relax,"  she  admits.  "I  indulge  my 
New  England  love  of  collecting  by  sending 
everything  else  up  to  the  farm.  Even  the 
gifts  from  fans,  most  of  them  lovely  hand- 
made things,  and  some  of  my  mother's  old 
china,  and  the  things  that  belonged  to  my 
grandmother.  Up  at  the  farm,  they  all  seem 
to  fit  in  perfectly." 

Some  gifts  from  fans  have  fitted  right 
into  the  city  apartment,  notably  a  coral- 
colored  chafing  dish  sent  as  a  wedding 
present  by  Ruby  Parrott,  of  Lynn,  Mass. 
"How  do  you  suppose  she  ever  happened 
to  choose  the  exact  color  that  was  right 
for  our  black  and  white  kitchen,  with  its 
coral-striped  paper?  "  Mrs.  Chaffee,  another 
faithful  fan,  sent  handmade  aprons  in 
coral  and  black  and  white  without  having 
known   these   were   just   the   right   colors. 

The  color  scheme  of  the  whole  apart- 
ment follows  this  same  pattern.  In  the 
living  room,  the  black  lacquered  furniture 
is  set  off  by  white  walls  and  the  coral  is 
used  in  fabrics  and  accessories,  with  taupe 
tones  to  off-set  it.  In  the  dining  room,  the 
furniture    is    white     wrought-iron,    with 


glass-top  table  and  accessories  of  taupe  and 
black,  all  set  off  by  coral  walls.  The  bed- 
room is  in  tones  of  the  same  taupe,  with 
the  black  and  white  and  coral  in  the  ac- 
cessories. This  basic  color  scheme  that  runs 
throughout  the  apartment  makes  for  a 
feeling  of  variety  as  you  step  from  room  to 
room,  but  with  no  sense  of  clashing  color 
schemes.  Only  the  den — although  it,  too, 
follows  the  color  pattern — has  that  look  of 
cheerful  clutter  that  shows  Jan's  mark  has 
been  put  upon  it,  a  clutter  necessitated  by 
all  the  books  and  papers  and  magazines 
and  scripts  and  the  desks  and  the  radio 
and  TV  set  which  form  the  background 
of  two  busy  lives.  "Even  Terry's  impec- 
cable taste  can't  surmount  the  fact  that 
there  just  isn't  enough  space  in  the  den  for 
all  the  paraphernalia  of  our  profession," 
Jan  explained. 

Although  they  have  not  yet  appeared  on 
television  together,  requests  keep  coming. 
Terry  has  a  theory  that,  because  he  and 
Jan  are  so  thoroughly  happy  in  their  home 
life,  there  isn't  much  point  in  perhaps 
jeopardizing  that  happiness  by  working 
together  professionally.  "Unless  we  are 
too  tempted  by  a  too -tempting  offer  some- 
day," Jan  adds.  "We  go  to  Don  Richard- 
son's acting  class  together,  to  keep  on 
perfecting  our  work,  and  we  have  found 
we  work  very  differently,  but  harmoni- 
ously. There  has  never  been  the  slightest 
feeling  of  competition  between  us,  and  we 
both  think  that  would  be  rather  silly.  We 
give  each  other  asked-for  advice  about  our 
roles,  but  each  leaves  the  other  free  to 
make  his  own  decisions." 

These  two  were  playing  husband  and 
wife  on  a  radio  show  at  their  first  meet- 
ing, but  each  was  romantically  interested 
in  someone  else  at  the  time.  They  kept 
bumping  into  each  other  in  the  corridors 
of  the  studio,  after  that,  and  this  led  to  a 
few  dates.  Then  they  began  to  discover 
that  other  people  mattered  less  and  less  to 
them.    Afterward,   they  were   married. 

The  Christmas  following  their  marriage 
was  spent  at  the  farm,  and  the  tree  they 
decorated  then  is  planted  just  outside  the 
farmhouse  door.  Each  year  it  has  been 
decorated,  although  they  have  sometimes 
been  unable  to  get  there  for  the  actual  day. 

They  both  try  to  make  a  sort  of  Christ- 
mas out  of  the  family  get-togethers  in 
summer,  usually  in  August,  and  they  try 
not  to  mind  what  the  calendar  says.  Then, 
when  the  real  December  25th  comes,  it's 
an  "extra  dividend"  when  they  can  join 
the  family  at  the  farm.  In  particular,  the 
O'Sullivans  feel  they  have  received  many 
extra  dividends  this  year  in  the  stability 
and  happiness  of  life  at  the  farm,  plus  the 
stimulating   changes  in  their  careers. 

As  Terry  said  in  the  beginning,  "Change 
means   growth,   and  growth   is   welcome." 


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E     C 


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FOR   THREE    DIFFERENT    HAIR   CONDITIONS 

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MANUFACTURING        CHEMISTS  •  SPRINGFIELD 

CHICAGO  •  SAN  FRANCISCO  O    T 

Copyright  1955  by  John  H.  Brack  Inc. 


M  A  S  S  A  C  H  U  S  V.  T  T  s 
AWA  CANADA 


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VNIS  CARTER 


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PHOTOGRAPH     BY    RICHARD    AVEDON 


n  a  0 


fWIUIVI 


The  doctor's  deodorant  discovery 
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Underarm  comparison  tests  made 
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FEBRUARY,  1956 


TV 


RADIO 
MIRROR 


VOL.  45,  NO.  3 


N.  Y.,  N.  J.,  Conn.  Edition 


Ann  Higginbotham,  Editor 


Ann  Mosher,  Executive  Editor 
Teresa  Buxton,  Managing  Editor 
Claire  Safran,  Associate  Editor 
Sonia  Gould,  Assistant  Editor 


Jack  Zasorin,  Art  Director 
Frances  Maly,  Associate  Art  Director 
Joan  Clarke,  Art  Assistant 
Bud  Goode,  West  Coast  Editor 


people  on  the  air 

What's  New  from  Coast  to  Coast by  Jill  Warren  4 

Marion  Marlowe's  Bridal  Glow by  Mary  Temple  33 

He  Gives  Away  His  Heart  (Art  Linkletter) by  Elsa  Molina  36 

The  Greatest  Glamour  (Janis  Carter) by  Martin  Cohen  38 

While  We  Are  Young  (Biff  McGuire) by  Ed  Meyerson  40 

The  Meaning  of  Love   (Betty  Clooney  and  Pupi  Campo) 

by  Alice  Francis  42 

This  Is  Nora  Drake  (picture  story  from  the  popular  daytime  serial)  44 

The  Fabulous  Crosbys by  Maxine  Arnold  60 

Who's  Who  in   The  People's   Choice    (Jackie   Cooper,   Pat  Breslin, 
Leonid  Kinskey,  Margaret  Irving,  John  Stephenson,  Paul  Maxey, 

Cleo)  62 

Mary  Martin — Perennial  Peter  Pan by  Radie  Harris  64 

Truly  a  Honeymooner  (Joyce  Randolph) by  Gregory  Merwin  68 

Burns  and  Allen  Plus  (George,  Gracie  and  Ronnie) by  Bud  Goode  70 


features  in  full  color 


Something  Old,   Something  New    (Russell  Arms) 

by  Warren  Cromwell  48 
— And  Baby  Makes  Three   (Walter  Brooke  and  Betty  Wragge) 

by  Gladys  Hall  50 

Hour  of  Glory   (Nanette  Fabray) by  Frances  Kish  54 

Father  Knows  Best   (Robert  Young) by  Betty  Mills  56 


your  local  station 


Satin  and  Spurs    (WABC-TV) 6 

Here's  Taylor  Grant    (WPTZ) 16 

Every  Cloud  Has  a  Purple  Lining   (WRCA) 26 

Serious  Funnyman  (KDKA-TV) 28 


your  special  services 


Information    Booth 8 

Steve  Allen's   Turntable 13 

New  Designs  for  Living   (needlework  and  transfer  patterns) 14 

Daytime  Diary 18 

New  Patterns  for  You  (smart  wardrobe  suggestions) 24 

Inside  Radio    (program  listings) 78 

TV   Program   Highlights 80 

Cover  portrait  of  Marion  Marlowe  by  Jay  Seymour 


m 


buy  your  March  copy  early  o   on  sale  February  7 


PUBLISHED   MONTHLY  by  Macfadden  Publications,    Inc.,   New 

York,   N.    Y, 

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Member    of    the    TRUE 


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WHAT'S  NEW 

FROM  COAST  TO 


Valiant  Lady  celebrates  a  second  anniversary  on  TV  as  Ann  Higginbotham,  the  editor  of 
TV  Radio  Mirror,  cuts  a  cake  for  the  Emerson  family:  daughters  Kim  and  Diane  (Bonnie 
Sawyer  and  Marion  Randolph),  mother  Helen  (Flora  Campbell),  son  Mickey  (Jimmy  Kirkwood). 


Television  promises  its  biggest 
year  to  date  in  1956,  with  the  net- 
works starting  off  January  schedules 
with  several  big  productions  well 
worth  a  big  circle  on  your  calendar. 

On  Sunday  afternoon,  January  15, 
the  NBC  Opera  Theater  will  pre- 
sent a  two-hour  production  of  "The 
Magic  Flute,"  by  way  of  celebrating 
the  bi-centennial  year  of  Mozart's 
birth.  The  TV  operas,  sung  in  Eng- 
lish, have  proved  so  successful  that 
RCA  and  NBC  will  augment  them 
with  a  touring  opera  troupe  next 
season. 

Also  in  the  serious  music  cate- 
gory will  be  the  Producers'  Skow- 


•  By  Jill  Warren 

case  hour-and-a-half  on  NBC-TV, 
Monday  night,  January  30,  titled 
"Music  for  Millions."  Famous  im- 
presario Sol  Hurok  is  guiding  this 
production,  which  will  present  the 
great  contralto  Marian  Anderson, 
pianist  Artur  Rubinstein,  cellist 
Gregor  Piatigorsky,  and  other  star 
names  from  the  nation's  con- 
cert and   opera  stages. 

CBS's  Sunday  afternoon  show, 
Let's  Take  A  Trip,  is  traveling  south 
this  month,  with  the  January  8  show 
coming  from  Miami  Beach,  the  Jan- 
uary 15  show  originating  from  the 
new  two-and-a-half-million-dollar 
Seaquarium  in  Miami,  and  a  special 


telecast    from    a     Seminole     Indian 
village  on  January  23. 

Joe  And  Mabel  finally  debuts  this 
month  on  CBS  in  the  Tuesday  night 
period  formerly  occupied  by  Meet 
Millie,  which  goes  off.  This  situa- 
tion-comedy about  a  taxi  driver  and 
a  manicurist  co-stars  Larry  Blyden 
and  Nita  Talbot,  with  Ezra  Stone, 
of  "Henry  Aldrich"  fame,  directing. 
Joe  And  Mabel,  which  is  on  film, 
by  the  way,  was  originally  sched- 
uled to  start  this  past  fall,  but  CBS 
scrapped  the  original  films  as  not 
being  good  enough.  But  they're 
very  excited  and  have  high  hopes 
the  show    (Continued  on  page  20) 


THE  TREASURE  OF  PLEASANT  VALLEY  —  Frank 
Yerby.  Not  for  the  lust  of  gold  did  Bruce  Harkness 
join  the  rush  to  California,  but  to  escape  the  memory 
of  a  woman.  Here  was  violence,  terror,  life  in  the 
raw  —  and  here,  too,  the  fresh  challenge  .of  two 
"untouchable"  females  .  .  .  Juana,  the  exciting, 
dark-eyed  half-breed,  and  Jo  Peterson,  the  ravishing 
blonde  claimed  by  big-time  gambler  Rufus  King! 
"Fiery  and  turbulent  narrative!" — Chicago  Tribune. 


NOT  AS  A 
STRANGER  —  Morton 
Thompson.  Long- 
run  hit  —  story  of 
a  young  doctor,  the 
nurse  he  married, 
and  the  beautiful 
woman  who  tempted 
his  innermost  soul ! 
700  pages. 


25th  Anniversary  Offer  from  America's  Biggest  Book  Club 

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THORNDIKE-BARN- 
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(CONCISE).  1956  edi- 
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544  pages,  many 
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THE  VIEW  FROM 
POMPEY'S      HEAD 

Hamilton  Basso. 
Big  hit  —  now  a 
smash  movie!  A 
young  married 
lawyer  meets  a 
girl  from  the  past 
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affair ! 


GONE  WITH  THE 
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Mitchell.  Greatest 
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time  in  a  com- 
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The  unforgettable 
story  of  Scarlett 
O'Hara  and  Rhett 
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This  2-Volume  Set 
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OUTLINE  OF  HISTORY 
H.  G.  Wells.  New 
2-volume  edition. 
1,312  pages.  Whole 
story  of  mankind  up 
to  our  times !  200 
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512  pages. 

SOLDIER     OF     FORTUNE 

Ernest  Gann.  Big  hit 
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Daring  romance  in 
feverish  Hong  Kong, 
"holds  reader  spell- 
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NEW    CREATIVE     HOME 
DECORATING    —     The 

Rockows.  Complete 
guide  to  color,  furni- 
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walls,  windows,  etc. 
658  pictures,  38  color ! 
128  model 
rooms. 


MODERN  FAMILY 
COOK  BOOK 

Meta  Given. 
New  edition, 
1,137  recipes! 
Plans  your 
meals,  guides 
your  shop- 
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meal  prepara- 
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640  pages. 


FLIGHT  FROM  NAT- 
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suspense  in  the 
early  days  of 
America. 


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AROUND  THE  WORLD 
IN    1,000   PICTURES 

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in  1,000  Pictures 
D  Columbia- Viking 
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D  Gone  with"  the  Wind 


DKatherine 

□  Modern  Family 

Cook  Book 
D  New  Creative  Home 
Decorating 

□  Not  Asa  Stranger 

□  Outline  of  History  (set) 


D  Soldier  of  Fortune 
QThorndike-Barnhart 

Dictionary  (Concise) 
O  The  Treasure  of 

Pleasant  Valley 
QThe  Viewfrom 

Pompey's  Head 


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forthcoming  one-dollar  book  selections  and  other  bargains  for 
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Mrs 

Miss 

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"    Club,   105  Bond  St.,  Toronto  2.   Offer  good  in  U.S.A.    and  Canada  only.     , 


Please 
Print 


Harriet  interviews  producer  Max  Liebman  for 
the  behind-the-scenes  story  on  "spectaculars." 


Her  apartment  reflects  her  varied  interests. 
Here  Harriet  works  or  relaxes.  The  bookshelves 
may  soon  include  her  new  play  and  cookbook. 


SATIN  AND  SPURS 


Blonde,  diminutive  Harriet  Van  Home 

turns  a  keen  eye  on  television 

to  disarm  a  giant-size  W ABC-TV  audience 


Harriet  Van  Horne  is  a  puzzlement.    A  blue-eyed,  fragile 
blonde,  she  is  intensely  feminine.    But,  as  a  kitten  on  the 
typewriter  keys  for  the  World  Telegram  and  Sun,  she's  the  author 
of  some  of  the  most  pointed  prose  ever  printed  about  the  radio 
and  television  industry.  She's  hard  to  explain,  but  Harriet  can 
perhaps  be  defined  as  the  type  of  woman  whose  typewriter  cover 
matches  the  red  satin  upholstery  of  the  love-seat.  .  .  .  She  also 
comes  better  into  focus  when  she  explains  her  aim  on  The  Other 
Side  Of  The  Set,  seen  Saturday  at  6:30  P.M.  on  New  York's  Station 
WABC-TV.  "Keep  it  honest,  straight  and  simple,"  Harriet  tells 
all  who  work  with  her  to  present  the  behind-the-cameras  story 
of  TV.  Perched  on  a  stepladder,  Harriet  interviews  producers, 
directors,  writers,  technicians  and  performers  to  show  the  complete 
process  in  bringing  a  program  to  home  screens.  .  .  .  The  process 
that  brought  the  contradictory  Miss  Van  Horne  to  the  top  ranks 
of  video  began  when  she  was  16  and  wrote  a  column  for  a  suburban 
Rochester  paper.  From  the  first,  her  stories  were  bylined.  Later,  after 
majoring  in  history  and  government  at  the  University  of  Rochester, 
Harriet  became  society  editor  of  the  Greenwich,  Connecticut, 
Time.   In  1942,  she  joined  the  World  Telegram  as  radio  editor.  .  .  . 
When  television  became  a  major  industry,  Harriet  added  it  to 
her  beat.  She  began  appearing  before  the  cameras  in  1946.  To 
Harriet,  the  coming  of  "spectaculars"  has  meant  that,  with  friends 
joining  her  in  front  of  her  color  set,  she  often  ends  up  preparing 
a  dinner  for  a  dozen  people.  And,  since  she's  cultivated  her  cuisine 
hobby  to  the  point  where  she's  publishing  a  book  of  her  recipes, 
dinner  is  a  lavish  affair.  .  .  .  Harriet  does  most  of  her  writing 
at  home,  including  a  play,  "When  Noon  Is  on  the  Roses,"  which 
may  be  produced  shortly.  .  .  .  Because  she  works  late,  reviewing 
evening  shows,  Harriet  rises  late,  combining  breakfast  and  lunch 
since  "lunch  in  New  York  is  a  waste  of  time."  As  to  dinner, 
Harriet  says,  "If  I  had  to  eat  alone,  I'd  rather  take  a  vitamin  pill." 
.  .  .  And,  going  from  vitamins  to  video,  she  says,  "I  couldn't 
be  an  actress,  but  on  this  program  I  am  a  reporter,  which  is  what 
I  can  do."  The  missing  adjectives,  supplied  by  her  many  WABC 
viewers,  in  and  about  New  York,  are  "extraordinarily  well." 


.^ght-up 


LucW 


rtxive- 


-%*    v  «r*"j* 


*#mm 


LISTEN!  Until  you  light  a  Lucky,  you'll  never 
know  how  good  a  cigarette  can  taste.  Luckies 
taste  better  because  Lucky  Strike  means  fine 
tobacco  that's  TOASTED  to  taste  better.  You'll  say 
they're  the  best-tasting  cigarette  you  ever  smoked! 


"IT'S 
TOASTED" 

to  taste 
better! 


LUCKIES  TASTE  BETTER 

Cleaner,  Fresher,  Smoother! 


©  A.  T.  Co.         PRODUCT  OF     KSTlto  <Wm&/U&CV)V  Uo6<VZeO-(^CmyH>vnU'  AMERICA'S  LEADING  MANUFACTURER 


OF  CIGARETTES 


INFORMATION    BOOTH 


Of  Ages  and  Sages 

/  have  just  discovered  that  ■ , 

the  crotchety  radio  and  television  critic 
who  doesn't  seem  to  like  anything,  is  not 
a  young  man,  as  his  pictures  would  have 
you  believe,  but  is  in  reality  300  years  old. 
I  made  this  startling  discovery  while  read- 
ing the  plays  of  Moliere.  In  one  of  Mo- 
liere's  plays,  entitled  "The  Misanthrope," 
there  occurs  this  description  of  a   critic: 

"He  is  so  difficult  to  please  that  nothing 
suits  his  taste.  He  must  needs  find  mis- 
takes in  everything  that  one  produces,  and 
thinks  that  to  bestow  praise  does  not  be- 
come a  wit,  that  to  find  fault  shows  learn- 
ing, that  only  fools  admire  and  laugh, 
and  that,  by  not  approving  of  anything  in 
the  works  of  our  time,  he  is  superior  to 
all  other  people.  .  .  .  With  arms  crossed 
on  his  breast,  he  looks  down  from  the 
height  of  his  intellect  with  pity  on  what 
everyone  says." 

Since  this  description  could  only  have 

been  applied  to  ,  he  must 

have  been  a  contemporary  of  Moliere. 
And   since   Moliere   lived   three   centuries 

ago,  it  follows  that  —  is 

300  years  old.  Quod  erat  demonstrandum. 
H.R.,  Drexel  Hill,  Pa. 

Out  of  respect  for  the  "aged,"  we've 
omitted  the  critic's  name.  As  for  ourselves, 
we've  never  felt  younger. 

Super  Reporter 

I'd  like  to  know  something  about  Jack 
Larson,  who  plays  the  cub  reporter  on  the 
TV  show,  Superman.     B.G.,  Brooklyn,  N.Y. 

One  spring  night,  a  talent  scout  for 
Warner  Brothers  motion  pictures  played 
the  role  of  Fate  for  Jack  Larson.  Solly 
Biano  was  on  the  lookout  for  a  young 
actor  to  cast  in  "Fighter  Squadron."  He 
was  just  about  to  give  up  when  he  wan- 
dered over  to  Pasadena  Junior  College. 
.  .  .  Jack  Larson  was  a  journalism  student 


Jack  Larson 


there  and  he  was — that  very  evening — 
directing  a  musical,  which  he  had  written. 
"I  was  clowning  on  stage  when  Biano 
came  up  and  said,  'Now  I  don't  want  you 
to  get  excited,  but  there  may  be  something 
in  a  Warners'  picture  for  you.'  It  was 
as  sudden  and  simple  as  that."  .  .  .  Jack 
was  on  his  way.  A  quick  succession  of 
movie  roles  followed.  The  latest  one  was 
"Three  Sailors  and  a  Girl,"  with  Jane 
Powell.  .  .  .  His  stage  career  has  included 
a  starring  role  in  "The  Great  Man,"  with 
Dolores  Costello  and  Albert  Dekker.  .  .  . 
Then  came  television  roles  in  the  Country 
Editor  series  and  in  Home,  Sweet  Homer. 
Now  he's  cub  reporter  Jimmy  Olsen  of 
the  Metropolitan  Daily  Planet,  on  Super- 
man. ...  In  a  way,  Jack's  completed  the 
circle  he  started  when  he  studied  journal- 
ism at  Pasadena  Junior  College.  .  .  .  But 
since  "Fate"  launched  him  into  the  the- 
atrical world,  he  has  never  ceased  to  devote 
his  most  serious  efforts  to  the  art.  At  pres- 
ent, he  is  one  of  a  group  of  Hollywood 
players  studying  under  the  great  Michael 
Checkov,  formerly  associated  with  the 
Moscow  Art  Theatre  and  with  Stanislav- 
ski.  ...  In  his  leisure,  Jack  enjoys  tennis, 
swimming  and  tumbling.  He's  an  expert 
bowler  and,  at  the  age  of  fourteen,  was 
junior  champion  of  California  in  the  tour- 
naments sponsored  by  the  American  Bowl- 
ing Congress.  .  .  .  Jack  is  twenty-five,  five 
feet,  eight  inches  tall,  weighs  145  pounds, 
has  blue  eyes  and  brown  hair.  Let  us  tell 
you,  man,  he's  super! 

The  Royal  Canadian 

Would  you  please  tell  me  something 
about  Guy  Lombardo,  heard  over  Lom- 
bardoland;  U.  S.  A.? 

Y.W.,  Grass  Lake,  Mich. 

The  "sweetest  music  this  side  of 
Heaven"  highlights  the  Mutual  Network's 
Saturday  radio  schedule  via  Lombardo- 
land,  U.  S.  A.,  then  sparkles -on  NBC 
Radio's  Monitor  on  Saturday  nights.  Guy 
Lombardo  and  his  Royal  Canadians  is  a 
syndicated  show  seen  nationally.  .  .  .  Guy's 
formula  for  making  melody  is  simplicity. 
He  believes  the  public  prefers  soft  dance 
tempo.  The  idea  of  softness  was  "sug- 
gested" by  his  mother  who  objected  to  the 
ear-splitting  rehearsals  of  Guy's  four-piece 
band,  organized  while  he  was  in  grammar 
school,  in  London,  Ontario.  This  temper- 
ate approach  has  been  identified  with 
Guy's  music  ever  since.  The  juvenile  quar- 
tet first  played  at  local  events,  then  ex- 
panded to  nine  when  they  gained  fame  as 
the  Royal  Canadians  orchestra.  Eight  of 
those  men  are  still  with  him.  .  .  .  His  first 
booking  in  the  United  States  was  at  an 
Elks'  Convention  in  Cleveland,  Ohio,  in 
1925.  This  led  to  the  decision  to  leave 
Canada  and  explore  the  American  road  to 
success.  .  .  .  The  first  New  York  ap- 
pearance made  by  the  Lombardo  orchestra 
was  in  1929,  at  the  Hotel  Roosevelt.  Al- 
most immediately,  the  London,  Ontario, 
violinist    clicked    with    this    most    critical 


Guy  Lombardo 


audience.  The  association  with  the  Roose- 
velt is  now  a  show  business  legend,  as  it 
has  resulted  in  an  annual  engagement 
there.  Guy  has  introduced  more  than  275 
song  successes.  .  .  .  After  music,  Guy's 
chief  interest  is  speedboating.  In  1946,  he 
won  every  important  speedboat  race  in 
the  United  States,  including  the  coveted 
Gold  Cup,  for  which  he  established  two 
speed  records.  His  award-winning  merits 
don't  stop  here:  Guy's  been  voted  the  na- 
tion's best  dressed  bandleader  by  the  Cus- 
tom Tailors'  Guild  and  the  Fashion  Foun- 
dation of  America.  .  .  .  Other  interests 
include  a  music  publishing  company  and 
a  restaurant  called  Guy's  East  Point 
House.  .  .  .  During  that  early  booking  in 
Cleveland,  Guy  met  and  proposed  to  Lil- 
liebel  Glenn.  They've  been  living  happily 
in  Freeport,  Long  Island,  near  by  the  res- 
taurant. 

Calling  All  Fans 

The  following  clubs  invite  new  members. 
If  you  are  interested  in  joining,  write  to 
the  address  below — and  not  to  TV  Radio 
Mirror. 

George's Fiddle-Ettes  (George  Liberace) , 
1814  Dixie  Highway,  Louisville,  10,  Ky. 

Ann  Whitfield  Fan  Club,  c/o  Gerry  Lit- 
trell,  227  Kostro  Dr.,  Lexington,  Ky. 

Diana  Lynn  Fan  Club,  c/o  Dorothy  M. 
Fenger,  1402  Superior  Ave.,  Sheboygan, 
Wis. 

(Continued  on  page  10) 

FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  we  can, 
provided  your  question  is  of  general  inter- 
est. Answers  will  appear  in  this  column — 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


LOVELY   MISS  AMERICA  1956  SAYS:   YOUR   SKIN   WILL   LOVE 


CIykPmA  (  ^OA-CM 


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Her  radiant  complexion  is  a  glowing  tribute  to  Camay ! 

It's  easy  to  see  why  beautiful  Sharon  Kay  Ritchie  of  Colorado  is 
Miss  America  1956!  And — one  of  the  loveliest  things  about  her  is  her 

exquisite  complexion.  She's  guarded  its  petal-soft  beauty  for  years  with  mild, 

gentle  Camay.  "Cold  cream  Camay  is  just  wonderful,"  says  Sharon  .  .  . 
"really  caresses  your  skin."  Try  Miss  America's  beauty  soap,  the  only 
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/ 


THE    SOAP    OF    BEAUTIFUL  WOMEN 


If  you're  a  considerate  week-end  guest,  would  you  — 

I    I  Take  over  little  sister's  room  Q  Insist  on  sleeping  on  the  sofa 


Tut,  tut!— you  protest.  How  could  you  let 
young  Betsy  take  the  sofa,  while  you  curl 
up  in  selfish  comfort  in  her  bed?  So,  Noble 
You  insists  on  reshuffling  the  plans.  But 
one  glance  at  your  hostess's  face  should 
tell  you  how  she  feels  about  her  household 
arrangements:   "Do  not  disturb!"   A  con- 


siderate guest  accepts  them  without  question. 
And  on  certain  days,  girls  in  the  know  never 
question  the  safe,  sure  protection  of  Kotex*. 
They've  found  this  napkin  gives  the  complete 
absorbency  they  need;  it  doesn't  fail.  And 
there's  no  worrisome  mistake  possible,  for 
Kotex  can  be  worn  on  either  side,  safely! 


He  stops  the  car  at  Courting  Lane? 

I    I  Coonf  your  mad  money         LJ  "e  frank 

So  here  you  are  — halted  at  the  smoocher's 
haven  your  folks  have  outlawed !  Be  frank. 
Tell  him  Dad  says  it's  either  no  parking  or 
no  drives.  Takes  a  high  octane  brand  of 
confidence  to  speak  up  firmly.  And  next 
time  you're  shopping,  be  firm  about  getting 
the  sanitary  napkin  brand  that  keeps  you 
confident.  Kotex  gives  chafe-free  softness  ; 
holds  its  shape.  And  buy  a  new  Kotex  belt 
with  Kotex  for  perfect  comfort. 


How  can  a  towering  teen  lose  altitude? 

I    I  Teach  new  fogs  old  tricks         fj  Go  barefoot 

Weary  of  hearing  "How's  the  weather  up 
there?"  Choosing  the  right  clothes  can  help 
de-heighten  you.  Try  these  good  old,  eye- 
fooling  tricks:  wear  blouses  and  skirts  in 
contrasting  colors;  tailored  suits;  shorter 
topcoats.  Dodge  up-and-down  stripes.  And 
why  be  self-conscious  —  even  on  "those" 
days  ?  Choose  Kotex,  for  those  flat  pressed 
ends  veto  telltale  outlines.  Try  all  3  sizes  of 
Kotex :  Regular,  Junior,  Super. 


More  women  choose  KOTEX  than  all  other  sanitary  napkins 


Free  booklet !  Want  hints  on  dating,  etiquette,  groom- 
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Write  P.O.  Box  3434,  Dept.  1226,  Chicago  54,  Illinois. 


30 


T.  H.   REG.   U.  S.   PAT.  OFF. 


INFORMATION 
BOOTH 

(Continued  from  page  8) 

Born  To  The  Role 

Would  you  please  give  me  some  infor- 
mation on  Keith  Larsen,  star  of  Brave 
Eagle  on  CBS-TV?       P.  L.,  Oakland,  Cal. 

If  you've  ever  marveled  at  the  reality  of 
the  portrayals  of  Brave  Eagle  by  the  strap- 
ping young  man  who  plays  the  adventure- 
some Cheyenne  tribal  chief,  it's  because 
Keith  Larsen  has  a  very  special  interest  in 
the  character.  The  fact  is  that  Keith  is 
part  Cheyenne,  a  heritage  he  traces  from 
his  mother's  ancestry.  His  sincere  interest 
in  the  historical  background  and  culture 
of  the  American  Indian  projects  to  his 
audience  and  the  stark,  rugged  realism  of 
the  courageous  Indian  leader  comes  across 
vividly.  This  interest  began  in  Keith's 
boyhood  days  in  Utah.  .  .  .  The  simplicity 
and  directness  of  this  handsome  actor  are 
as  apparent  now  as  when  his  finances  were 
not  quite  as  high.  His  climb  from  gas 
station  attendant  to  construction  laborer, 
and  vacuum  cleaner  salesman  to  success- 
ful motion  picture  and  television  actor  has 
not  changed  him.  .  .  .  Keith  is  an  avid 
sportsman.  He  was  a  professional  tennis 
player  and  the  trophies  he  won  are  among 
his  most  treasured  possessions.  .  .  .  Born 
in  Salt  Lake  City,  Utah,  Keith  studied  law 
there,  hoping  to  fulfill  a  childhood  ambi- 
tion to  become  a  famous  criminal  lawyer. 
His  interest  in  dramatics  was  founded 
while  in  a  California  Naval  Hospital,  con- 
valescing from  an  injury  incurred  during 
service  with  the  United  States  Navy  in 
World  War  II.  .  .  .  Keith  made  his  stage 
debut  in  "Golden  Boy,"  in  a  little-theater 
production  in  Santa  Monica,  California. 
His  first  professional  appearance  was  in 
the  motion  picture,  "The  Green  Glove." 
filmed  in  France.  His  natural  talent  and 
likable  manner,  as  well  as  his  impressive 
physique,  soon  helped  to  establish  Keith 
(Continued  on  page  30) 


WffffA 
Mr.  and  Mrs.  Keith  Larsen 


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wonderful 


I  hat  new  year  is  here,  so  Happy  195G 
to  everybody,  and  I  trust  dear  old  Santa 
came  through  with  all  those  things  on 
your  list.  Looks  like  we've  got  a  big 
music  year  coming  up,  so,  before  you 
study  your  resolutions  too  closely,  let's 
take  a  look  at  the  new  records. 

It's  ladies  first,  with  "Meet  the  Girls," 
a  series  of  albums  by  the  top  singing  gals 
on  the  Victor  label.  Lena  Home  does 
"It's  Love."  Dinah  Shore's  is  called 
"Holding  Hands  at  Midnight."  "Have 
You  Met  Miss  Carroll?"  is  by  Barbara 
Carroll  and  her  fine  trio;  Gwen  Verdon, 
the  singing-dancing  star  of  "Can  Can" 
and  "Damn  Yankees,"  has  a  set  called 
"The  Girl  I  Left  Home  For";  "The  One, 
the  Only  Kay  Starr"  is  by  Kay  Starr,  of 
course;  and  Jaye  P.  Morgan  has  one 
titled  simply  "Jaye  P.  Morgan."  The 
tunes  in  each  album,  some  new  and 
some  old,  were  especially  chosen  and  ar- 
ranged to  fit  the  vocal  style  and  talent 
of  each  individual  song  girl.  And  in- 
cluded in  the  same  album  series  is  Mr. 
Melachrino — how  did  a  fella  get  in  here? 
— with  "The  Immortal  Ladies."  The 
Melachrino  Strings  have  recorded  sev- 
eral instrumentals,  the  best  known 
femme  songs,  such  as  "Sweet  Sue," 
"Dinah"    and    "Sweet    Lorraine." 

Here  are  a  couple  of  platters  recorded 
expressly  for  the  teen-age  trade.  The 
first  is  Dolores  Hawkins  on  "Growin' 
Up"  and  "I  Take  This  Man."  "Growin' 
Up"  is  a  fast-paced  rock  'n'  roller  listing 
the  days  and  activities  of  the  teener, 
with  the  big  day  Saturday,  natch. 
Dolores  goes  kinda  serious  on  "I  Take 
This  Man,"  with  chapel  bells  and  all,  as 
she  promises  to  be  a  perfect  wife.  (Epic) 

"A  Teen-Age  Prayer"  and  "No  School 
Tomorrow"  should  also  appeal  to  the 
saddle-shoe    set.     It's    sung    by    Robin 


J 


CfiH»'K:;£?C# 


STEVE  ALLEN' 
TURNTABLE 


Harmonicas  can  be  quite  a  mouthful 
as  Herb  Shriner  makes  sizable  music. 


Hood,  who's  a  teener  herself.  The 
"Prayer"  side  is  rock  'n'  roll  again,  and 
the  flipover  is  definitely  upbeat.  Robin 
is  the  girl  who  made  her  first  disc  hit 
with  "Dancin'  in  My  Socks."   (M-G-M) 

And  here's  a  young  lady  who  always 
looks  like  a  teenager,  but  is  really  the 
cute  little  mamma  of  three  in  private 
life.  Teresa  Brewer  has  a  new  album 
for  herself  called  "Music,  Music,  Music," 
which  incidentally  was  the  name  of  her 
very  first  hit  record.  Teresa  sings  out 
in  her  strong  style — such  things  as 
"Jealous,"  "At  Sundown,"  "There'll  Be 
Some  Changes  Made,"  "A  Good  Man  Is 
Hard  To  Find,"  and  others.  She  gets 
good  backing  from  Dick  Jacobs'  orches- 
tra and  chorus.     (Coral) 

If  you've  been  trying  for  ages  to  get 
some  of  those  old,  wonderful  Benny 
Goodman  records  to  fill  out  your  B.G. 
collection,  now  is  your  chance.  Victor  is 
issuing  an  album  called  "The  Benny 
Goodman  Story,"  which  includes  many 
of  the  original  great  recordings  by  the 
Goodman  band.  "Down  South  Camp 
Meeting,"  "King  Porter's  Stomp,"  "One 
O'Clock  Jump,"  "Don't  Be  That  Way," 
"Bugle  Call  Rag,"  "Moonglow,"  "And  the 
Angels  Sing,"  with  a  Martha  Tilton 
vocal,  and  "Goodbye,"  are  all  in  the  set. 
And  you'll  hear  jazz-history-in-the- 
making  by  Ziggy  Elman,  Harry  James, 
Gene  Krupa,  and  some  of  the  other  for- 
mer Goodman  soloists. 

What's  this?  "Steve  Sings"?  As  if  I 
didn't  know.  This  one  is  an  album  of 
some  of  my  all-time  favorite  standards, 
and  I  hope  they're  some  of  yours,  too. 
Tunes  such  as  "You're  Mine,  You," 
"Spring  Will  Be  a  Little  Late  This 
Year,"  "Pennies  From  Heaven"  and 
"Street  of  Dreams."  And  thanks  to  the 
boys  of  my  Tonight  TV  band  for  the 
wonderful  musical  support.    (Coral) 

Here  are  two  cute  kiddie  records  by' 
Cliff  "Ukulele  Ike"  Edwards.  The  first 
is  "Old  MacDonald's  Farm,"  with  Three 
Beaus  And  a  Peep,  Henri  Rene's  or- 
chestra and  Frank  Milano  doing  the  dog 
voice  of  "Nipper,"  the  famous  RCA- 
Victor  pooch.  The  second  is  "Fun  with 
Mother  Goose,"  with  the  same  support- 
ing cast.  Cliff's  career  received  a  boost 
via  his  Walt  Disney  chores.     (Victor) 

M-G-M  Studios  times  the  premiere  of 
their  big  color  musical,  "Kismet,"  to 
jive  with  the  release  of  the  movie-cast 
album  by  M-G-M  Records.  Howard 
Keel,  Ann  Blyth,  Dolores  Gray  and  Vic 


Damone  all  do  right  well  by  the  won- 
derful score,  which  includes  such  beau- 
tiful tunes  as  "Baubles,  Bangles  and 
Beads,"  "And  This  Is  My  Beloved," 
"Sands  of  Time,"  and  "Stranger  in  Para- 
dise." Andre  Previn  conducts  the  M-G-M 
Studio   orchestra   and   chorus. 

Herb  Shriner's  first  recorded  efforts 
with  his  new  harmonica  band  went  over 
very  well  with  the  public,  and  now  the 
Hoosier  humorist  is  back  with  a  new 
album  called  "On  Stage."  This  is  a  col- 
lection of  standards,  all  of  which  were 
actually  recorded  during  Herb's  recent 
engagement  at  the  New  Frontier  club 
in  Las  Vegas.  You'll  hear  all  the  crowd 
noises — everything  but  the  slot  machines 
— with  the  spontaneous  response  that 
goes  with  these  "on  the  spot"  records.  All 
harmonica  solos  are  Herb's.    (Columbia) 

The  comeback  crown  of  1955  undoubt- 
edly belongs  to  Lillian  Roth,  with  her 
book,  "I'll  Cry  Tomorrow,"  and  her  work 
on  television  and  in  night  clubs.  And 
now  she  has  recorded  an  album  called 
"I'll  Cry  Tomorrow,"  which  is  the  story 
of  her  life  in  music.  There  are  twelve 
tunes  in  all,  beginning  with  her  hit  of 
several  years  ago,  "Sing  You  Sinners," 
and  ending  with  "Happiness  Is  Just  a 
Thing  Called  Joe,"  which  is  also  the 
theme  song  of  the  new  movie,  "I'll  Cry 
Tomorrow."  Lillian  narrates  the  album, 
introducing  each  song  as  it  fits  into  her 
life  story.  Don  Costa  conducts.    (Epic) 

Incidentally,  there's  another  "I'll  Cry 
Tomorrow"  album,  on  the  M-G-M  label, 
which  is  from  the  sound  track  of  the 
movie.  Actress  Susan  Hayward,  who 
plays  Lillian  Roth  in  the  picture,  sings 
the  big  tunes  from  the  film,  with  Charles 
Henderson's   orchestra   and   chorus. 

Songstress  Peggy  King  has  a  new 
album,  "Wish  Upon  a  Star,"  which  is  the 
biographical  story  of  her  young  life,  set 
to  music.  This  one  starts  off  with  Peggy 
doing  tunes  from  her  band-singing  days, 
then  her  cute  Hunt's  Tomato  Sauce 
commercial,  which  led  to  her  recording 
contract,  her  career  in  television  with  her 
funnyman-boss,  George  Gobel,  and 
takes  Peggy  up  to  her  recent  smash 
juke-box  hit,  "Learnin'  To  Love."  By 
the  way,  on  one  side  you'll  hear  a  voice 
which  sounds  just  like  Gobel,  but  it's 
really  a  Sammy  Davis,  Jr.  imitation. 
Percy  Faith  and  his  orchestra  supply 
the   music.     (Columbia) 

And  that's  the  record  roundup  for  now. 
But  I'll  be  back  with  vou  next  month. 


13 


NEW  DESIGNS  FOR  LIVING 


Iron  on 
Color 


7134 — Birds  in  flight  are  crocheted  in 
easiest  pineapple  design  for  this  gay 
chair-set.  Make  your  furniture  look  its 
loveliest!    Directions  with  pattern.  250 

7383 — Prettiest  cover  above  all  your  fash- 
ions !  Easy-crochet  cape  in  lacy  pineapple 
pattern.  Sizes  Small,  Medium,  and  Large. 
Use  3-ply  fingering  yarn  or  mercerized 
crochet  and  knitting  cotton.   250 

7390 — Wear  this  as  an  apron,  jumper  or 
sundress!  Belt  cinches  waist,  opens  flat  for 
ironing.  Tulip  pocket.  Sizes  Small  (10, 
12);  Medium  (14,  16);  Large  (18,  20). 
Pattern    parts,    transfer.    State    size.    250 

873 — Iron  pretty  motifs  in  combination 
of  pink,  lavender  and  green  on  this  pina- 
fore! Trim  with  eyelet  or  binding.  Tis- 
sue pattern,  directions,  washable  motifs. 
Child's  Sizes  2,  4,  6,  8,  10.  State  size.  250 

729 — All  the  natural  beauty  of  a  wild 
flower — captured  in  embroidery  on  this 
exquisite  quilt!  Twelve  blossoms  in  all! 
Diagrams,  transfers  of  embroidery  motifs 
included.  Quilt  72  x  102  inches,  double- 
bed  size.    250 

7335 — Crochet  this  pretty  doily  in  spar- 
kling colors !  Luscious  strawberry  design 
with  dainty  lace  center.  Larger  doily,  17 
inches,  smaller  about  12  inches.  Use  No. 
30  mercerized   cotton   in   gay  color!     250 

7069 — New  combination  of  filet  crochet 
and  regular  crochet  forms  the  pretty  rose 
pattern  of  this  TV  cover!  Crocheted 
square,  28-inches  in  No.  30  mercerized 
cotton;  smaller  in  No.  50;  larger  in  cro- 
chet and  knitting  cotton.    250 


7069 


T 
V 
R 

14 


Send  twenty-five  cents  (in  coins)  for  each  pattern  to:  TV  Radio  Mirror,  Needlecraft  Service,  P.  0.  Box  137,  Old  Chelsea  Station, 
New  York  11,  N.  Y.    Add  five  cents  for  each  pattern  for  first-class  mailing.    Send  an  additional  250  for  Needlecraft  Catalog. 


HOW  MUCH  OF  THIS 


IN  CASH 
PRIZES". 

IRE  YOU  corns  TO  WIN  IN  THE  GREAT  NATIONAL  PWLE  CONTEST 


I 


As  you  read  this,  one  of  the  greatest  puzzle  contests  ever  held  in  the  U.  S.  A.  is  getting  under  way! 
A  contest  that  offers  fun,  excitement,  thrills  for  everyone!  A  contest  that  may  make  you 
$25,000  richer! 

Just  think  what  you  could  do  with  prize  money  like  that ...  all  yours  in  a  lump  sum!  It  could  buy 
you  a  beautiful  new  home  . . .  free  and  clear!  A  stunning  new  car,  a  boat,  a  luxury  vacation  cruise 
around  the  world!  It  could  pay  for  a  college  education  for  your  youngsters,  or  make  your  own 
retirement  easier.  It  could  give  you  a  start  in  your  own  business.  It  could  bring  you  the  wonderful 
security  that  comes  with  a  big,  solid  bank  account!  Enter  now,  and  you  may  be  first  prize  winner 
or  winner  of  any  of  400  big  cash  prizes  that  must  be  paid.  Enter  now  and  make  yourself  eligible 
to  win  a  fabulous  $5000  promptness  bonus  along  with  first  prize  of  $20,000— a  grand  total 
of  $25,000.00! 


YOUR   COMMON   SENSE   CAN   MAKE   YOU   A   WINNER! 


THIS  HOUSEWIFE 
WON  $52,000! 


"As  the  first  prize  winner 
of  $52,000  I  compliment 
you  on  running  the  fairest 
and  most  interesting  con- 
test I  ever  entered.  And  the 
check  for  $52,000  made 
our  family's  dreams  come 
true."  Marion  Starr 

Kensington,  Maryland 


READ  WHAT  OTHER 

CONTESTANTS  SAY  ABOUT 

FORMER  NATIONAL 

PUZZLE  CONTESTS! 


FLORIDA..."!  wish  to 
thank  you  and  your  staff 
for  the  wonderful  way  you 
have  conducted  this  con- 
test Your  fairness  and  the 
correct  way  you  have  sent 
out  the  solution  forms 
have  been  wonderful." 

CALIFORNIA  ...  "I  wish  to 

take  this  opportunity  to 
thank  you  for  the  check 
for  $100.00  which  I  re- 
ceived as  a  prize.  This  is 
the  first  major  contest  I 
have  ever  entered  and  won 
anything." 

CANADA  . . .  "I  not  only  ad- 
mire the  way  you  handle 
your  contest  .  .  .  and  the 
opportunity  to  solve  these 
puzzles  .  .  .  but  especially 
the  way  in  which  you  an- 
swer all  questions." 


The  keynote  of  this  great  National  Puzzle  Contest  is 
absolute  fairness.  There  are  no  essays  to  write...  no 
jingles  to  rhyme ...  no  gimmicks  to  trip  you  up.  You 
don't  need  a  college  degree  to  win!  All  that  counts  is 
your  skill  and  common  sense.  These  fascinating  picture 
puzzles  are  so  much  fun  to  get  the  hang  of,  you'll  have 
a  good  time  doing  them.  Even  if  you've  never  entered  a 
contest  before,  you've  got  a  great  chance  of  being  a 
winner  in  this  one. 

Best  of  all,  this  unusual  contest  actually  gives  you  a 
chance  to  check  your  own  answers  and  make  sure 
they're  right,  before  sending  them  in!  Not  only  do  you 
have  this  opportunity  for  checking  once  . . .  you  get  a 
second  chance!  Shortly  after  you  complete  your  puzzle 
answers,  we  will  mail  you  an  Official  Substitute  Solution 
Form,  so  you  can  correct  any  err.or  or  omission  ...  so 
you  can  double-check  your  solutions.  What  could  be 
fairer! 


TRY  THIS   SAMPLE  PUZZLE  RIGHT  NOW! 


HOW  MUCH  FUN! 


CLUE  No.  1:  THE  "H00SIER"  STATE. 


+  ONEA  - 
-K      =c 


1 1 1 1 1 1 1 


Clue  No.  2:  The  7  letters  forming  the  correct  name  of 
this  State  total  exactly  52  points  using  the  Official  Table 
of  Letter  Values. 


This  is  a  typical  contest  puzzle  that  was  actually  used 
in  a  former  contest.  See  how  easy  it  is  to  get  the  hang 
of  these  interesting  picture  puzzles  by  trying  this  one. 
See  how  much  fun  they  are  to  solve!  In  the  sample 
puzzle  shown,  you  will  see  a  sink,  a  dial,  the  sole 
of  a  shoe  and  various  letters  of  the  alphabet.  There 
are  two  plus  and  minus  signs.  First,  write  down  sink. 
Then  add  dial  to  it.  Next,  add  onea.  All  this  equals 
sinkdialonea.  Now,  you  must  subtract  the  letters  in 
sole  and  K.  When  this  is  done  you  are  left  with 
Indiana.  Indiana  is  the  Hoosier  State,  so  the  result 
checks  with  Clue  No.  1. 

You  Can  Now  Check  Your  Answer  with  Clue  No.  2, 
by  using  the  Official  Table  of   Letter  Values: 


A-1 

E.5 

1-9 

M-13 

a-1 7 

U-21 

X-24 

B-2 

F-6 

J-10 

N-14 

R-18 

V-22 

Y-25 

C-3 

G-7 

K-11 

0-15 

S-19 

W-23 

Z-26 

D-4 

H-8 

L-12 

P-16   / 

T-20 

PRIZES         ^/ 
PAID  PROMPTLY! 

IN  2  YEARS  $133,500.00  AWARDED 
FROM  NATIONAL  PUZZLE  CONTESTS! 


National  Puzzle  Contests  have  offered  $133,500.00  in  prizes  within  the  short 
space  of  2  years!  That's  a  whale  of  a  lot  of  money!  But  now  the  new  National 
Puzzle  Contest . . .  with  prizes  of  an  additional  $50,000  . . .  will  raise  that  grand 
total  to  $183,500.00!  If  you  are  18  years  of  age  or  older  and  live' in  the  U.  S., 
Canada  or  a  U.  S.  Possession,  you  are  eligible  to  enter  this  fabulous  contest. 
It  is  sponsored  by  the  American  Church  Union,  Inc.,  a  state  chartered,  non-profit 
organization.  All  judging  will  be  conducted  in  an  impartial,  impersonal  manner 
to  assure  absolute  equality  of  opportunity  to  all.  All  contestants  will  receive  exact 
information  on  the  outcome  of  the  contest . . .  including  names  of  all  winners, 
plus  correct  puzzle  solutions.  All  prizes  will  be  paid  promptly,  in  full. 


ENTER  NOW 
CADILLAC,  A  MINK  COAT, 


MAKE    YOURSELF    ELIGIBLE    TO    WIN    A 

PROMPTNESS  BONUS  OF  A 


OR  AN 
EXTRA 


$5,000! 


This  is  a  contest  with  a  magnificent  plus!  Mail  the  handy  coupon  at  once,  and 
we'll  rush  your  contest  entry  blank  to  you,  with  the  date  of  contest  deadline,  rules, 
etc.  As  a  contestant,  should  your  score  be  highest,  in  addition  to  the  prize  you 
win  you  also  receive  your  choice  of  any  one  of  the  three  extra  bonus  prizes  you 
choose . . .  either  a  Cadillac  Convertible,  genuine  Ranch  Mink  Coat,  or  an  addi- 
tional $5,000  in  Cash! 


GIVE  YOURSELF  A 
CHANCE  TO  WIN 


$5,000  EXTRA! 


MAIL  COUPON  TODAY! 


According  to  the  Table  above,  1=9,  N  =  14,  D=4,  1=9, 
A=l,  N=14,  A=l,  for  a  grand  total  of  52.  Check  with 
Clue  No.  2,  and  you  can  make  sure  you  are  right  on  the 
nose!  Every  puzzle  in  the  contest  will  have  2  clues  so 
you  can  always  make  sure  you're  right! 

National  Puzzle  Contest,  Dept.  113  P.  0.  Box  777,  G.  P.  0.  Brooklyn,  N.  Y. 


National  Puzzle  Contest  Dept.    113 

P.  O.  Box  777,  General  Post  Office,  Brooklyn  1 ,  N.  Y. 

I  want  full  particulars  about  the  $50,000.00  NATIONAL  PUZZLE 
CONTEST.  Please  mail  me  FREE  the  Official  Entry  Form,  Rules  and 
First  Series  of  Puzzles. 


Name 

Address. 
City 


Zone... 

PLEASE   PRINT   PLAINLY 


.State 


15 


Here's 
Taylor  Grant 


Taylor  has  a  sumfriit  talk  with   Pres.  Eisenhower. 


In  a  lighter  vein,  he  meets  actress  Grace  Kelly. 


16 


For  a  political  scoop,  he  interviews  Dick  Nixon. 


His  scoops  on  WPTZ  have  made  him 
Philadelphia's  most  quoted  newsman 


News  is  where  you  find  it — and  when  you  do, 
Taylor  Grant  will  probably  have  been  there  ahead 
of  you.  This  native  Philadelphian  has  a  21-year 
record  of  tracking,  gathering,  writing  and  reporting 
the  news  that  is  virtually  unmatched  in  radio  and 
television.  He's  a  television  journalist  and  he  brings 
on-the-scene  authority  to  Taylor  Grant  And  The 
News,  seen   at   7:25   P.M.,   Sunday   through  Friday 
on  Station  WPTZ.  .   .  .  "Philadelphia's  most  quoted 
newsman"  can  also  give  hostess  Elsa  Maxwell  a  run 
for  celebrity -list  honors.    He's  broadcast  more  than 
2500  interviews  and  his  guest  list  at  WPTZ  has  included 
all  members  of  the  presidential  cabinet,  plus  leading 
representatives  of  Congress,  the  armed  forces,  royalty, 
sports,  entertainment,  science  and  industry  .... 
Born  in  Germantown,  Taylor  was  well-educated  at 
Germantown    High    School    and    Temple    University. 
He  stepped  before  his  first  mike  in  1934,  got  his  big 
break  a  year  later  when  he  was  on  the  air  steadily 
for  seventy  minutes  with  a  report  of  a  plane  crash 
over  the  North  Pole.  As  a  result,  he  was  chosen  to  edit 
and  report  the  7:45  news  and  proceeded  to  rack  up 
the  highest  daytime  audience  attained  up  to  that  time 
by  a  local  radio  station  in  Philadelphia.  As  early  as 
1941,  he  was  in  the  TV  swim,  handling  play-by-play 
football  and  baseball  reports.  In  1944,  he  left  the 
Quaker  City  for  two  independent  stations  on  the  isle 
of  Manhattan.  A  year  later,  he  joined  ABC.  Again, 
his   ratings   were   skyscraper-high,    second   only    to 
Walter  Winchell  in  the  network's  newscaster  ratings. 
About  a  year  and  a  half  ago,  he  took  up  the  full-time 
challenge  of  TV  in  his  home  town.  .  .  .  Between  floods, 
fires,  strikes  and  elections,  Taylor  relaxes  with  his 
wife  Jeannette  and  five-year-old  Wayne  Terrence  in  a 
Georgian  colonial  home  in  suburban  Wayne.  His  son 
Taylor,  Jr.,  17,  is  a  student  at  Haverford  School  and 
daughter  Letitia,  19,  is  a  sophomore  at  the  University 
of  Michigan.  .  .  .  Mrs.  Grant  has  come  to  take  her 
husband's  chase  after  the  news  in  stride.  One  Thursday 
last  August,  Taylor  learned  of  possible  "very  heavy 
rains."  He  checked  again,  got  the  first  inkling  of  the 
coming  flood  disaster.  He  didn't  turn  up  at  home 
until  the  following  Tuesday,  but,  as  Variety  reported, 
Taylor  Grant's  flood  documentaries  "packed  plenty 
of  wallop."    His  WPTZ  newscasts  always  do. 


What's  New 
in  Colgate  Denial  Cream  thats 


in  every  other  leading  toothpaste? 


■^(Slwe^w?**** 


[fs  GARDOL-ToGii/eUpTo 

7  Times  Longer  Protection 
Against  Tbofh  Decay 

..  Wffh  Just  One  Brushing/ 


rw ' 


GARDOL  Makes  This  Amazing  Difference! 


minutes  after 
brushing  with  any 
toothpaste" 


12  HOURS  AFTER 

ONE  COLGATE  BRUSHING 

GARDOL  IS 


DECAY-CAUSING 
BACTERIA  RETURN  TO 
ATTACK  YOUR  TEETH! 


STILL  FIGHTING 

THE  BACTERIA  THAT 

CAUSE  DECAY! 


Cleans  Your  Breath 


While  It 


Guards  Your  Teeth 


Any  toothpaste  can  destroy  decay-  and  odor-causing 
bacteria.  But  new  bacteria  come  back  in  minutes,  to 
form  acids  that  cause  decay.  Colgate's,  unlike  any 
other  leading  toothpaste,*  keeps  on  fighting  tooth 
decay  12  hours  or  more! 

Thus,  morning  brushings  with  Colgate's  help  pro- 
tect all  day;  evening  brushings  all  night.  Because  the 
Gardol  in  Colgate's  forms  an  invisible,  protective 
shield  around  your  teeth  that  lasts  for  12  hours  with 
just  one  brushing.  Ask  your  dentist  how  often  you 
should  brush  your  teeth.  Encourage  your  children  to 
brush  after  meals.  And  at  all  times,  get  Gardol  pro- 
tection in  Colgate  Dental  Cream! 


*THE  TOP  fHREE    BRANDS  AFTEft  COLGATE'S. 


No  other  leading  toothpaste 
can  give  the  12-hour  protection 
against  decay  you  get  with 
Colgate's  with  just  one  brushing! 


17 


[Daytime  Diary 

^*ft»i»i«m  in  i  mill  ii  imiii  wir  i     in  ■fin 


All   programs   are   heard   Monday   through   Friday;    consult 
local  papers  for  time  and  station. 


BACKSTAGE  WIFE  The  mysterious 
Madame  Moleska  had  confused  actor 
Larry  Noble  to  the  point  where  he  actual- 
ly leaves  his  wife  Mary  and  plans  to  marry 
Elise  Shephard.  But  suddenly  she  goes  too 
far,  and  Larry  realizes  how  close  she  has 
brought  him  to  the  brink  of  misery.  But 
will  his  renunciation  of  Elise  and  his  re- 
turn to  Mary  open  the  door  to  a  happier 
future?  Or  will  a  greater  tragedy  be 
brought  on  by  Elise's  bitterness  and  Mo- 
leska's  hatred?    CBS  Radio. 

THE  BRIGHTER  BAY  When  Lydia 
Herrick  admits  her  love  for  Max  Can- 
field,  her  brother-in-law  Donald  deter- 
mines on  a  desperate  plot  to  keep  her  tied 
to  him,  as  she  has  been  since  his  brother's 
death.  Can  Donald  use  Lydia's  secret — her 
tendency  to  kleptomania — to  ruin  her  hopes 
for  happiness?  Or  will  Max,  with  the  help 
of  Reverend  Dennis,  make  Lydia  forever 
safe  from  Donald  by  learning  and  reveal- 
ing the  whole  truth  about  her  brother-in- 
law?    CBS-TV. 

THE  BOCTOR'S  WIFE  Running  a  doc- 
tor's busy  household  is  a  real  job,  and 
Julie  Palmer  has  always  been  grateful  to 
have  as  reliable  and  loyal  a  helper  as  her 
housekeeper,  Betty.  Julie  is  deeply  trou- 
bled when  her  conscience  will  not  permit 
her  to  tamper  with  the  truth  in  order  to 
get  Betty's  beloved  Jeff  out  of  trouble  he 
has  brought  on  himself.  Can  she  explain 
her  principles  to  Betty,  or  will  Betty's  bit- 
terness ruin  the  relationship?  NBC  Radio. 

FIRST  LOVE  From  the  beginning  of  her 
married  life,  Laurie  has  known  that,  as 
deeply  as  Zach  loves  her,  she  will  be  the 
one  to  make  most  of  the  concessions  and 
sacrifices.  But  when,  in  her  time  of  desper- 
ate need  after  the  loss  of  her  baby,  Zach 
allows  ambition  and  duty  to  delay  his 
T  return  to  her,  Laurie  knows  a  depth  of 
V    bitterness   that   may   never   be   altogether 

R 


forgotten.  How  will  Zach  meet  Laurie's 
new  attitude?    NBC-TV. 

THE  GUIBI1SG  LIGHT  To  himself  and 
anyone  else  who  asks,  Dr.  Dick  Grant 
keeps  insisting  that  his  interest  in  Marie 
Wallace  is  purely  friendly.  But  even  if 
Dick  believes  this,  and  even  if  Marie  re- 
fuses to  admit  even  to  herself  that  she 
feels  differently,  Dick's  friend  Jim  Kelly 
and  Marie's  model,  Lila,  have  other  ideas 
about  that  friendship.  Meanwhile,  a 
mother-in-law  problem  climaxes  in  near- 
catastrophe  for  Dick's  friends,  the  Bauers. 
CBS-TV  and  CBS  Radio. 

LOVE  OF  LIFE  As  a  reporter,  Vanessa 
Raven  has  made  some  enemies  in  the 
Barrowsville  underworld.  Will  they  be 
able  to  take  advantage  of  the  complica- 
tions and  the  mystery  surrounding  the 
mute  child,  Carol,  whom  Van  and  Paul 
hope  to  adopt?  And  will  Van's  own  sister 
try  to  sacrifice  Carol  to  improve  her 
standing  with  Hal  Craig?  Is  Hal's  locket 
in  some  way  connected  with  Carol  and 
with  Paul's  ex-wife,  Judith?  CBS-TV. 

MA  PERKINS  The  return  of  little  Janey 
to  Gladys  and  Joe  could  mark  the  happy 
end  of  a  dreadful  episode.  But  Ma  cannot 
close  her  eyes  to  the  fact  that,  for  Dorothy 
Marsh,  who  had  to  give  up  the  baby  to  its 
rightful  parents,  it  is  the  beginning  of 
anguish.  And  even  though  a  few  weeks 
ago  the  Marshes  were  strangers  to  Ma,  she 
cannot  see  a  human  being  in  trouble  with- 
out trying  to  help.  Can  she  help  Mrs. 
Marsh?   CBS  Radio. 

OUR  GAL  SUNBAY  Lord  Henry  Brin- 
thrope,  fearful  that  Leonora  Dawson's 
claim  that  he  is  her  husband  and  the 
father  of  her  child  will  wreck  his  marriage 
to  Sunday  before  he  can  prove  it  a  lie, 
desperately  offers  Leonora  a  huge  sum  of 
money  to  disappear.  But  in  trying  to  avert 


a  tragedy,  Lord  Henry  unwittingly  paves 
the  way  to  a  greater  one,  as  Leonora's 
husband,  Charles,  plays  an  unexpected 
role  in  their  agreement.  CBS  Radio. 

PEPPER  YOUNG'S  FAMILY  Peggy 
Trent's  months  of  anguish  finally  end  with 
her  husband  Carter's  return.  But  Pepper 
wonders  if  Peggy  should  be  encouraged  to 
look  too  far  into  the  future,  for  despite 
Carter's  successful  operation  he  is  by  no 
means  completely  well.  Meanwhile,  Linda 
is  a  bit  fearful  of  Pepper's  new  interest  in 
the  oil  business.  Would  he  be  wiser  to  steer 
clear  of  it,  despite  its  exciting  possibilities? 
NBC   Radio. 

PERRY  MASON  A  new  case  introduces 
Perry  Mason  to  an  interesting  and  perplex- 
ing personality — the  brilliant  chemical  ex- 
pert, Dr.  I.  T.  McKallen,  whose  very  bril- 
liance makes  him  a  prey  to  his  power- 
hungry  sister-in-law.  Belle.  What  is  Belle 
McKallen  after  in  seeking  to  gain  control 
over  her  eminent  brother-in-law?  And 
how  does  Peter  Nicholas,  head  of  the 
Palace  of  Power,  figure  in  the  situation? 
CBS  Radio. 

THE  RIGHT  TO  HAPPINESS  Caro- 
lyn Nelson  is  certain  she  can  vouch  for 
her  son  Skip's  basic  character — certain 
that,  despite  the  recent  secretiveness  and 
resentment  he  has  shown,  he  can  never 
become  the  kind  of  boy  his  school  princi- 
pal calls  delinquent.  But  can  a  mother 
force  a  teen-age  son  to  be  completely 
honest  when  he  feels  honor-bound  to  pro- 
tect some  of  his  friends?  What  if  Carolyn's 
enemies  try  to  make  a  tool  of  her  own 
son?  NBC  Radio. 

THE  ROAB  OF  LIFE  Sibyl  Overton's 
reckless  desire  to  win  Jim's  love  has  al- 
most ruined  his  marriage,  endangered  his 
career,  and  has  finally  climaxed  in  the 
(Continued  on  page  25) 


18 


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Trio  from  The  Big  Surprise — hosts  Don  and  Lois  Wilson 
and  emcee  Jack  Barry — share  a  priceless  story  backstage. 


Three  acting   brothers  play  engineer — Glenn  Walken   of 
The   Guiding  Light   and   free-lancers    Ken    and    Ronnie. 


WHAT'S    NEW    FROM    COAST    TO 

(Continued   from    page    4) 


will  grab  off  a  top  rating  in  a  hurry. 

There's  a  change  in  the  produc- 
tion on  NBC's  January  21  spectacu- 
lar edition  of  Max  Liebman  Presents. 
Instead  of  "Night  in  Venice/'  orig- 
inally announced,  Max  Liebman 
will  do  an  hour-and-a-half  produc- 
tion of  the  old  musical  comedy,  "The 
Cat  and  the  Fiddle." 

On  Sunday,  February  5,  Maurice 
Evans  will  present  "The  Good 
Fairy"  on  Hallmark  Hall  Of  Fame. 
This  is  the  famous  Ferenc  Molnar 
stage  play,  which  was  also  one  of 
Margaret  Sullavan's  greatest  movies. 
The    television    star    will    be    Julie 


Harris,  currently  the  toast  of  Broad- 
way with  her  beautiful  performance 
as  Joan  of  Arc  in  "The  Lark." 

Returning  to  the  CBS  Sunday  aft- 
ernoon TV  schedule,  as  of  January 
8,  is  Front  Row  Center,  a  full-hour 
dramatic  series,  originating  live 
from  Hollywood,  with  name  stars 
and  original  scripts.  Front  Row 
Center  was  a  summer  replacement 
show  last  year  on  CBS,  but  this 
series  now  will  have  a  much  bigger 
budget  for  talent  and  production. 

Bing  Crosby  has  just  finished 
filming  the  musical  version  of  Max- 
well Anderson's  "High  Tor,"  which 


20 


Healthy    appetites — and    ratings — for    Vivian    Vance,    producer    Jess 
Oppenheimer,  Lucy  Ball,  Desi  Arnaz,  marked  /  Love  Lucy's  fifth  year. 


COAST 

will  be  presented  as  an  hour-and- 
a-half  super-duper  on  the  Ford  Star 
Jubilee  on  CBS,  probably  on  March 
10.  For  supporting  cast,  Crosby  has 
Julie  Andrews,  the  young  English 
ingenue  who  starred  in  "The  Boy 
Friend"  on  Broadway  this  past  sea- 
son, movie  actress  Nancy  Olson, 
and  the  well-known  actors  Everett 
Sloane,  Hans  Conreid  and  Lloyd 
Corrigan.  The  fact  that  Bing  finally 
agreed  to  do  this  television  show 
bears  out  his  cute  remark  when 
asked  recently  if  he  was  really  going 
to  retire.  "Let's  just  say,"  he  an- 
swered, "that  I'm  not  going  to  retire 
quite  as  much  as  Winston  Churchill 
but  more  than  Betty  Hutton." 

This  V  That: 

ABC  has  made  a  deal  with  Me- 
ridian Productions  to  produce  a  film 
series  of  ninety-minute  "dramacu- 
lars,"  as  they're  calling  them,  for 
television's  first  regular  hour-and- 
a-half  weekly  movies.  Tentatively 
titled  Command  Performance,  the 
series  is  slated  to  begin  in  the  fall 
of  this  year. 

Hal  March,  the  $64,000  emcee, 
and  Candy  Toxton  Torme  may  be 
saying  their  "I  do's"  in  a  few  weeks. 
Candy  divorced  crooner  Mel  Torme 
a  couple  of  months  ago  in  Santa 
Monica,  California,  and  a  California 
decree  takes  a  year  to  be  final.  But, 
with  Mel's  permission,  Candy  is 
establishing  residence  in  Nevada  in 
order  to  get  a  divorce  there  in  six 
weeks,  thereby  clearing  the  way 
for  her  marriage  to  March. 

Congratulations  to  my  colleague, 
Steve  Allen,  on  winning  one  of  the 
highest  accolades  of  show  business, 
the  "Personality  of  the  Year"  award 
of  the  Washington,  D.  C,  Variety 
Club. 

Look  for  an  announcement  any 
minute  from  M-G-M  Studios  that 
Eddie  Fisher  will  play  opposite  his 
bride,     Debbie     Reynolds,     in    the 


Wedding   march    for   Hal    March   as 
soon  as  Candy  Toxton  Torme  is  free. 


movie  of  "Catered  Affair,"  which 
will  co-star  Bette  Davis  and  Ernest 
Borgnine,  of  "Marty"  fame.  When 
I  asked  Eddie  about  this  before  he 
left  for  the  Coast,  he  gave  me  that 
big  grin  of  his  and  said  he'd  love  to 
do  the  picture,  "if  it  worked  out." 

Television  gets  the  credit  for  mak- 
ing Davy  Crockett  such  a  popular 
character  that  they've  even  named 
a  road  after  him.  Now  there's  a  new 
Davy  Crockett  Highway  which  runs 
between  Hopkinsville,  Kentucky, 
and  Norris  City,  Illinois. 

NBC  has  signed  the  young  comic, 
Alan  King,  to  a  seven-year  contract, 
so  sure  are  they  that  he  can  become 
a  big  TV  funny  man.  Alan's  back- 
ground is  mainly  night  clubs,  though 
he  has  a  small  role  in  the  new  War- 
ner Bros,  movie,  "Miracle  in  the 
Rain."  His  first  chore  for  the  net- 
work was  scheduled  to  be  participa- 
tion in  NBC's  big  Happy  New  Year 
TV  spectacular,  but  there  are  defi- 
nite plans  in  the  works  for  Alan  to 
have  his  own  comedy  show,  prob- 
ably later  this  season. 

The  stork  whispers  that  he  may 
drop  a  bundle  at  the  doorstep  of 
Mr.  and  Mrs.  Dennis  James  'long 
about  June. 

Lu  Ann  Simms  is  so  happy  with 
her  new  baby  daughter,  Cynthia, 
that  she  didn't  take  her  Godfrey 
firing  too  hard.  Though  she  was  sur- 
prised and  disappointed,  Lu  Ann  is 
not  bitter  at  her  former  boss.  On 
the  contrary,  she  is  very  grateful 
for  the  opportunity  Arthur  gave  her 
by  adding  her  to  his  "Friends"  after 
she  won  Talent  Scouts  a  couple  of 
years  ago.  Lu  Ann's  present  plans 
call  for  in-person  night-club  ap- 
pearances in  the  East,  and  she  may 
be  set  on  a  regular  TV  show  before 
long.  Her  husband,  music  publisher 
Loring  Buzzell,  is  acting  as  her 
manager. 

Bing  Crosby's  musical  director  on 
(Continued  on  page  22) 


now  on  the  Motion  Picture  Screen 
as  the  fabulous  BENNY  GOODMAN 


from  the 
Company    /, 
that  gave  111 '/. 
you  "THE 
GLENN 
MILLER  STORY"! 


A  Universal-International  Picture  starring 

STE^E  DONNA 

Allen-Reed 

with  GENE  KRUPA-  LIONEL  HAMPTON -BEN  POLLACK 
TEDDY  WILSON  •  EDWARD  "KID"  ORY 

HARRY  JAMES -MARTHA  TILXON  •  ZIGGY  ELMAN 


/ 


ALL  THE 
GREAT 

GOODMAN 

HITS 

including: 

"Sing,  Sing, 

Sing" 

"Let's  Dance" 

"One  6'Clock 
Jump" 

"Bugle  Call 
Rag" 

"Stotnpin'  At 
The  Savoy" 


SJfA 


Written  and  Directed  by  VALENTINE  DAVIES  •  Produced  by  AARON  ROSENBERG 


COMING  SOON  TO  YOUR  FAVORITE  THEATRE 


21 


WHAT'S   NEW   FROM    COAST   TO    COAST 

(Continued  from  page   21) 


his  CBS  Radio  show,  Buddy  Cole, 
was  married  recently  in  Las  Vegas 
to  Regina  Woodruff,  Beverly  Hills 
nurse.  Buddy  was  formerly  wed  to 
one  of  the  King  Sisters. 

Pat  Kirby,  the  talented  new- 
comer on  Steve  Allen's  Tonight  TV 
show,  has  been  signed  by  Decca  and 
they  feel  she'll  be  one  of  the  biggest- 
selling  record  voices  within  the  next 
year  or  so. 

And  the  young  baritone,  Alan 
Case,  has  himself  a  Columbia  Re- 
cording contract.  Alan  is  the  twenty - 
one-year-old  Texas  lad  who  won 
the  Talent  Scouts  show  last  April 
and  was  heard  with  Godfrey  for  a 
few  times  on  his  morning  programs. 
As  a  result  of  his  work  with  Arthur, 
Alan  was  given  a  good  part  in  the 
musical,  "Reuben,  Reuben,"  which 
was  slated  to  open  on  Broadway 
this  past  season,  but  folded  out  of 
town.  Now  the  good-looking  young 
crooner  is  free  for  television,  and  is 
supposed  to  join  the  cast  of  a  video 
variety  show  very  soon. 

Film  and  TV  actress  Phyllis 
Avery  has  filed  suit  for  divorce 
against  her  husband,  actor  Don 
Taylor,  in  Los  Angeles.  Also  on 
the  divorce  list  are  crooner  Charles 
Applewhite  and  his  wife,  who  sued 
the  singer  in  Fort  Worth,  Texas. 
However,  their  friends  and  their 
families  were  trying  very  hard  to 
affect  a  reconciliation  before  the 
Applewhites'   troubles  got  to  court. 

Following  her  repeat  performance 
of  "Peter  Pan"  on  NBC-TV,  Mary 
Martin,  her  husband,  Richard  Hal- 
liday,  and  her  actress  daughter, 
Heller  Halliday,  are  set  to  take  off 
on  a  tramp  steamer  for  a  slow  jour- 
ney to  Brazil. 


Imogene  Coca  may  return  to  work 
with  her  former  director,  Max  Lieb- 
man,  on  a  big,  special  one-shot  show 
for  NBC,  now  in  the  planning  stage. 
The  impish  comedienne  recently  de- 
buted her  new  night-club  act  in  Las 
Vegas,  did  very  well,  and  is  cur- 
rently playing  the  supper  club  cir- 
cuit. She's  been  offered  a  million- 
dollar  night-club  contract,  the  same' 
figure  involved  in  the  pact  she 
bowed  out  of  at  NBC.  Wouldn't  it 
be  like  the  good  old  days,  by  the 
way,  if  NBC  teamed  Imogene  and 
her  old  partner,  Sid  Caesar,  for  at 
least  one  appearance? 

Mulling  the  Mail: 

To  all  those  who  wrote  asking 
about  why  Peggy  McCay  left  the 
leading  role  in  the  TV  series,  Love 
Of  Life.  Peggy  departed  the  pro- 
gram at  her  own  request  because 
she  wanted  to  do  other  dramatic  TV 
shows,  which  she  couldn't  do  under 
her  Love  Of  Life  contract.  So  she 
is  happily  free-lancing  now.  Bon- 
nie Bartlett  replaced  Peggy.  Look 
for  a  featured  story  on  Bonnie  in 
our  March  issue.  .  .  .  Mrs.  J.  B.,  Al- 
buquerque, New  Mexico:  You  are 
right!  The  girl  whom  you  heard 
on  Jack  Carson's  radio  show  is  from 
your  town.  Her  name  is  Sue  Raney, 
she  is  sixteen  years  old,  and  Cax-son 
thinks  she  is  a  real  find.  He  hopes 
to  use  her  often  on  his  program.  .  .  . 
Miss  L.  P.,  Phoenix,  Arizona:  Don 
Liberto  and  Lois  Hunt  left  the 
Robert  Q.  Lewis  show  because  the 
producers  felt  a  slight  change  in 
format  was  in  order  for  Robert  Q. 
So  they  hired  Judy  Johnson,  who 
will  be  remembered  from  Show  Of 
Shows,  and  singer  Merv  Griffin  for 


22 


Mr.  and   Mrs.  Dennis  James  will  welcome  a  little  "contestant"  around  June. 


Pert  Audrey  Meadows  dates  socialite 
Spencer  Martin  at  the  Harwyn  Club. 


a  stretch.  .  .  .  Mrs.  M.  R.,  St.  Louis, 
Missouri:  Susie  Bell,  the  little 
singer  on  Pinky  Lee's  show  was 
only  off  for  a  few  weeks.  She  is 
thirteen  years  old,  and  her  real 
name  is  Jymme  Shore.  .  .  .  Mrs.  P.  V., 
Hammond,  Indiana:  The  couple  you 
ask  about  on  NBC  Radio's  Weekday 
program  are  Ted  and  Rhoda 
Brown,  who  are  Mr.  and  Mrs.  in 
private  life.  They  have  been  a  very 
popular  disc  jockey  team  over 
WMGM  in  New  York  City,  where 
they  have  been  doing  a  comic  early- 
morning  show  for  several  years. 
Arthur  Godfrey  is  one  of  their  fans 
and  often  quotes  them  on  his  morn- 
ing shows.  .  .  .  Mr.  C.  A.,  Richmond, 
Virginia:  Doris  Drew,  Tennessee 
Ernie  Ford's  songstress,  is  happily 
married  to  comedian  Larry  Allen, 
and  they  have  a  three-year-old  son, 
Danny.  .  .  .  Mrs.  H.  T.,  Syracuse, 
New  York:  Actor-writer,  Pat  C. 
Flick,  who  passed  away  a  few  weeks 
ago  in  Hollywood,  is  the  same  per- 
sonality you  remember  from  the 
very  first  Ed  Sullivan  Toast  Of  The 
Town  shows.  He  did  a  comedy  spot 
with  Sullivan,  sitting  in  a  theater 
box  and  insisting  on  calling  Ed  "Mr. 
Solomon.".  .  .  Miss  K.  T.,  Utica,  New 
York:  "Crime  in  the  Streets,"  was 
done  on  the  Elgin  Hour  on  TV 
several  months  ago,  with  John 
Cassavetes  in  the  leading  role.  The 
drama  of  juvenile  delinquency  is 
scheduled  to  be  made  into  a  movie 
by  Allied  Artists,  and  Cassavetes 
will  recreate  his  original  part.  .  .  . 
Miss  B.  J.  C,  North  Tonawanda, 
New  York,  and  others  who  have 
written  about  Julius  La  Rosa  not 
being  on  television:  Julie  went  over 
with  a  smash  when  he  opened  his 
new  night-club  act  at  Las  Vegas  a 
few   weeks   ago   and   fairly   wowed 


the  blase  audience.  He  plans  to  play 
several  other  clubs  for  which  he  is 
committed  and  his  TV  work  for  most 
of  this  season  will  be  limited  to 
guest  appearances  on  Hollywood  or 
New  York  shows.  It  doesn't  look  as 
though  Julie  will  have  a  regular 
program  of  his  own  this  season.  .  .  . 
Mrs.  S.  C,  Haverhill,  Massachusetts: 
Kay  Armen  isn't  appearing  on  any 
one  TV  show  at  the  moment,  though 
she  does  guest  occasionally.  Kay  has 
been  busy  recording  for  M-G-M  and 
has  also  been  considered  for  a  forth- 
coming filmed  series,  which  would 
be  shown  on  local  stations  around 
the  country.  .  .  .  Mrs.  S.  A.,  Portland, 
Oregon:  Dunninger,  the  mentalist, 
is  not  on  TV  or  radio  presently.  He 
was  last  seen  on  TV  during  the  sum- 
mer of  1955. 

What  Ever  Happened  To.  .  .  ? 

Gloria  De  Haven,  who  made 
many  appearances  on  the  top  net- 
work shows?  Gloria  has  settled 
down  for  the  winter  in  Miami, 
Florida,  where  she  is  doing  an  in- 
terview-type show,  along  with  sing- 
ing and  dancing,  on  a  local  station. 
Gloria  is  also  studying  painting  in 
Florida  and  says  she  is  going  to  stay 
"under  the  sun"  until  spring. 

Joan  Edwards,  the  songstress- 
pianist,  who  was  last  heard  on  her 
own  show  over  WCBS  in  New  York? 
Joan  became  ill  a  few  months  ago 
and  had  to  give  up  the  program, 
which  was  taken  over  by  Martha 
Wright.  But  she's  feeling  fine  now, 
and  is  awaiting  an  early  spring  visit 
from  the  stork,  which  will  make  it 
number  four  for  Joan  and  her  hus- 
band, Jules  Schacter.  He  is  the 
concert  master  with  Axel  Stordahl's 
band  on  the  Eddie  Fisher  show. 

Nan  Wynn,  the  singer,  who  ap- 
peared on  many  television  shows 
and  was  a  well-known  name  on 
records  and  in  night  clubs?  Nan 
dropped  out  of  show  business  for 
several  years,  due  to  a  tragic  illness. 
But  now  she  is  hoping  to  make  a 
comeback,  has  just  made  her  first 
recordings  for  RCA  Victor,  and  is 
awaiting  radio  and  television  as- 
signments. 


If  you  have  a  question  about  one  of 
your  favorite  people  or  programs,  or 
wonder  what  has  happened  to  some- 
one on  radio  or  television,  drop  me 
a  line:  Miss  Jill  Warren,  TV  Radio 
Mirror  Magazine,  205  East  42nd  Street, 
New  York  17,  N.  Y.,  and  I'll  try  my 
best  to  find  out  for  you  and  put  the 
information  in  this  column.  Unfortu- 
nately, we  don't  have  space  to  answer 
all  questions,  so  I  try  to  cover  those 
personalities  and  shows  about  whom 
I  receive  the  most  inquiries.  Sorry,  no 
personal  answers,  so  kindly  do  not 
enclose  stamped  envelopes  or  postage, 
as  they  cannot  be  returned. 


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long,  beautiful,  tapering  nails  you  always 
wanted.  NAIL-GRO  is  a  liquid  plastic 
material  applied  directly  to  fingernails  just 
like  nail  polish.  Discovered  by  medical 
science,  it  sets  to  a  clear,  hard  surface  — 
looks   and   feels   like   your  regular  nail  .  .  . 


AFTER 


and  grows  with  your  regular  nail.  It  can 
be  cut,  filed,  and  polished  —  yet  it's  so  strong 
it  can't  break  or  tear  .  .  .  even  when  you're 
cleaning  house,  washing  dishes,  doing  laun- 
dry, playing  the  piano,  or  typing.  What's 
more,  these  nails  are  so  sturdy,  nail-biters 
can't  chew  them.  Colored  nail  polishes  stay 
on  NAIL-GRO  twice  as  long  as  they  do  on 
regular  nails  .  .  .  and  nail  polish  remover 
takes  polish  off  faster  and  easier! 


Place  nail  form  under  nail 
and  apply  powder  with  wet 
brush  just  like  nail  polish. 

"7! 


When  nail  hardens,  remove 
nail-form.  Nail  is  now  ready 
for  filing  and  polishing ;  looks 
and  feels  completely  real. 


•  Completely  harmless  —  the  same  material  used  by 
practicing  dentists  and  surgeons. 

•  Builds  nails  to  the  length  and  shape  you  want. 

•  Creates  everlasting  nails  that  look,  act  and  feel  like 
regular  nails. 

•  Not  a  polish  or  a  "falsie"  — but  a  plastic  nail  you 
brush  on. 

•  One  application  lasts  indefinitely. 

•  Adheres  to  your  nail  and  grows  out  with  your  naiL 

•  Stronger  than  your  regular  nail!  Can't  break  or  tear. 

•  Ideal  for  problem  children  who  are  nail-biters. 

•  Smooths  torn  nails  —  preventing  runs  in  stockings 
and  snags  in  clothing. 

INTRODUCTORY  OFFER! 


ACCEPT  FREE 
TRIAL  OFFER 

Send  no  money.  Give 
NAIL-GRO  a  thorough 
free  trial  in  your  own 
home.  You'll  be  delighted 
with  its  spectacular  results 
.  .  .  with  the  lovely,  long, 
tapering  nails  it  builds. 
Order  today  on  money- 
back  guarantee.  Mail  no- 
risk  coupon  to  NAIL-GRO, 
31  West  47th  Street,  New 
York  City,  New  York. 


ENOUGH 
FOR 

50  NAILS! 


098 


A 

FULL 

YEAR'S 

SUPPLY 


A  professional  NAIL-GRO  treatment  in  a  beauty  salon 
would  cost  you  $16.50!  And  the  complete  NAIL-GRO  kit 
is  sold  at  all  leading  department  stores  for  $5.  But  right 
now— during  this  special  introductory  offer— NAIL-GRO  is 
yours  for  only  $2.&8!  You  get  enough  for  50  nails— a  full 
year's  simply! 

Copyright  1955  Nail-Cro  Co. 


NAIL-GRO  CO.,  31  West  47th  Street,  New  York  City,  N.  Y.  Dept.TS-1 

Yes,  I  want  the  long  beautiful  nails  NAIL-GRO  can  give  me.  Rush  me NAIL-GRO 

kits  at  $2.98  each,  plus  30tf  Fed.  Tax  &  C.O.D.  postage  charges.  When  NAIL-GRO  arrives, 
I  will  pay  postman  the  low  introductory  price.  BUT  I  am  not  buying— I  am  simply  trying.  If 
NAIL-GRO  doesn't  give  me  lovely,  long,  tapering  nails  after  one  application— if  it  does  not 
do  all  you  claim,  I  will  return  unused  portion  within  10  days  for  full  purchase  price  refund. 

Name - 

Address - 

City Zone State 

□      CHECK  HERE  To  Save  MONEY.  Enclose  payment  with  order  and  WE  pay  all  po«tage 
and  shipping  charge*.  (Add  301  Fed.  Tax  for  each  kit).  Same  money-back  guarantee, 
of  course.   (Canadian  and  foreign  orders  must  be  prepaid.  Same  money-back  guarantee.) 


23 


Your 

whole 

life 

is 

before 

you! 


Isn't  it  nice  to  be  the  very  age  you  ate! 
Young  enough  to  be  full  of  plans.  Old 
enough  to  take  advantage  of  them. 
Wherever  you  look,  you  see  a  series  of 
enchanting  tomorrows.  Your  whole  life 
is  before  you. 

May  we  offer  you  one  bit  of  advice? 
Don't  ever  settle  for  needless  discomfort. 
Avoid  the  too-tight  girdle,  the  shoes 
that  rub,  the  slip  that  binds — and  don't 
be  tied  to  sanitary  protection  that  puts 
you  into  a  harness  instead  of  a  happy 
frame  of  mind.  Millions  of  girls  have 
found  in  Tampax  internal  protection  the 
convenience,  the  comfort,  the  freedom 
they're  looking  for. 

Tampax  prevents  odor  from  forming. 
Tampax  is  invisible  and  unfelt  when  in 
place.  Tampax  is  readily  disposable. 
Tampax  is  small,  dainty,  easy  to  carry, 
easy  to  insert  and  change.  Can  be  worn 
in  shower  or  tub.  Can  be  bought  at  any 
drug  or  notion  counter  throughout  the 
country.  Comes  in  3  absorbencies :  Regu- 
lar, Super,  Junior.  Tampax  Incorporated, 
Palmer,  Mass. 


24 


Invented  by  a  doctor — 
now  used  by  millions  of  women 


New  Patterns 
for  You 


9119 

SIZES 
12—20 


9119 — Cinch  to  sew — joy  to  wear!  The 
perfect  dress  to  pretty  your  figure! 
Misses'  Sizes  12-20.  Size  16  takes  3% 
yards  35-inch  fabric.     State  size.     35$ 


4619 — See  how  flattering  your  fashions 
will  look  with  this  new  foundation  be- 
neath! It  gives  a  perfect  fit,  comfort- 
ably firm  support  to  the  larger  figure! 
Women's  Sizes  36-50.  Size  36  takes  1 
yard   35-inch   fabric.    State   size.    35^' 


4835 — Sew  this  pretty  sundress  in  jiffy 
time!  Perfectly  porportioned  for  the 
shorter,  fuller  figure!  Half  Sizes  14^4- 
24%.  Size  16%  takes  4%  yards  35-inch 
fabric.     State  size.     35$ 


Send  thirty-five  cents  (in  coins)  for 
each  pattern  to:  TV  Radio  Mirror, 
Pattern  Department,  P.O.  Box  137, 
Old  Chelsea  Station,  New  York  11, 
New  York.  Add  five  cents  for  each 
pattern  for  first-class  mailing. 


4835 

SIZES 


Daytime  Diary 


(Continued  from  page  18) 


accident  that  very  nearly  took  his  life  and 
Sibyl's.  But  as  a  doctor  Jim  realizes  that 
Sibyl  cannot  be  made  to  pay  in  the  ordi- 
nary way  for  the  trouble  she  created.  Will 
psychiatric  treatment  help  this  sick  girl — 
or  will  she  be  unable  to  face  the  truth? 
CBS  Radio. 

THE  ROMANCE  OF  HELEN  TRENT 

Helen  is  overjoyed  when  the  meaningless 
marriage  that  tied  Gil  Whitney  to  wealthy 
Cynthia  Swanson  is  dissolved  by  divorce, 
for  at  last  Gil  will  be  free  to  marry  her. 
But  Cynthia's  divorce  from  Gil  by  no 
means  signals  the  end  of  her  interest  in 
him.  As  Helen,  with  growing  bewilder- 
ment, waits  for  Gil  to  set  the  marriage 
date,  Cynthia  begins  to  weave  the  web 
that  may  trap  Gil  more  fatally  than  their 
marriage  ever  did.  CBS  Radio. 

SEARCH  FOR  TOMORROW  Brow- 
beaten and  victimized  by  her  conniving 
mother,  Melanie  Pritchard  finds  herself, 
against  her  will,  breaking  up  the  marriage 
of  Stu  and  Marge  Bergman.  Mrs.  Pritch- 
ard's  plan  seems  foolproof — but  will  Mel- 
anie find  the  strength  to  defy  her,  for  the 
first  and  perhaps  the  last  time  in  her  life? 
And  will  Joanne  have  to  stand  by  and 
watch  Marge  suffer,  knowing  that  there 
are  times  when  even  the  dearest  friend  is 
helpless?  CBS-TV. 

THE    SECOND    MRS.    BURTON    As 

publisher  of  the  Dickston  Herald,  Stan 
Burton  has  reasons  enough  to  fight  for  its 
success.  But  his  autocratic  mother  is  an 
even  more  pressing  reason,  for  at  the  first 
sign  of  trouble  Stan  knows  she  will  be  in 
his  office  telling  him  once  again  that  he 
can't  manage  without  her  guidance.  What 
happens  when  Stan  sends  for  an  efficiency 
expert  to  streamline  the  Herald — and  his 
wife  Terry  rediscovers  an  old  beau?  CBS 
Radio. 

THE  SECRET  STORM  Pauline  Harris 
really  meant  to  mend  her  ways,  but  a 
lifetime  of  self-seeking  and  truth-twisting 
is  not  easily  wiped  away.  Her  frustrated 
desire  to  marry  Peter  Ames  awakens  once 
more  when  it  looks  as  though  Jane  Ed- 
wards really  plans  to  go  out  of  his  life 
because  of  her  unfortunate  past.  Faced 
with  losing  Jane,  will  Peter  make  some 
desperate  move  that  will  put  him  and  his 
children  completely  in  Pauline's  power? 
CBS-TV. 

STELLA  DALLAS  Ever  since  Laurel 
was  born,  Stella  Dallas  has  tried  to  pro- 
tect her  daughter's  happiness  and  help  her 
to  avoid  mistakes  that  might  ruin  her  life, 
With  the  end  of  Laurel's  marriage  to  Dick 
Grosvenor,  Stella  comes  close  to  despair, 
for  it  seems  to  her  that  two  fine  young 
people  are  bent  on  throwing  away  an  en- 
viable life.  Will  Stella  be  forced  to  give 
way — or  can  she  somehow  convince  Laurel 
of  the  truth?  NBC  Radio. 

THIS  IS  NORA  DRAKE  With  the  help 


of  Nora  and  Dr.  Robert  Seargent,  re- 
porter David  Brown  makes  strides  toward 
clearing  up  not  only  his  own  mental  con- 
fusion but  the  long-hidden  truth  about  the 
murder  for  which  his  parents,  Jack  and 
Catherine  McCord,  spent  twenty  years  in 
prison.  What  is  behind  the  mysterious 
phone  calls  that  have  repeatedly  warned 
Nora  to  stop  David's  search?  Why  is 
David's  sister  bent  on  self-destruction? 
CBS  Radio. 

VALIANT  LADY  Many  girls  leave  their 
small-town  homes  to  find  more  exciting, 
rewarding  lives  in  New  York — and  many 
succeed.  But  Diane  Emerson  wasn't  right 
or  ready  for  the  experience,  and  now  she 
must  see  her  mother,  her  little  sister,  and 
even  her  brother  Mickey  terrorized  by  the 
results  of  her  imprudent  activities.  Does 
Joey  Gordon  offer  hope  for  Diane's  future? 
And  what  will  the  reporter,  Elliott,  come 
to  mean  to  Helen?  CBS-TV. 

WENDY  WARREN  AND  THE  NEWS 

Yielding  to  the  combined  persuasion  of 
her  editor,  Don  Smith,  her  family,  and  her 
own  half- acknowledged  desire,  Wendy 
emerges  from  her  interlude  as  a  small- 
town editor  and  once  more  takes  up  a 
big-time,  big-city  life  as  a  major  news- 
paper columnist.  But  with  her  new  activi- 
ties and  her  new  apartment  come  new 
challenges — among  them  the  green-eyed, 
red-headed  Katy  Macauley.  How  does 
Katy  really  feel  about  Wendy?  CBS  Radio. 

THE  WOMAN  IN  MY  HOUSE  As  time 
goes  by,  the  Carter  family  changes — and 
yet  it  remains  the  same.  For  no  matter 
how  many  in-laws  and  grandchildren 
swell  the  ranks,  James  and  Jessie  Carter 
remain  the  nerve  center  of  the  family's 
life.  James  still  judges  everyone  by  his 
own  strict  standards.  And  Jessie  goes  on 
tempering  his  justice  with  her  own  special 
brand  of  mercy — the  kind  that  has  quieted 
many  a  family  rebellion.  NBC  Radio. 

YOUNG  DR.  MALONE  Jerry  Malone's 
marriage  to  Tracey  has  been  very  happy, 
but  neither  of  them  can  forget  that  some- 
thing in  her  past  still  casts  a  shadow  she 
cannot  banish.  When  Jerry  learns  that 
buried  secret  from  Craig  Brando,  he  is  at 
last  certain  that  he  can  free  Tracey  from 
her  imprisoning  fears.  But  Tracey  is  not 
so  sure,  and  the  problem  posed  by  Jerry's 
hostile  daughter  Jill  creates  additional 
complications.    CBS   Radio. 

YOUNG  WIDDER  BROWN  The  end  of 

Dr.  Anthony  Loring's  marriage  to  Millicent 
should  have  freed  him  to  marry  Ellen,  but 
instead  it  may  mean  the  end  of  all  hope 
for  them.  For  Millicent  is  dead — murdered 
— and  her  father,  the  famous  criminologist 
Jason  Randall,  is  certain  he  can  prove 
that  it  was  Anthony,  perhaps  with  Ellen's 
help,  who  killed  her.  Can  Ellen  discover 
the  true  killer  before  Jason  completes  his 
case?  NBC  Radio. 


MARCH  TV  RADIO  MIRROR  ON  SALE  FEBRUARY  7 


Replies  From  Survey  Reveal: 

NURSES 

wfaDOUCHINfi*™ 

ZONITE 

FOR  FEMININE  HYGIENE 


What  Greater  Assurance  Cart  a 
Bride-to-be  or  Married  Woman  Have 

Women  who  value  true  married  happi- 
ness and  physical  charm  know  how 
essential  a  cleansing,  antiseptic  and  de- 
odorizing douche  is  for  intimate  femi- 
nine cleanliness  and  after  monthly 
periods. 

Douching  has  become  such  a  part  of 
the  modern  way  of  life  an  additional 
survey  showed  that  of  the  married 
women  who  replied: 

83.3%  douche  after  monthly  periods. 
86.5%  at  other  times. 
So  many  women  are  benefiting  by  this 
sanitary  practice — why  deny  yourself  ? 
What  greater  "peace  of  mind"  can  a 
woman  have  than  to  know  zonite  is  so 
highly  regarded  among  nurses  for  the 
douche  ? 

ZONITE's  Many  Advantages 

Scientific  tests  proved  no  other  type 
liquid  antiseptic-germicide  for  the 
douche  of  all  those  tested  is  so  power- 
fully effective  yet  safe  to  body 
tissues  as  zonite.  It's  positively  non- 
poisonous,  non-irritating.  You  can  use 
zonite  as  often  as  needed  without  the 
slightest  risk  of  injury.  A 
zonite  douche  immediately 
washes  away  odor-causing 
deposits.  It  completely  de- 
odorizes. Leaves  you  with  a 
sense  of  well-being  and  con- 
fidence. Inexpensive.  Costs 
only  a  few  pennies  per 
douche.  Use  as  directed. 

If  any  abnormal  condition  exists, 
see  your  doctor. 


25 


Al  rrJazzbo"  Collins, 
WRCA's  reigning  deejay, 
perches  in  a  penthouse 
in  a  royal  purple  mood 


Al   refuses  to  quote  the  value  of  his  collection 
of  discs.    It's  as  priceless  as  the  Collins  humor. 


26 


Cuisine  is  a  Collins  hobby,   buttermilk  pancakes 
a  specialty,  and,  says  Al,  good  equipment  a  must. 


Music  makes  his  world  go  round  and  Al  lends  an  ear  to  some 
250  records  a  week,  or  two  hours  of  music  for  every  air  hour. 


Every  Cloud 


A  little  more  than  a  year  ago,  with  the  help  of 
three  armed  guards  and  an  armored  truck,  Al 
"Jazzbo"  Collins  moved  his  1,500  records  and  two  of 
his  pets,  Clyde  the  Crow  and  Harrison  the  Owl,  to  a 
penthouse  at  New  York's  Station  WRCA.  From  this 
aerie,  high  in  the  purple  clouds,  he  originates  the 
Al  Collins  Show,  weekdays  from  12:05  to  1:30  P.M.  .  .  . 
Harrison,  who  is  the  only  purple  Tasmanian  owl  in 
existence,  almost  got  left  behind.  For  some  time,  Har- 
rison had  been  too  opinionated  for  Al's  taste  and  had 
been  trying  to  pick  all  the  records.  Al  vociferously 
defends  his  position  as  boss  in  the  same  way  that  he 
defends  the  reality  of  his  royal-hued  surroundings. 
Whatever  exists  in  the  mind  is  the  most  real  of  all. 
.  .  .  The  mellifluous  Jazzbo,  a  New  Yorker,  inherits  his 
full-time  musical  mood  from  his  father,  a  professional 
violinist  who  organized  orchestras  for  Caribbean  cruise 
ships.  Al  plays  the  guitar,  left-handed  and  by  ear,  but 
when  his  mother  frowned  on  the  nomadic  life  of  a 
musician,  Al  took  up  the  nomadic  life  of  a  deejay.  .  .  . 
After  being  a  swimming  star  at  Woodmere  High  on 
Long  Island,  Al  majored  in  radio  at  Miami  University, 
where  he  also  broke  swimming  records.  "They  called 
me  Alligator  Al  in  those  days,"  he  recalls.  When  he 
graduated,  Al  wrote  100  letters  to  radio  stations  and 
received  two  answers.  One  said  "No."  The  other  offered 


Three  around  the  smallest  wood-burning  hearth  in  New  York — Shirley,  Chauncey 
and  Al — share  an  "honest-to-goodness  house,"  albeit  it's  two  stories,  two  rooms. 


has  a  Purple  Lining 


an  interview.  Then  came  the  nomadic  part,  with  a  series 
of  jobs  at  stations  in  West  Virginia,  Pennsylvania,  up- 
state New  York,  Chicago  and  Salt  Lake  City.  He  re- 
turned to  New  York  in  1950,  when  a  guest  appearance 
on  Robert  Q.  Lewis's  ABC's  Of  Music  led  to  a  contract 
with  WNEW.  .  .  .  Last  June  26,  Al  married  Shirley 
Hoskins,  whose  credit  line  appears  frequently  on  record 
jackets.  Their  Greenwich  Village  cottage  is  as  exotic  as 
Al's  broadcasting  quarters.  Two  stories  high,  it  boasts 
two  rooms  and  the  smallest  wood-burning  fireplace  in 
Manhattan.  There's  a  hi-fi  set  in  the  living  room  and  a 
record  player  in  the  upstairs  bedroom,  where  a  huge 
skylight  makes  up  most  of  the  ceiling.  The  Collinses 
share  their  dwelling  with  a  basset  hound  named  Chaun- 
cey, a  near  kin  of  the  famed  Morgan  of  the  stage  and 
movies.  ...  Al  is  on  record  with  "Grimm  Fairy  Tales 
for  Hip  Kids,"  which  he  also  did  as  a  show  at  the 
Thunderbird  Club  in  Las  Vegas.  His  hobbies  run  the 
gamut  from  model  airplanes  to  3-D  photography.  He 
owns  a  14-foot  motor  boat  and  drives  a  Thunderbird 
sports  car  called  "Black  Bart."  .  .  .  When  we  photo- 
graphed Al,  he  was  clean-shaven.  But  Harrison  has 
confided  that  Al's  famed  mustache  and  Vandyke  beard 
are  sprouting  again.  Wife  Shirley  thinks  his  face  has 
great  character  with  a  Vandyke.  And  Al  Collins  cheer- 
fully admits,  "I  know  I'm  a  character." 


Hobbyist  Al  likes  stereo  photography.    He  and 
Shirley  are  teamed  on  a  picture  volume  of  jozz. 


27 


Serious  Funnyman 


Carl  Ide  said  he  wasn't  comic- 
and  all  of  Pittsburgh  laughed 


Acrobat  Nora  Hassen  flips  as  Carl  Ide  asks:  "What's 
the  best  way  for  an  older  person  to  get  into  bed?" 


Carl  Ide  has  a  split  personality.   But,  as  he  insists, 
"I'm  not  Dr.  Jekyll,  I'm  Mr.  Ide."  Then  he  adds, 
"You  know  who  I  am."    Pittsburgh  viewers  certainly 
do.  .  .  .  Carl  has  been  frustrated  by  the  powers- 
that-be  at  Station  KDKA-TV.  Six  days  a  week,  they 
permit  him  to  be  as  serious  and  conservative  as  befits 
a  Cambridge-born,  Boston-educated,  rock-ribbed 
New  Englander.  He  broadcasts  Ford  News,  weekdays 
at  6:30  P.M.,  and  Central  News,  Sundays  at 
2  P.M.  .  .  .  But,  on  Saturday  nights  at  11:35,  Carl  falls 
into  the  clutches  of  Al  Goldman  and  Norman  Shoop, 
who  produce  Sertaday  Nite  Theater.    Straight-faced, 
bespectacled,  dressed  in  a  smoking  jacket,  Carl 
finds  himself  saying:  "Tonight's  movie  is  "The  Limping 
Man'  and  features  Lloyd  Bridges.  He's  from  England, 
one  of  the  London  Bridges.  He's  been  falling  down, 
but  in  this  picture  he  makes  a  comeback.  This  movie 
was  supposed  to  have  had  its  TV  premiere  in  London, 
but  they  had  no  place  to  show  it.  You  see,  in  England, 
there's  only  one  channel,  the  English  Channel. 
Fortunately,  though,  in  Pittsburgh  we  have  our  choice 
of  Channel  2."  .  .  .  Then  there  are  the  commercials — 
which,  as  Win  Fanning  of  the  Post-Gazette  said,  "are 
better  than  the  movies."   Carl's  sponsor  is  the 
Serta  mattress  people  and,  on  their  behalf,  he  examines 
the  product  with  a  stethoscope  and  concludes  that 
these  sleep-sacks  have  "no  lump,  no  hump,  no  bump, 
no  button,  no  nuttin'."  .  .  .  But,  says  he,  "Please  don't 
rush  out  to  your  nearest  store  and  buy  a  Serta  mat- 
tress. Wait  till  Monday,  when  the  stores  are  open.  .  .  ." 
When  Carl  saw  the  first  script,  he  was  as  frustrated  as 
he  now  is  in  some  of  the  trick-photography  sequences. 
"But  I'm  not  funny,"  he  protested.  A  trial  proved  he 
could  range  easily  from  outlandish  puns  and  broad 
farce  to  subtleties  and  nuances.    Three  months  later, 
presented  with  a  "straight"  commercial,  Carl  com- 
plained: "I  can't  do  straight  commercials.  I  like  jokes." 
.  .  .  Other  than  Saturday  nights,  Carl  is  a  serious 
Allison  Park  suburbanite,  happily  married  to  Ruth 
Bishop  and  very  proud  of  his  three  sons:  Carlton 
Geoffrey,  8;  Thomas  Bishop,  6;  and  Stephen  Pennell, 
going  on  one  year.  His  hobbies  are  as  varied  as  his 
humor:  photography,  skating,  jazz  and  sport-cars. 
Now  and  then,  he  ponders  why  there's  the  sound  of 
laughter  when  he  says:  "I'm  really  serious." 


Carl  has  no  sponsor  and  no  commercials  for  home 
films  of  Ruth,  sons  Carlton,  baby  Stephen,  Thomas. 


28 


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the  greasy  feel  of 
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the  drawn,  dry 
feel  of  soaps. 
That's  the  magic  of 
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ACTS  FASTER/  HELPS 
DEVELOP  STRONG, 


HY  CHILDREN/ 


NEW;  SCOTT'S  EMULSION 

/ts  Superfiomogenfzet/ / 

MOTHERS,  are  your  children  getting  the  most  out  of  the  A  &  D 
Vitamins  they  are  taking?    Make  sure  —  give  them  New  Scott's 
Emulsion  or  Scott's  Emulsion  Capsules. 
Here's  why— 

Vitamins  A  &  D  must  be  emulsified  either  in  your  child's  digestive 
system  or  before  the  vitamins  are  taken. 

Independent  clinical  tests  prove  that  Vitamins  A  &  D— emulsified 
as  in  New  Scott's  Emulsion— are  more  quickly  absorbed  into  the 
bloodstream  than  if  the  emulsification  is  left  completely  to  nature. 

Emulsification  takes  place  normally  in  the  human  body.  But  if 
your  child  is  rundown,  resistance  is  low,  the  emulsification  by  his 
digestive  system  may  not  be  complete.  He  may  not  get  the  vitamin 
help  you  intended! 

That's  why  you  can  rely  on  New  Scott's  Emulsion!  It's  specially 
made  for  fast  intake  of  the  needed  Vitamins  A  &  D— regardless  of 
body  condition.  The  vitamin-containing  particles  in  New  Scott's 
Emulsion  are  so  finely  emulsified  that  the  vita- 
mins are  ready  to  be  absorbed  with  a  minimum 
of  help  from  the  body. 

New  Scott's  Emulsion  tastes  better.  Easier 
to  give!  Easier  to  take!  And  higher  potency 
too— just  one  teaspoonful  at  a  time. 


30 


SCOTT'S    EMULSION    CAPSULES/ 

The  benefits  of  New  Scott's  Emulsion  are 
also  available  in  easy-to-take  capsules. 
Get  New  Scott's  Emulsion  or  New  Scott's 
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INFORMATION 
BOOTH 

(Continued  from  page  10) 

as  a  man  on  his  way  up  in  Hollywood.  He 
has  appeared  in  over  fifteen  films.  .  .  .  His 
wife  is  the  talented  and  charming  actress, 
Suzanne  Ta  Fel,  who  played  opposite  Keith 
in  one  of  his  films,  "Security  Risk."  Their 
second  meeting  was  in  New  York,  while  he 
was  filming  episodes  for  the  television 
series,  The  Hunter.  They  were  married 
December  18,  1953.  Now  the  Larsens  di- 
vide their  time  between  their  Beverly  Hills 
residence  and  a  rambling  home  on  Malibu 
Beach.  .  .  .  Keith's  secret  ambition  is  to 
perform  in  a  Broadway  play. 

The  Public  Speaks 

Is  there  anything  we  can  do  to  bring 
Jane  Froman  back  to  television?  We  all 
miss  her  program.  R.  T.,  Selma,  Ala. 

The  best  thing  you  can  do  to  bring  Jane 
Froman — or  any  star — back  to  your  TV 
screen,  is  to  write  to  the  network.  The  men 
who  run  the  network  take  letters  from 
their  listeners  and  viewers  very  seriously 
and  many  decisions  are  based  on  the  bou- 
quets and  brickbats  they  contain. 

Rhodes  To  Fame 

/  would  like  to  know  about  Elise  Rhodes, 
the  singer  on  Ted  Mack's  Matinee,  NBC- 
TV.  A.  M.,  Tanaqua,  Pa. 

Elise  got  into  show  business  because — 
well,  she's  just  made  that  way!  She's  a 
lovely  honey-blonde,  whose  120  pounds  are 
particularly  well  distributed  over  a  five- 
foot,  three-inch  frame.  And  she's  so  chock 
full  of  talent  that  the  combination  just 
made  it  a  lot  easier  to  get  there.  .  .  .  Elise 
was  born  in  New  Haven,  Connecticut, 
slightly  more  than  a  score  of  years  ago. 
Her  father  is  a  police  commissioner  and 
her  mother  is  one  of  the  best  cooks  ever. 
Elise  went  to  school  in  her  home  town  and 
saw  many  of  the  shows  that  tried  out  there. 
This  stimulated  her  interest  in  the  enter- 
tainment business,  so  much  so  that  she 
applied  to  the  Juilliard  School  of  Music 
in  New  York  and  was  accepted  to  study 
singing.  .  .  .  Before  she  completed  her  sec- 
ond year  there,  she  was  tapped  for  a  part 
in  "Oklahoma!"  From  there  on,  the  road 
has  been  paved  with  cheers.  She  toured 
the  United  States  with  the  show  and  then 
to  London,  where  it  received  rave  reviews. 
Then  a  tour  of  the  Continent  gave  her  a 
wonderful  education  in  showmanship  and 
more  raves.  .  .  .  When  she  returned  to 
America,  she  had  a  part  in  the  revue, 
"What's  New."  which  did  the  rounds  of  the 
smart  hotels.  But  a  nationwide  audience 
"discovered"  her  when  she  appeared  on 
the  Arthur  Godfrey's  Talent  Scouts  show. 
.  .  .  Almost  as  soon  as  she  stepped  from 
the  television  studio,  she  was  booked  for 
the  fabulous  Chez  Paree  in  Chicago,  to 
appear  with  Joe  E.  Lewis.  Needless  to  say, 
she  received  a  thunderous  reception  in  the 
Windy  City.  Joe  E.  soon  became  one  of 
her  boosters,  as  did  Dick  Haymes  and 
Garry  Moore.  .  .  .  Florida  was  next  to 
climb  on  the  Rhodes  bandwagon  and  then 
the  crowds  flocked  to  see  her  in  the  Raleigh 


Junior  and   Pop  Riley  are  played  by 
Wesley  Morgan  and  William  Bendix. 


Room  in  New  York.  It  was  fitting  that  her 
next  appearance  was  on  the  Talk  Of  The 
Town  television  program  and  now  on  the 
talent  connoisseur's  show,  Ted  Mack's 
Matinee.  .  .  .  The  town  hasn't  stopped 
talking  about  this  honey  of  a  lady  with 
the  twinkling  smile  and  lovely  voice. 

Junior  Veteran 

Would  you  please  give  me  some  infor- 
mation about  Wesley  Morgan  who  plays 
Junior  Riley  on  the  NBC-TV  show,  The 
Life  Of  Riley?  C.  S.,  Carrolton,  Ohio 

Since  Wesley  was  six  and  a  half  years 
old,  he  has  been  a  professional  performer 
and  has  portrayed  all  kinds  of  children's 
roles,  ranging  from  brat  to  cherub,  on  the 
screen  and  TV.  Now,  at  the  ripe  age  of 
fifteen,  he  is  known  as  a  completely  de- 
pendable performer — and  his  experience 
is  testimony  to  this.  ...  He  worked  fairly 
regularly  on  the  Wesley  Ruggles  TV  show 
and  later  won  a  role  in  a  series  called  The 
Sprou's.  He's  specially  proud  of  the  part 
he  played  in  "Enchanted  Evening,"  a 
revision  play  with  Eddie  Albert  and 
iMargo.  Wesley  won  rave  notices  when 
Pete  Smith,  the  famous  producer  of  Metro 
short  features,  awarded  the  youngster  a 
top  role  in  a  picture  called  "The  Golden 
Prince."  Within  five  minutes  after  direc- 
tor John  Brahm  met  him.  Wesley  was  cast 
for  a  part  in  "Miracle  of  Fatima."  Then 
he  was  given  the  role  of  Barbara  Hale's 
brother  in  "The  Lone  Hand."  .  .  .  Wesley 
is  a  natural  for  the  youngest  member  of 
the  Riley  family.  He  is  also  the  busiest 
member  of  the  cast,  because  between 
scenes  he  has  to  attend  school  in  a  private 
classroom  on  the  set. 


FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  ive  can, 
provided  your  question  is  of  general  inter- 
est. Answers  will  appear  in  this  column — 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


Cream  or 


"Yes,  I  use  Lustre-Creme 
Shampoo,"  says  Jeanne  Train. 
It's  the  favorite  of  4  out  of  5 
top  Hollywood  movie  stars! 

It  never  dries  your  hair!  Lustre- 
Creme  Shampoo  is  blessed  with 
lanolin  .  .  .  foams  into  rich  lather, 
even  in  hardest  water  .  .  .  leaves 
hair  so  easy  to  manage. 
It  beautifies!  .For  soft,  bright,  fra- 
grantly clean  hair— without  special 
after-rinses— choose  the  shampoo  of 
America's  most  glamorous  women. 
Use  the  favorite  of  Hollywood  movie 
stars— Lustre-Creme  Shampoo. 


44otju^  Shampoo 

Never  Dries— 


ies! 


•    star 


•nngin"THE  SECOND   GREATEST  SEX"      v 


A  Universal-International  Picture.    Print  by  Technicolor.    In  CinemaScope. 


31 


^Kou  ean  have  Tlnai:  Ivoiy  liool^ 


This  very  young  lady  has  the  right  idea  for  a  bright  new 

complexion  for  you!  It's  so  simple,  too.  For  baby-smooth, 
baby-soft  skin,  change  to  regular  care  with  her  pure,  mild 

Ivory  Soap.  Yes,  the  milder  your  soap,  the  prettier  your  skin 
will  be.  Soft,  clear,  dewy-fresh  skin  is  That  Ivory  Look! 

99  100%    PURE.    .IT   FLOATS 


Wash  your  face  regularly  with 
pure,  mild  Ivory.  Mild  enough 
for  baby's  skin — so  right  for 
your  complexion. 


MORE     DOCTORS     ADVISE     IVORY     THAN     ANY     OTHER     SOAP! 


MARION  MARLOWE'S 


There's  a  new  light  in 
Marion's  eyes  as  she  speaks 
of  Larry  Puck  and  love, 
of  Sullivan  and  her  career 

By  MARY  TEMPLE 


ONE  recent  winter  day,  Marion 
Marlowe  walked  through  the 
noonday  crowds  along  Fifth 
Avenue  with  me,  and  eyes  turned  ad- 
miringly toward  her  from  every  direc- 
tion. She  walked  easily  in  the  bracing 
air,  her  head  with  the  wealth  of  darkest 
brown  hair  held  high,  as  a  tall  girl's 
should  be.  But  her  eyes  were  friendly, 
her  smile  brilliant,  and  happiness  bub- 
bled out  of  every  sentence.  People 
walking  close  in  front  slowed  up  to 
catch  a  few  words  and  to  smile  to 
themselves  understandingly. 

"I'm  a  changed  Marlowe,"  she  was 
saying.  "A  new,  much  more  contented 
Marlowe.  Different  from  the  girl  I 
was,  even  a  year  ago.  Completely  dif- 
ferent from  the  girl  I  was  five  years 
ago,  when  I  first  came  to  New  York  to 
sing  on  television.  I'm  younger  now, 
in  my  heart  and  in  my  whole  out- 
look on  life,  than  I  was  in  those  days 
when  I  was  only  a  year  or  two  past 
twenty.  I  carried  everything  on  my 
own  shoulders  then,  and  what  a  load 
it  seemed  at  times!    Now  I'm  so  happy 


1 


See  Next  Page 


Ed  Sullivan,  says  Morion,  "has  been  my  guardian  angel — helped  me  with  al 
sorts  of  problems,  professional  and  personal — always  given  me  great  advice.' 


Marion  Marlowe  is  frequently  seen  and  heard  as  a  guest  star  on  The  Ed  Sullivan  Show,  over 
CBS-TV,  each  Sunday,  from  8  to  9  PM.  EST,  as  sponsored  by  the  Linroln-Merrury  Dealers. 


MARION  MARLOWE'S 


(Continued) 


that    nothing    seems    too    difficult. 

"That's  the  newest  thing  about  my* 
life,  the  biggest  change.  This  happi- 
ness I  have  now  .  .  .  with  my  hus- 
band, our  new  apartment,  the  work 
I  am  doing  for  Ed  Sullivan — which 
includes  television  guest  appearances 
on  The  Ed  Sullivan  Show,  and  per- 
sonal-appearance tours,  and  a  mo- 
tion picture  .  .  .  with  my  own  night- 
club engagements,  and  recordings 
.  .  .  with  all  the  great  things  that 
have  happened  to  me  during  these 
last  ten  or  twelve  months,  and  are 
still  happening." 

It's  difficult  to  know  where  to 
begin  talking  about  the  changes  in 
both  Marion's  personal  life  and  her 
career.  A  woman's  personal  life 
being  always  the  closest  to  her  heart, 
let's  start  with  her  marriage  to  Larry 
Puck  in  May  of  last  year.  Larry  no 
longer  produces  any  of  the  Arthur 
Godfrey  programs,  and  is  now  an 
independent    producer,    but    Marion 


Marion's  first  important  club  date  was  at 
New  York's  ultra-swank  Cotillion   Room. 


34 


Larry    Puck   and    Marion    got   license      Always  studying  to  improve,  she  sings       Engagement  was  announced  at  a  party 
to  wed  in  St.   Louis,  early  last  May.      operatic  arias  as  well  as  "pop"  tunes,      for  Marion's  mother  (left)  last  January. 


had  first  met  him  when  he  was  top 
man,  under  Godfrey,  and  she 
worked  with  him  until  she  left  the 
Godfrey  fold  some  six  or  seven 
months  before  Larry  did.  So  they 
had  known  each  other  some  four 
years  before  their  marriage.  It  was 
not  until  Marion's  youthful  first 
marriage  was  legally  dissolved  (there 
had  been  a  long  separation)  and 
Larry's  wife  (whom  Marion  loved 
dearly)  had  passed  on,  that  their 
friendship  became  romance. 

"Now  I  feel  as  though  I  had  always 
been  married  to  Larry,"  she  smiled 
contentedly.  "Our  marriage  seems 
so  right.  You  might  say  we.  are  op- 
posites.  He  is  quiet  and  poised, 
and  infinitely  patient.  I  make  a 
lot  of  noise,  and  pop  off  the  handle 
quickly,  and  get  over  it  just  as 
quickly.  But  we  understand  each 
other,  and  each  other's  moods,  and 
we  love  each  other  very  much. 

"Larry  has  given  me  new  conn- 


Touring     the     nation,      Marion     asks 
directions   of  a   Chicago   policeman. 


dence.  Changed  my  outlook,  made 
me  aware  of  a  whole  new  set  of 
values.  Just  by  being  the  kind  of 
person  he  is,  and  showing  me  how 
much  there  is  in  life  that  I  didn't 
understand  before.  He  is  interested 
in  so  many  things.  He  is  kind,  and 
loyal  to  the  end.  I  don't  believe  it's 
in  him  to  let  anyone  down." 

A  fine  relationship  exists  be- 
tween the  two  families,  Marion's 
and  Larry's.  Marion  has  a  mother 
and  grandparents — "Pinky"  and 
"Gramps" — living  in  St.  Louis.  They 
were  fond  of  Larry  long  before  they 
could  have  known  he  was  going  to 
join  the  family.  Larry  has  a  married 
son,  Emmett.  Marion  knew  he  was 
in  love  with  a  seventeen-year-old 
ballet  dancer  from,  San  Francisco  be- 
fore his  dad  did.  They  were  that 
close.  Emmett  calls  her  "Sis,"  and 
his  baby  son,  Norman,  calls  her 
"Nana."  His  wife,  Norma,  and  Mar- 
ion address  (Continued  on  page  90) 


Making  friends  wherever  she  goes,  she 
meets  a  shy  fan  in  the  Midwestern  city. 


Marion  loves  all  living  creatures.  At 
Skyline  Dude  Ranch  (near  Poughkeepsie, 
N.  Y.)  with  Larry,  she  made  pets  of  the 
horses.    In  town,  she  feeds  the  pigeons! 


Typical  of  Art's  featured  guests  on  House  Party — though  more  famous  than  most — C.  B. 
DeMille  answered   audience  questions  freely,   and  voiced  an  inspiring  message  of  faith. 


Off-miket  Linkletter's  time  belongs  to  his  family.  Above, 
with  Sharon  and  Robert.  Below,  all  seven  set  off  on  a  bicycle 
"safari" — each   individualist  with   his  own   brand   of  vehicle! 


Something  new  has  been  added  to 
House  Party  .  .  .  but  it's  something 
Art  Linkletter  has  had  all  along 

By  ELSA  MOLINA 


Fun  and  frolic  have  always  been  an  integral 
part  of  Art  Linkletter's  House  Party,  daily 
over  CBS-TV  and  Radio,  just  as  they  are  an 
integral  part  of  Art's  own  outgoing  personality. 
But,  now  that  a  serious  side  has  been  added 
to  the  program,  toe,  viewers  and  listeners  are 
getting  to  know  Linkletter  better  than  ever 
before.   Getting  to  know  Art  as  his  family  knows 
him — a  man  of  keen  intellect  and  intuitive 
understanding  of  other  people's  problems,   as 
well  as  a  fun-loving  chap  who's  exhilarating 
to  have  around,  any  hour  of  the  day.  .  .  .  For  Art 
Linkletter  is,  first  and  foremost,  a  born  "family 
man."  On  the  air,  he  can  stir  up  mirth  and 
merriment  to  enjoy  for  the  moment — and  also 
interview  featured  guests  who  have  a  message 
of  faith  or  courage  which  gives  audiences 
something  to  cherish  long  after  the  program  is 
over.   He  can  do  both,  because  his  heart  is  filled 
with  the  laughter  and  games  shared  with  his 
own  children — and  because  his  mind  is  packed 
with  the  solid  virtues  which  he  himself  learned 
as  a  child,  high  (Continued  on  page  92) 

Art  Linkletter's  House  Party,  M-F— CBS-TV  at  2:30  P.M., 
sponsored  by  Pillsbury  Mills,  Lever  Brothers,  Kellogg  Co., 
Dole  Pineapple — CBS  Radio,  at  3  P.M.,  for  Lever,  Dole,  and 
Sunsweet  Prunes.  His  People  Are  Funny  is  seen  over  NBC- 
TV,  Sat.,  9  P.M.,  for  Prom  Home  Permanent  and  Paper-Mate 
Pens— and  heard  over  NBC  Radio,  Tues.,  8  P.M.  (All  EST) 


He  gives  away  his  heart 


Camera  lineup  on  the  stairway  of  the  Linkletter  home: 
Robert,  II;  eldest  son  Jack,  18;  Art  with  youngest 
daughter  Diane,  7;  Lois  with  Sharon,  9;  and  Dawn,   16. 


Art,  Sharon  and  Diane  tell  us  that  "Beau,"  the  poodle,  and 
"King,"  the  collie,  are  part  of  the  family,  too.  Below,  left 
— Diane  and  her  dad  duet  a  rousing  version  of  "Chopsticks." 


Clever  Janis  knows  her  needlework — and 
all  the  ins-and-outs  of  home  decoration. 
She  often  advises  friends  on  furnishings. 


Clothes  are  her  business,  too.  She  has  a 
large  wardrobe — and  so  does  "Liebchen" 
(right),    world's    second-best-dressed    dog. 


Janis  Carter  of  Feather  Your  Nest  has  much  beauty 

and  many  talents,  but  one  gift  outshines  all  others 


Janis  sings,  dances,  and  plays.  A  two-degree  college  grad- 
uate, she  writes  her  own  scripts,  gets  an  early  start  each 
morn — tuned  to  Dave  Sarroway  on  Today  (below,  right). 


By  MARTIN  COHEN 

Even  if  you  wanted  to  describe  Janis  Carter 
in  a  few  carefully  chosen  words,  you  couldn't. 
It's  not  that  she's  a  "crazy,  mixed-up" 
lass,  so  much  as  that  she's  a  "crazy  mixture" 
of  sophistication  and  soft  sentimentality — and 
she's  as  practical  as  she  is  pretty,  as  industrious 
as  she  is  glamorous. 

Obviously,  she's  a  gorgeous  gal,  but  NBC's 
television  cameras  on  Feather  Your  Nest 
may  be  deceiving  about  height  and  such  details 
as ,  color,  so  let  it  be  recorded  that  she  is 
blonde,  blue-eyed  and  tall — five-seven  in  stocking 
feet.  When  Janis  leaves  the  studio  at  the  Hudson 
Theater  and  strolls  crosstown — with  shoes  and 
stockings  on — heads  keep  turning  to  catch  a  second 
look.  Women  find  her  (Continued  on  -page  81 ) 

Janis  Carter  co-stars  with  Bud  Collyer  on  Feather  Your  Nest. 
as  seen  over  NBC-TV,  M-F,  at  12:30  P.M.  EST,  sponsored  by 
Colgate-Palmolive,    Cavalier   Cigarettes,   and   other   products. 


Hostess  Janis  and  host  Bud  Collyer  are  experts  at 
welcoming  such  Feather  Your  Nest  contestants  as 
Mr.  and  Mrs.  Kenneth  Thomas  of  Columbus,  Georgia. 


While  We 


Are  Young 


As  Bruce  Edwards, 
he  lives  in  a 
"secret  storm" — but, 
as  Biff  McGuire, 
he  knows  true 
"peace  of  heart" 

By  ED  MEYERSON 


Biff's  busy  every  moment  . 


40 


Love  fills  Biff's  life  .  .  .  love  for  GiGi,  daughter  Sigi 
and  all  their  pets — including  "Teek-ki"  and  "Ballerina." 


Little  Sigi  shares  Biff's  joy  in  simple  things  .  .  .  the  beat 
of  bongo  drums,  the  happy  improvisation  of  a  dance. 


ON  television,  Bruce  Edwards  of  The  Secret  Storm, 
is  a  young  Air  Force  pilot  who  was  shot  down  dur- 
ing the  war.  After  seven  years,  he  had  been  de- 
clared legally  dead  and  his  wife,  Jane,  had  remarried. 
Actually,  however,  as  viewers  of  CBS-TV's  popular  day- 
time drama  know,  Bruce  is  very  much  alive — and 
therein  lies  much  of  the  excitement  now  brewing  in 
the  dramatic  events  in  The  Secret  Storm. 


But,  while  Bruce  Edwards  lost  everything  in  the  war, 
in  real  life,  the  young  actor  who  plays  the  role  has  had 
just  the  opposite  experience.  Thanks  to  the  Army  and  a 
trip  overseas,  Biff  McGuire  not  only  found  himself  a  wife 
but  a  new  career,  as  well!  And  therein  lies  much  of  the 
excitement  brewing  in  Biff's  own  life.  For  his  new  career 
has  made  Biff  one  of  Broadway's  most  successful  young 
leading  men,  and  his  marriage  (Continued  on  page  104) 


Biff  McGuire  is  Bruce  Edwards  in  The  Secret  Storm,  CBS-TV,  M-F,  4:15  P.M.   EST,   for   Whitehall  Pharmacal  Co.    and    Boyle-Midway. 


whether  acting,  making  music,  painting  masks. 


More  pets  .  .  .  Biff  and  Van  Heflin  train  mice,  backstage  on  Broadway! 


White  We 

Are  Young 


As  Bruce  Edwards, 
he  lives  in  a 
"secret  storm" — but, 
as  Biff  McGuire, 
he  knows  true 
"peace  of  heart" 

By  ED  MEYERSON 


Biff's  busy  every  moment 


Love  fills  Biff's  life  .  .  .  love  for  GiGi,  daughter  Gigi 
and  all  their  pets — including  "Teek-lci"  and  "Ballerina." 


ON  television,  Bruce  Edwards  of  The  Secret  Storm 
is  a  young  Air  Force  pilot  who  was  shot  down  dur- 
ing the  war.  After  seven  years,  he  had  been  de- 
clared legally  dead  and  his  wife,  Jane,  had  remarried. 
Actually,  however,  as  viewers  of  CBS-TV's  popular  day- 
time drama  know,  Bruce  is  very  much  alive — and 
therein  lies  much  of  the  excitement  now  brewing  in 
the  dramatic  events  in  The  Secret  Storm. 


Little  Gigi  shares  Biff's  joy  in  simple  things  .  .  .  the  beat 
of  bongo  drums,  the  happy  improvisation  of  a  dance. 


But,  while  Bruce  Edwards  lost  everything  m  the  war, 
in  real  life,  the  young  actor  who  plays  the  role  has  had 
just  the  opposite  experience.  Thanks  to  the  Army  and  a 
trip  overseas,  Biff  McGuire  not  only  found  himself  a  wife 
but  a  new  career,  as  well!  And  therein  lies  much  of  tin- 
excitement  brewing  in  Biff's  own  life.  For  his  new  carter 
has  made  Biff  one  of  Broadway's  most  successful  young 
leading  men,  and  his  marriage  (Continued  on  page  104) 


Biff  McGuire  is  Bruce  Edwards  in  The  Secret  Storm,  CBS-TV,  M-F,  4:15  P.M.    EST,   for   Whiirlinll   Pharmacol   Co.    ind    Boyle-Mldwty. 


"hether  acting,  making  music,  painting  masks. 


More  pets  ...  Biff  and  Van  Heflin  train  mice,  backstage  on  Broadwayl 


40 


•Wn.. 


k  is.  V 


Honeymoon  snapshots  from  Varadero  Beach,  Cuba:  Betty  and  Pupi  were 
on  their  way  to  Havana,  just  three  hours  after  their  wedding  in  New  York. 


em 


Marriage  to  Pupi  Campo  has  proved 
to  Betty  Clooney  that  a  woman's 
great  dream  is  the  greatest  truth 
By  ALICE   FRANCIS 

I'm  happy  for  Rosie,"  Betty  Clooney  told  a  TV  Radio 
Mirror  writer  early  last  summer.  "I'm  happy  for 
every  girl  who  marries  the  man  she  loves  and  has 
a  family.    Career  or  no  career,  that's  every  girl's 
dream,  isn't  it?" 

Betty  was  talking  then  about  her  sister  Rosemary 
Clooney,  about  Rosemary's  marriage  to  Jose  Ferrer 
and  the  birth  of  their  little  son  Miguel.    But,  through 
it  all,  a  listener  could  detect  a  new  interest  in  love 
and  marriage,  a  hint  of  things  to  come  in  Betty's  life. 
And  when,  only  a  short  time  later,  her  own  dream 
began  to  come  true,  with  her  marriage  last  September 
to  comedian  and  bandleader  Pupi  Campo  (a  short- 
ened form  of  his  full  name,  Jacinto  Campillo),  it  was 
hardly  a  surprise  to  one  who  had  felt  the  warm 
emotion  in  her  voice  that  day  and  watched  the  happy 
sparkle  in  her  eyes. 

"Before  I  was  married,"  Betty  now  continues  that 
earlier  conversation,  "I  said  that,  no  matter  how 
successful  my  career,  I  would  give  it  up  if  it  ever 
interfered  with  my  home  life.    Now  I  feel  even  more 
strongly  about  that.    I  wouldn't  be  much  of  a  wife — 
or  a  woman — if  my  marriage  (Continued  on  page  101) 


Housewife  Betty  finds  that  shopping  at  the  neighborhood 
market  can  be  almost  as  exciting  as  learning  a  new  song. 


Wholr    'J 


Pupi  and  Betty  met  for  the  first  time  last  year  on 
The  Morning  Show,  then  emceed  by  Jack  Paar. 
It  was  true  "mutual  admiration"  from  the  start! 


Betty  has  always  admired  sister  Rosemary,  too, 
and  often  plays  her  records — as  well  as   Pupi's. 


43 


! 


I.  Nora  Drake  feels  both  their  futures  are  at  stake  as  David  Brown  tries  to  bring  to  light 
the  true  facts  of  the  murder  of  which  his  parents  were  accused  and  convicted  thirty  years  ago. 
But  Detective  Caudill  warns  that  David's  search  may  prove  exactly  the  opposite  of  what  he  hopes. 


44 


THIS  IS  NORA  DRAKE 


Innocent  or  guilty?  Nora  Drake 
finds  her  future  hangs  on  the  truth 
about  a  thirty-year-old  murder 


The  ghosts  of  the  past  are  ever-present  at  today's 
feasts.  Sometimes  they  are  welcome,  as  with  the 
happy  memories  Nora  Drake  treasures  of  her  hus- 
band Fred  Molina,  who  died  so  tragically.  But  yester- 
day's ghosts  can  also  come  unbidden  and  unwelcome. 
.  .  .  With  the  death  of  her  husband,  Nora  had  begun  a 
new  life.  But  she  finds  that  events  of  the  long-buried 
past  continue  to  haunt  David  Brown,  the  reporter  who 
has  become  so  important  a  part  of  Nora's  fresh  start.  In 
his  work  as  a  crime  reporter,  David  has  come  across  a 
trail  which  leads  him  to  a  murder  that  took  place  thirty 
years  ago.  But  David  is  on  no  mere  search  after  head- 
lines. Each  fact  that  David  uncovers  stabs  deeply  with 
the  aching  knowledge  that  his  own  parents  were  con- 
victed for  this  murder.  ...  As  David  throws  himself 
into  the  investigation  of  the  death  of  Jerome  Joss,  his 
entire  mental  balance  is  at  stake.  Dr.  Robert  Seargent 
warns  Nora  that  David  is  so  deeply  involved  in  the  in- 
vestigation that  only  by  proving  his  parents  innocent 
will  David  avoid  a  nervous  collapse.  As  a  nurse,  Nora 
has  seen  enough  of  physical  and  mental  illness  to  know 
that  this  is  true.  She  fears  for  David  as  he  turns  a  burn- 
ing intensity  on  a  trail  that  has  grown  cold  after  thirty 
years.  And  she  is  more  frightened  than  she  is  willing  to 
admit  when  she  receives  the  first  of  a  series  of  threaten- 
ing notes.  Evidently  David  is  not  the  only  person  con- 
cerned with  the  old  crime.  One  evening,  after  working 
late  on  the  Blade,  David  is  attacked  and  severely  beaten 
as  he  steps  out  onto  the  street.  .  .  .  Despite  the  beating, 
David  is  determined  to  go  on.  Although  his  sister  Lor- 
raine still  refuses  to  meet  her  parents,  David  has  sworn 
himself  to  prove  them  innocent.  Still,  Lorraine  is  suc- 
cessful in  her  efforts  to  confuse  David.  She  warns  him 
that  he  may  only  succeed  in  proving  that  his  mother  was 
innocent — but  that  his  father  may  still  be  guilty.  .  .  . 
This  is  exactly  the  fear  that  haunts  David.  But  he  is  de- 
termined to  uncover  the  truth.  Then,  when  Detective 
Caudill  intimates  that  David  may  prove  just  the  opposite 
of  what  he  hopes  to  establish,  he  wavers.  His  father 
begs  him  to  let  the  past  lie  buried.  Lorraine  continues  to 
plead  with  him  to  stop.  His  foster-mother,  Amelia 
Brown,  joins  the  others  who  want  David  to  drop  the  in- 
vestigation. Only  Nora  and  David's  mother  seem  to  have 
faith  in  what  he  is  doing.  . .  .  David's  nerves  are  stretched 
taut  as  he  wonders  whether  he  will  uncover  something 
even  more  horrible  than  the  already-established  con- 


2.  Determined  to  go  to  Centerville,  the  home  town  of  the 
murdered  man,  and  talk  to  his  widow,  David  pleads  with  Nora 
to  go  with  him.    When  she  refuses,   David   is   ready  to  quit. 


See   Next   Page 


45 


THIS  IS  NORA  DRAKE 

(Continued) 


3.  When  Dr.  Robert  Seargent  explains  that  David's  mental 
health  rests  on  the  results  of  his  investigation  to  prove 
his  parents'  innocence,  Nora  agrees  to  go  to  Centervllle. 


Pictured  here,  as  heard  on  the  air,  are: 

Nora   Drake Joan  Tompkins 

David   Brown Michael  Kane 

Dr.    Robert    Seargent Nat    Polen 

This  Is  Nora  Drake  is  heard  over  CBS  Radio,  M-F,  at  2:30  P.M. 
EST,  as  sponsored  by  The  Toni  Co.,  Bristol-Myers,  and  others. 


viction.  Still,  he  wants  to  make  a  trip  to  Centervllle,  the 
home  town  of  Jerome  Joss,  and  to  talk  to  his  widow. 
But  when  Nora  tells  him  that  she  cannot  go  to  Center- 
ville  with  him,  David  sinks  into  despair.  .  .  .  Dr. 
Seargent  explains  that  David's  mental  health  is  pre- 
cariously balanced  on  the  results  of  his  investigation. 
He  tells  Nora  that,  without  her  help,  David  will  go  to 
pieces.  With  David  unable  to  rest  amid  his  doubts,  Nora 
agrees  to  go  to  Centerville.  ...  In  this  small  town,  the 
investigation  really  begins.  At  first,  David  and  Nora 
meet  with  a  blank  wall  everywhere  they  turn.  But 
finally  they  locate  the  widow  of  Jerome  Joss.  They  find 
her  working  as  a  librarian  and  from  her  they  learn  the 
story  of  those  eventful  days  just  before  Jerome  Joss 
made  his  fatal  trip  to  the  city.  .  .  .  David  and  Nora  are 
elated.  Then,  when  the  widow's  fascinating  story  leads 
to  no  immediate  results,  they  again  fall  back  on  the 
discouragement  that  has  dogged  the  entire  enterprise. 
When  they  return  to  the  city,  Nora  finds  another  letter 
waiting  for  her.  This  time,  the  letter  reveals  a  strain  of 
personal  interest  that  is  very  different  from  the  previous 
warnings.  .  .  .  When  David  traces  this  letter  to  someone 
close  to  him,  a  half-concealed  hostility  will  come  into 
full  and  open  acknowledgment.  Will  this  mean  an  added 
and  dangerous  strain  on  David?  And  what  will  be  the 
devastating  effects  on  David's  overwrought  nerves  when 
one  of  his  parents  tries  to  confess  to  the  murder?  .  .  . 
Nora  Drake's  interest  in  this  search  after  truth  is 
stronger  than  simple  curiosity.  Has  Nora  found  in  David 
someone  she  can  care  for  deeply?  Will  she  be  able  this 
time  to  wrest  the  outcome  away  from  possible  tragedy — 
and  towards  a  fulfillment  of  every  woman's  dreams? 


4.  Threatening  letters  have  worried  Nora  more  than  she 
cares  to  admit.  But  when  these  letters  are  traced  to  their 
writer,   David   must  face  the  hostility  of  someone  close. 


46 


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1)1 

! 

1 

: 

1 

H      1 

JLJ 

/ft 


*m  *v 


V 


>*H 


Mi 


m 


5.  When  they  travel  to  Centerville,  Nora  and  David  discover  the  victim's  widow  working  in 
a  library.  From  her,  they  learn  the  events  leading  up  to  her  husband's  fatal  trip  to  the  city. 
But  then  the  trail  disappears  and  Nora  and   David  return  home  to  hear  a  strange  confession. 


^^■■■^^^ 


47 


Both  Russ  and  Liza  are  singers,  so  they  have  a  large  It  was  more  than  fun,  choosing  fresh  furnishings  for 
music  collection.  They're  "fish  fanciers,"  too,  and  had  their  new  apartment — but  pretty  discouraging  when  the 
a  lot  of  fun  preparing  the  tanks  for  their  finny  friends.       wrong  color  of  carpet  turned  up  on  their  bedroom  floor! 


"mdfam  td/9 Jwidfana  /w# 


Moving   was   hectic,    but   had    great    meaning    for    Russ 
and  Liza — for  now  they  can  spend  more  time  together. 


"Home,  Sweet  Home"  will  always  be 

the  best-loved  song  on  Russell 

and  Liza  Arms'  own  personal  Hit  Parade 

By  WARREN   CROMWELL 


As  Russell  Arms,   the  handsome   singer  of   Your  Hit 
,   Parade,  and  his  beautiful  young  wife,  Liza  Palmer, 
walked  through  the  halls  of  the  apartment  house  to- 
ward their  brand-new  home,  in  New  York's  Greenwich 
Village,   they   were   discouraged.    The   building   was 
unfinished,  still  in  the  process  of  being  built,  and  the  halls 
were  hopelessly  cluttered  with  the  odds  and  ends  of 
new  construction.  .  .  .   But,  as  Russell  and  Liza  approached 
their  apartment,  their  hearts  lightened,  because  this 
was  a  moving  day  with  a  difference — a  moving  day  unlike 
any  other  they  had  known — and  for  a  number  of 
reasons.   In  a  way,  this  new  apartment  was  the  fulfillment 
of  dreams  the  couple  had  shared  for  the  six  and  a 
half  happy  years  they  had  been  (Continued  on  page  100) 

Russell  sings  on  Your  Hit  Parade.  NBC-TV,  Sat.,  10:30  P.M.,  EST,  spon- 
sored by  Lucky  Strike  Cigarettes  and  Hudnut  Quick  Home  Permanent. 


48 


Says  Betty,  "She's  just  everything  I  ever  dreamed  a  baby  could 
be!"  Walter  fondly  seconds  the  motion — and  the  three  agree  that 
the  house  they  found  in  New  Jersey  is  all  a  home-in-the-country 
should  be.    ("Such   stairs  for  exploring,"   Tina   muses  to  herself.) 


It's  a  brighter  day  indeed  for 
Walter  Brooke  and  Betty  Wragge, 
now  that  they  have  little  Tina 

By  GLADYS  HALL 


Now  they  are  three:  Betty  Wragge — whom 
you  know  so  well  as  Peggy  Young  Trent, 
of  Pepper  Young's  Family,  over  NBC 
Radio  .  .  .  her  husband,  Walter  Brooke — who's 
currently  enjoying  himself  as  "that  horrible  old 
meanie,"  Donald  Herrick,  in  The  Brighter  Day, 
over  CBS-TV  and  Radio  ...  and  little  "Tina." 

Betty  and  Walter  had  been  married  for 
three  years,  when — on  June  26,  1954,  at  3:04 
in  the  afternoon — Christina  Lynne  Brooke 
gave  her  first  lusty  cry.    Three  years  of  being 
just  the  two  of  them,  and  then  they  were 
three.  .  .  .  What  changes  has  the  coming  of 
their  baby  made  in  Betty  and  Walter  Brooke,  in 
their  happy  marriage,  in  their  busy  fives? 

One  of  the  changes  becomes  manifest  when, 
as  you  enter  the  living  room  of  the  Brookes' 
New  York  apartment  on  West  Fifty -Seventh 
Street,  you  must  watch  your  step  lest  you  skid 
on  a  plastic  block,  a  recumbent  doll  or  any 
one  of  the  various  toys  with  which  the 
handsome  parquet  floor  is  strewn.    At  one  end 
of  the  long,  formal,  high-ceilinged  room,  a 
play-pen  adds  what  should  be  an  incongruous 
note,  but  isn't.  Rather,  it's  the  keynote  of  the 
cosy,  companionable,  "together"  sort  of 
life  they  share,  the  three  of  them  .  .  .  and  happily, 
so  happily,  with  such  obviously  shared  pride 
and  satisfaction  as  to  bec'ome,  when  they  talk 
about  it,  an  "Ode  in  Praise  of  Having  a  Baby." 

"She's  just  everything  I  ever  dreamed  a 
baby  could  be,"  said  Betty,  and  her  blue  eyes 
were  stars.   "In  the  first  place,  we  wanted  a 
girl.   Girls,  we  thought,  are  more  affectionate — 
and  she  is.  She's  loving  .  .  .  generous  with 
hugs  and  kisses.  Although  she  is  rather  Dutch  or 
Flemish  in  type — which  means  she  takes  after 
my  side  of  the  family  (my  father,  Christian 
Wragge,  is  Holland  Dutch) — I  think  she  really 
resembles  Walter  more  than  she  does  me  .  .  . 
except  for  her  hair — which,  while  not  as 
blonde  as  mine,  is  not  as  dark  as  Walter's." 

"Leonid  Kinskey,"  Walter  murmured.  "In  her 
earlier  pictures,  she  looked  like  Leonid 
Kinskey,  the  Russian  character  actor." 

"A  few  months  ago,"  Betty  laughed,  "it  was 
Queen  Victoria!  'Doesn't  she  look  like 
Victoria  Regina,'  Walter  kept  saying,  'sitting 
regally  in  her  carriage  there.'  New  fathers,"  said 
the  new  mother,  "have  to  be  funny. 

"Until  her  hair  began  to  grow  long  and 
curly,  as  it  is  now — lucky  Tina! — everyone  did 
take  her  for  a  boy  .  .  .  which  used  to  annoy 
'Pop-Pop'  no  end.   That's  what  we  call  my  dad. 
Pop-Pop  would  come  in  from  Jersey,  where 
he  lives,  three  or  four  times  a  week,  to  take  her 


Continued 


► 


Jr< 

Jft        t^ 

] 

Kc 

Um 

\  i   . 

\    1 

I'm   m 
1 

and  Baby  Makes  Three 


51 


^mmmmmmmamtm 


—  and  Baby  Makes  Three 

(Continued) 


Little  Christina  Lynne  meets  some  feathered  friends  at  a 
neighbor's,  then  qoes  looking  for  birdies  on  home  grounds. 


! 


Walter  and  Betty  Wragge  Brooke  take  a   busman's- 
rather,  an  actor's — holiday,   looking  over  home  films. 


for  a  stroll  in  the  park  (he  still  does — he's  the  ideal 
grandfather!).  But  when,  one  day,  a  passerby 
chucked  her  under  the  chin  and  'complimented'  Pop- 
Pop  by  saying,  'Now,  there's  a  boy  if  I've  ever  seen 
one' — that  did  it!  Pop-Pop  bought  a  doll,  all  dressed 
in  pink,  and  put  it  in  Christina's  lap  when  he  took  her 
out  in  the  carriage.  The  next  time  anyone  called  her 
a  boy,  he  asked  indignantly,  'What's  the  matter?  A 
boy  doesn't  play  with  dolls.  Dot's  a  girl,  dot's  a  girl!" 

"Dot's  a  girl,  all  right,"  Walter  laughed,  "and  such 
a  healthy  girl." 

"So  healthy,"  Betty  agreed  gratefully,  "and  easy, 
so  easy,  so  cooperative  about  everything.  And  at- 
tentive. She  really  hears  what  you  say,  and  under- 
stands the  'why'  of  things.  When  she's  being  dressed 
to  go  out,  for  instance — or  being  undressed  to  go  to 
bed — there's  no  fussing  about  it.  She  never  wakes  up 
until  seven  in  the  morning,  and  never  has.  In  the 
country,  she  sometimes  sleeps  until  nine  or  ten.  She 
even  chose  a  convenient  time  to  be  born,  the  middle 
of  the  afternoon  instead  of  four  or  five  in  the  morning 
— which,  I'm  told,  is  the  time  most  infants  choose  to 
make  their  debuts.  This  is  what  I  mean — as  I'm  sure 
all  mothers  will  understand,"  Betty  laughed,  "when  I 
say  she  is  cooperative! 

"If  ever  she  should  become  a  problem  child,  there 
are  certainly  no  signs  of  it  now,  and  never  have  been. 
She  teethed  quite  early  with  little,  or  very  little, 
trouble.  At  eleven  months,  she  stood  up.  At  thirteen 
months,  she  was  walking.  Not  even  a  feeding  prob- 
lem  " 

"She  eats  two  dinners  every  day,"  Walter  grinned. 
"Her  own  at  five  o'clock — and,  at  seven  or  so,  as 
much  of  ours  as  she  can  wheedle  away  from  us!  She 
never  refuses  anything — mushrooms,  salad  dressing 
dosed  with  garlic,  olives  ..." 


*-***flwfli 


tt4 


-» $» 


•a. 


Their  New  Jersey  home,  according  to  Walter's  count,  has 
17  rooms — seven-and-a-half  bathrooms — 100  windows! 


"Actually,"  Betty  broke  in,  "what  she  really  likes 
is  a  good  chicken  dinner  with  junior  foods  ...  a  whole 
jar  of  vegetables,  a  whole  jar  of  fruit — on  the  side, 
so  to  speak." 

"The  first  word  she  learned,  at  the  age  of  ten 
months,"  Walter  said,  "was  'More!'  She  knew  the 
meaning  of  the  word,  too — proved  it  by  extending  her 
empty  bottle  and  saying  briskly,  'Take  more!'  Her 
appetite,"  Walter  added  with  a  grin,  "is  a  double  in- 
heritance^— from,  both  of  us.  Betty  married  me  because 
I  have  such  a  large  appetite.  I  married  Betty  because 
she  is  such  a  superb  cook. 

"Seriously,    though,   I    (Continued    on    page    88) 

Betty  Wragge  is  Peggy  Trent  on  Pepper  Young's  Family,  NBC 
Radio,  M-F,  4:45  P.M.,  sponsored  by  Procter  &  Gamble  for  Tide 
and  Fluffo.  Walter  Brooke  is  Donald  Herrick  in  The  Brighter  Day, 
M-F — seen  on  CBS-TV,  4  P.M.,  for  Cheer,  Gleem  and  Crisco — heard 
on   CBS  Radio,  2:45   P.M.,  under  multiple  sponsorship.    (EST) 


Walter  admits  that  "nothing  really  has  to  be  done  to  the 
p|aCe" — but  he's  having  a  lot  of  fun  doing  things,  anyway. 


-'-, 


Hour  of  Mora 


Nanette  Fa  bray  came  as  a  guest  to 
the  Sid  Caesar  show— and  then 
stayed  to  become  Caesar's  TV  wife! 


By  FRANCES  KISH 

Certainly,  Nanette  Fabray  had  little  idea  of 
becoming  Caesar's  "TV  wife"  when  she  appeared 
as  a  guest  on  Sid  Caesar's  program  a  year  ago 
last  November  8.    She  had  been  signed  for  one  of 
Max  Liebman's  "color  spectaculars,"  but  through  a 
mix-up  in  bookings  her  appearance  had  been 
postponed  a  few  weeks.    In  the  meantime,  Sid's  show 
was  making  use  of  her  talents  for  a  guest  shot — 
and,  as  it  turned  out,  this  proved  to  be  something 
spectacular  in  its  own  right! 

At  that  time,  Sid  had  already  done  six  shows  of  his 
1954  fall  season,  and  had  been  experimenting  with 
new  ideas.    But  something  was  lacking,  some  element 
he  knew  was  needed  to  make  the  program  the  hit 
he  hoped  for.    "Luckily  for  me,"  Nanette  says,  "Sid 
had  just  come  up  with  what  proved  to  be  the  right 
idea  for  a  whole  new  format.     Luckily,  too,  I  happened 
to  be  the  guest  star  who  came  on  at  that  point. 
And  luckily,  I  fitted  right  into  the  show." 

Luckily,  the  timing  was  perfect — but  so  was  the 
talent.    And  the  preparation.  (Continued  on  page  83) 

•  Nanette  Fabray  is  featured  on  Caesar's  Hour,  seen  over  NBC-TV 
three  Mondays  out  of  four,  8  P.M.  EST,  as  sponsored  by  Helene 
Curtis  Industries,  Remington  Electric  Shavers  and  the  American 
Chicle  Co.  (for  Dentyne,  Clorets,  Beeman's  Gum,  and  Rolaids). 


Commuters  Nanette  and  Sid  have  their  quieter  moments 
in  Caesar's  Hour  (left).  But,  for  a  picture  of  true  domestic 
bliss,  see  Sid  with  his  own  lovely  wife  Florence  (below). 


Harmony  on  the  show — from  Ellen  Parker  (at  left),  Howie 
Morris,  Sid,  Nanette,  Carl  Reiner  and  Sandra  Deel.  (But 
wanna  break  "em  up?  Just  say,  "Shut  up,  you  crazy  gypsy 
nuts."  and  watch  what  happens — particularly  to  Nanette!) 


On  TV,  Jim  Anderson  (Bob 
Young)  and  Margaret  (Jane 
Wyatt)  have  one  son,  Bud 
(Billy  Gray),  two  daughters 
— Betty  (Elinor  Donahue) 
and  Kathy  (Lauren  Chapin). 


At  home,  Bob  and  his  wife 
Betty  have  four  daughters: 
Standing  beside  Bob — Carol 
(Mrs.  Arthur  Proffitt)  and 
Barbara;  seated  with  Betty 
— Elizabeth     and     Kathleen. 


44 


But  Robert  Young  him- 
self ivillingly  admits  that 
most  of  ivhat  "Father" 
knows  he  learned  from  his 
family — either  the  one 
on  TV  or  the  one  at  home 

By 
BETTY  MILLS 


Barbara,  Elizabeth  and  Kathleen  (in  doorway),  Mrs.  Young  and  married 
daughter  Carol  (both  at  window)  watch  "Dad"  rehearsing  with  his  TV  wife, 
Jane  Wyatt.    Below,  Jane  and  Bob  with  their  TV  "youngest,"  Lauren  Chapin. 


Rehearsal  was  underway  on  the  set  of  Screen 
Gems'  Father  Knows  Best,  for  another  of 
the  heartwarming  family-comedy  episodes 
as  seen  over  NBC -'•TV.  Pipe  in  one  hand,  evening 
paper  in  the  other,  Jim  Anderson  (Robert 
Young)  walked  into  his  living  room.  His  wife 
Margaret  (Jane  Wyatt),  son  Bud  (Billy  Gray, 
17) ,  daughters  Betty  Lou  and  Kathy  (named  after 
two  of  Bob  Young's  own  children  but  played  by 
Elinor  Donahue,  18,  and  Lauren  Chapin,  10)  were 
all  busy  with  their  evening  chores.  Mother  was 
darningf  Bud,  Betty  Lou  and  Kathy  were  strug- 
gling desperately  with  their  homework. 

"Who  invaded  England  in  1066?"  Betty  Lou 
asked  of  the  room  in  general. 

"I  don't  know,  dear,"  said  Mrs.  Anderson.  "Ask 
your  father.   He  knows  all  the  answers." 

"Daddy,"  said  Betty  Lou,  as  father  Anderson 
entered,  "who  invaded  England  in  1066?" 

"Yeah,"  piped  up  Bud,  "and  what's  the  square 
root  of  64?" 

Continued       ik. 


57 


Father  of  the  bride:  Bob  Young's  famous  smile  comes 
from  a  full  heart  as  he  gets  his  piece  of  wedding  cake 
from  daughter  Carol  and  her  groom,  Arthur  Proffitt. 


All   five   feminine   Youngs   surround    Bob    in    his   car — 
about  which  his  TV  son,  Billy,  admittedly  "knows  best"! 


66 


»» 


Father   Knows  Best 

(Continued) 

"William  the  Conqueror  invaded  England,  Betty 
Lou,"  said  Father  wisely,  "and  the  square  root  of  64 

IS   O. 

At  this  point,  ten-year-old  Lauren  gave  voice  to 
an  explosive  "Ha!" 

"What's  wrong,  Lauren?"  asked  the  director. 

"I'm  sorry,"  she  said,  "but  I  couldn't  help  it.  Mr. 
Young  was  helping  me  with  math  lessons  just  this 
morning — we  were  doing  my  'four-times'  table — 
and,  when  my  teacher  wasn't  looking,  he  counted  on 
his  fingers  to  make  sure  4  times  8  is  32.  So  I  couldn't 
help  laughing  when,  without  even  trying,  he  knew  the 
square  root  of  64!" 

That  evening,  at  his  Beverly  Hills  home,  Bob 
walked  in  to  find  his  own  wife,  Betty,  and  daughters 
Barbara,  18,  Betty  Lou,  12,  and  Kathy,  10  (fourth 
daughter  Carol,  22,  is  now  married)  gathered  around 
the  dining-room  table  in  much  the  same  fashion. 

"Oh,  Daddy,"  said  Betty  Lou.  "I'm  so  glad  you're 
here.  .  .  .  Will  you  help  me  with  my  homework? 
I  only  need  one  answer  to  finish  my  history  lesson. 
Who  invaded  England  in  the  year  1066?" 

"That's  easy,"  said  Bob.  "We  had  that  one  on  the 
set  today.  It  was  some  square  called  William — I  mean 
it  was  William  the  Conqueror.  Anybody  want  to 
know  the  square  root  of  64?  I  know  that  answer, 
too." 

There  are  not  too  many  fathers  in  this  country  who 
are  blessed  with  seven  children — six  girls  and  a  boy. 
But  Robert  Young  points  to  his  seven  (four  at  home, 
three  on  the  set  of  Father   (Continued  on  page  75) 

Father  Knows  Best  is  seen  over  NBC-TV,  Wed.,  8:30  P.M.  EST, 
as  sponsored  by  Scott  Paper  Company.  The  Screen  Gems  pres- 
entation is  also  seen  in  Canada,  over  CBC:  consult  local  papers. 


Parents   must    keep    physically   fit    to   cope    with    their 
offspring — Bob's  favorite  exercise  happens  to  be  golf. 


58 


It  isn't  easy  being  the  only  man  in  the  family!  But  five  contented  faces  rate  Bob 
A-plus  as  husband  and  dad.  Left,  Barbara,  Carol,  Betty;  right,  Elizabeth  and  Kathleen 
(who  are  also  called  Betty  Lou  and  Kathy,  like  their  namesakes  in  Father  Knows  Best). 


Flying  is  Bob's  great  hobby  now,  though  at  one  time 
— like  Billy  Gray — he  zipped  around  on  a  motorcycle. 


"Poco,"  the  poodle,  casts  a  wary  eye  as  Bob  enjoys  a 
frolic  in  the  swimming  pool  with  Elizabeth  and  Barbara. 


59 


MM 


THE  FABULOUS  CROSBYS 


Bing's  always  been  his  boys'  best  pal 
Above,  with  Phillip  (one  of  the  twins 
now  21)  and  Lindsay  (18  this  January) 


Gary,  Bing's  eldest,  is  first  to  follow 
Dad  into  show  business — Gary's  own 
idea,  but  he's  doing  the  Crosbys  proud. 


Linny,  the  youngest,  thinks  only  of 
college,  but  takes  after  Dad  in  one 
respect — he's    very    good    at    golf. 


Bing  and  Bob  started  it  all.  Now  the  second 
generation  is  proving  that  it  can  carry  on! 

By  MAXINE  ARNOLD 

PART  TWO    (Conclusion) 


When  his  four  sons — first-born  Gary,   twins  Phillip 
and  Dennis,  and  young  Lindsay — were  "just  kids"  and  Bing 
Crosby  used  to  go  Christmas-caroling  with  them, 
Bing  was  already  kidding:  "I  have  to  beat  Gary  to  the  downbeat 
if  I  get  to  sing  the  lead!"  About  that  same  time,  at  the 
parochial  school  the  boys  attended,  the  choirmaster  was  stopped 
in  the  midst  of  running  his  students  up  and  down  the  scale 
as  he  heard  one  of  them  reaching  for  a  real  low  note.  "Say,  you 
sound — "  the  choirmaster  began,  and  a  Sister  whispered, 
"That's   Gary   Crosby."   Keeping   his   voice   deep   down,    Gary 
explained,  "I'm  a  baritone.    I've  got  to  be  a  baritone.  .  .  ." 

Gary  himself  doesn't  remember  this.  His  own  first  memory 
of  singing?  "You  mean  alone,  or  any  kind?"  he  cross-questions. 
"I  remember  being  on  Command  Performance  with  Frank 
Sinatra  during  the  war.    And  Dad  taking  me  with  him  when  he 
toured    Army    camps.    As    I    (Continued    on    page  96) 

The  Bob  Crosby  Show,  with  daughter  Cathy,  is  seen  on  CBS-TV,  M-F,  3:30  P.M. 
The  Bing  Crosby  Show  is  heard  on  CBS  Radio,  M-F,  7:30  P.M.  Gary  sings  on 
The  Edgar  Bergen  Show,  CBS  Radio,  Sun.,  7:05  P.M.  (All  EST,  under  multiple 
sponsorship.) 


f^t 


m 


Bob  and  "Mom"  Crosby 


J 


m 


WHO'S  WHO  ON 

Ike  'People's  Choice 


A  bright,  new  comedy  show  campaigns  for   laughs,   with  landslide,   side-splitting  results 


The  People's  Choice,  a  Norden   Production,  is  seen   over  NBC-TV, 
Thurs.,   at  8:30  P.M.  EST,   as  sponsored   by   the  Borden   Company. 


JACKIE  COOPER 

Jackie  Cooper  grew  up  in  Holly- 
wood but,  in  the  same  city,  he 
outgrew  his  career  as  child  star. 
Yet  the  famed  "Skippy,"  who  had 
planted  his  footprints  in  front  of 
Grauman's  Chinese  Theater,  still 
had  his  feet  planted  firmly  on  the 
ground.  The  road  to  obscurity  was 
not  for  him.  A  role  in  the  road 
company  of  "Mister  Roberts,"  then 
two  Broadway  plays,  "Remains  To 
Be  Seen"  and  "King  of  Hearts," 
marked  his  coming-of-age.  He 
risked  a  variety  of  roles  in  TV  dra- 
mas, found  footlight  maturity  and 
said,  "New  York  is  where  1  grew 
up  as  an  actor."  As  ornithologist 
Socrates  Miller,  he's  back  in  the 
same  studio  at  which  he  started 
his  career  at  the  age  of  3.  Now  33, 
he  has  a  wife,  Barbara,  and  a  nine- 
year-old  son,  John,  by  a  former 
marriage.  He  likes  to  swim,  fish, 
beat  the  drums,  and  is  acclaimed 
one  of  the  country's  top  20  sports 
car  drivers — and  a  star  twice  over. 


PAT  BRESLIN 

Brunette  with  green  eyes,  Pat 
Breslin  has  the  luck  of  her  Irish 
ancestry.  Or  is  it  pluck?  The 
daughter  of  Judge  Edward  Breslin 
of  New  York  City,  Pat  won  her  TV 
role  as  Mayor  Peoples'  daughter 
Amanda  by  being  photographed  in 
the  pilot  film  from  the  knees  up 
only.  She'd  broken  her  foot  and 
was  ignoring  a  prescription  of  six 
weeks  in  bed.  Pat  is  the  girl  who 
started  at  the  top  in  TV — as  Juliet 
in  the  NBC-TV  production  of  "Ro- 
meo and  Juliet" — and  stayed  there 
for  more  than  350  roles  in  major 
video  dramas.  She's  been  in  train- 
ing since  she  was  five  and  debuted 
in  a  dancing  school  program  at 
Carnegie  Hall.  Following  student 
productions  at  Ursuline  Convent 
and  the  University  of  Rochester, 
she  met  her  husband,  actor-writer 
David  Orrick,  in  the  road  company 
of  "Private  Lives."  They  wed  in  '53. 


LEONID  KINSKEY 

The  indigent  artist  Pierre  is  played 
by  Leonid  Kinskey,  whose 
friends  accuse  him  of  attending  a 
School  of  Dialect  to  maintain  his 
old-country  accent.  Voice  and  in- 
tonations have  been  his  stock  in 
trade  through  104  movies  and  a 
wad  of  TV  roles,  where  he's  played 
Mexicans,  Germans,  Frenchmen, 
Italians  and  Arabs.  Back  in  St. 
Petersburg,  Russia,  his  banker- 
father  frowned  on  his  acting  ambi- 
tions. But  Leonid  joined  a  traveling 
revue  that  wound  up  in  South 
America.  He  landed  in  New  York 
in  1925,  joined  Al  Jolson's  "Won- 
derbar"  show  in  1930.  When  the 
show  came  to  Hollywood,  he  was 
"discovered"  by  Ernst  Lubitsch. 
When  he  wants  to  beat  a  hasty 
retreat,  Leonid  cues  his  wife,  the 
former  Countess  Iphigenie  Castig- 
lione,  with  his  first  on-stage  line: 
"Why  did  I  come  to  this  castle?" 


CLEO 

Making    her    TV    debut,    Cleo 
proves  a  scene-stealer.      In 
private  life,  her  best  friend  is  a  rac- 
coon, Davy  Crockett,  and  the  way  to 
her  heart  is  with  steak  and  cheese. 


MARGARET  IRVING 

Margaret  Irving's  career  began 
by  accident.  At  the  age  of  12, 
living  with  her  widowed  mother  on 
a  Uniontown,  Pennsylvania,  farm, 
she  dressed  up  for  a  costume  party 
as  a  "grande  dame."  A  photogra- 
pher took  her  picture,  entered  it  in 
a  contest  for  the  world's  ten  most 
beautiful  women — and  Margaret 
placed  seventh.  As  a  result,  a  New 
York  producer  offered  her  a  role 
and,  though  he  sputtered  at  her 
pigtails,  he  launched  a  career  that 
had  her  playing  foil  to  such  comics 
as  W.  C.  Fields,  Cantor,  Jolson, 
Fannie  Brice  and  the  Marx  Broth- 
ers. Another  disguise,  a  black  wig 
and  Italian  accent,  won  her  the  first 
of  many  roles  in  Sigmund  Romberg 
operettas.  She's  appeared  in  movies 
and  in  My  Little  Margie  on  TV.  As 
Aunt  Gus,  she  shares  a  trailer  with 
Jackie  Cooper,  which  is  type-cast- 
ing. Her  husband  William  James 
publishes  a  trailer  magazine  and 
they  only  recently  settled  down  in 
a  stationary  home  in  Long  Beach. 


PAUL  MAXEY 

When  portly  Paul  Maxey  isn't 
looking  like  Mayor  Peoples  in 
The  People's  Choice,  he  looks  less 
like  an  actor  and  more  like  a 
stockbroker.  He  comes  by  this  air 
naturally,  for  he  worked  amid  the 
bulls  and  bears  for  sixteen  years. 
Born  in  Wheaton,  Illinois,  Paul 
attended  St.  Michael's  Academy 
there,  then  completed  his  educa- 
tion at  Pasadena  City  College.  As 
a  hobby,  he  joined  the  famed  Pasa- 
dena Playhouse  in  1926,  appearing 
in  187  of  its  productions.  Shortly 
before  the  war,  he  became  an  ex- 
stockbroker  and  started  rolling  up 
some  impressive  show-business 
figures,  including  more  than  150 
movies,  200  stage  productions,  and 
nearly  all  TV  shows  originating  in 
Hollywood.  He's  a  veep  of  the 
Hollywood  actors'  club,  the  Mas- 
quers, still  lives  in  Pasadena  and. 
unlike  his  video  role,  is  a  bachelor. 


JOHN  STEPHENSON 

Six-foot-one  John  Stephenson, 
who  plays  the  "heavy,"  Roger 
Crutcher,  left  the  Midwest  twice. 
Born  in  Darlington,  Wisconsin,  he 
made  his  debut  at  13,  with  the  Ke- 
nosha Little  Theater.  His  first  de- 
parture took  him  all  the  way  to 
China,  where  he  did  combat  duty 
with  the  Air  Force  as  a  radioman - 
gunner.  Then,  having  picked  up 
his  Bachelor  of  Science  degree, 
with  a  major  in  drama,  at  North- 
western University,  John  left  again, 
ne'er  to  return.  Not  that  he  has 
anything  against  the  Midwest.  But 
there's  been  no  time  for  visits  home. 
John  arrived  in  Hollywood  in  1948 
for  a  visit,  has  since  enjoyed  a  flood 
of^ood  parts  on  radio  and  in  tele- 
vision and  the  movies.  Blue-eyed 
and  brown-haired,  John  likes 
swimming  and  tennis  and,  after  his 
wife  Jean  and  their  North  Holly- 
wood home,  loves  golf  most  of  all. 


Dancer  Mary  is  ideal,  as  Barrie's  immortal 
"little  boy."  Below,  fencing  with  Lucas  Hoving 
at  the  Silvermine  (Conn.)  Guild  Ballet  School. 


Mother  Mary  and  daughter  Heller  both  "had 
something  to  crow  about,"  when  they  ap- 
peared on  stage — and  TV — in  "Peter  Pan." 


MARY  MARTIN- 


A  long-time  friend — and  famous  writer 

— reveals  the  inner  spark  which 

sets  a  vivid  star  aglow  on  TV  screens 

By  RADIE  HARRIS 

Oh  my  heart  belongs  to  daddy,  'cause  my  daddy  he  treats 
it  so  well!"   It  was  Mary  Martin,  perched  on  a  piano  in  a 
Main  Bocher  creation  of  peach  chiffon,  singing  the  number 
that  first  catapulted  her  to  Broadway  stardom,  seventeen 
years  ago.    And,  as  I  listened  to  these  famous  Cole  Porter 
lyrics,  the  scene  before  me  receded  in  the  distance,  like 
a  flashback  in  a  movie.  No  longer  was  I  at  CBS  Playhouse  11, 
among  the  select  gathering  of  friends  invited  by  Mary  and 
Noel  Coward  to  watch  them  perform  in  "Together  With  Music. 
I  was  suddenly  transported  back  to  the  Imperial  Theater  • 

on  that  November  9th,  1938,  opening  night  of  Vinton  Freedley  s 
new  musical,  "Leave  It  to  Me."  f> 

"A  young  friend  of  mine  is  making  her  debut  tonight, 
I  had  whispered  to  my  next-seat  companion  that  night  in  1938. 
"She's  never  played  on  any  stage  before,  and  here  she  is 
in  a  Broadway  show  with  three  such  veteran  performers  as 
Sophie  Tucker,  Victor  Moore  and  William  Gaxton.   I'm  so 

Continued     ^ 


Party-goer  Mary  and  writer  Radie  Harris  rock  with  laughter,  at  a 
quip  from  Mrs.  Oscar  Hammerstein — whose  husband  wrote  the 
book    and    lyrics    for    "South    Pacific,"    in    which    Mary    starred. 


Perennial  Peter  Pan 


Mary  first  won  Broadway  hearts  sing- 
ing of  "Daddy"  in  "Leave  It  to  Me." 


With  Ezio  Pinza  in  "South  Pacific,"  she 
brought    new   tenderness   to    musicals. 


Noel  Coward  introduced  her  to  Lon- 
don— she  shared   his  TV  debut  here. 


International  triumph:  George  Abbott,  Mary,  Helen 
Hayes,  Heller,  and  Don  Murray  in  "The  Skin  of  Our 
Teeth."  Last  year's  revival  of  the  Thornton  Wilder  classic 
was  a  hit  on  both  sides  of  the  Atlantic — and  on  NBC-TV. 


MARY  MARTIN 


(Continued) 

nervous  for  her  my  palms  are  wringing  wet.  Please, 
if  she's  good,  applaud  loud  for  her.  There  are  only 
six  of  us  in  this  celebrity -packed  audience  who  know 
her,  so  she  needs  all  the  support  we  can  give  her. 
Oh,  yes.    Her  name?    Mary  Martin." 

The  curtain  will  now  be  lowered  to  denote  the  lapse 
of  time,  during  which  my  young  friend  stopped  the 
show  so  cold  with  her  naughtily  naive  rendition  of 
"My  Heart  Belongs  to  Daddy"  that  our  applause  was 
drowned  out  in  the  deafening  ovation  she  received 
from  the  entire  house.  My  escort  turned  to  me  and 
twitted,  "Is  that  the  little  newcomer  about  whom  you 

Mary  stars  in  the  musical  "Peter  Pan,"  on  Producers'  Shmvca.se. 


Home  base,  for  Mary  Martin  Halliday,  is  their  house 
in  Connecticut.  There's  also  an  apartment  in  New  York 
City  and  a  coffee  plantation  in  Brazil,  where  Dick  and 
Mary  hope  to  settle,  when  not  flitting  about  the  world. 


66 


Viewers  wrote  Mary  many  glowing  letters,  after  their  "visit"       TV  screens  showed  the  needlework  rug  Mary  made,  bearing 
to  her  home,  via  Ed  Murrow's  Person  To  Person,  over  CBS-TV.      the  inspiring  Chinese  proverb  which  spells  out  her  dream. 


Perennial  Peter  Pan 


were  so  nervous?"  And  such  is  the  miracle  of  sudden 
success  that,  by  the  time  we  had  fought  our  way 
back  to  her  upstairs  dressing  room,  the  six  old  friends 
had  expanded  to  such  new  friends  as  Elsa  Maxwell, 
Jules  Glaenzer,  and  Winthrop  Rockefeller,  who  swept 
her  off  to  supper  at  El  Morocco — but  not  until  Mary 
had  first  taken  me  aside  to  ask,  "Is  it  all  right  for 
me  to  go?" 

Just  as  they  were  about  to  leave,  another  tuxedoed 
stranger  rushed  up  to  her  and,  enthusiastically  plant- 
ing a  kiss  on  either  cheek,  exclaimed,  "Darling,  you 
were  absolutely  mah-velous."  (Continued  on  page  73 ) 

NBC-TV,  Mon.,  Jan.. 9,  7:30  P.M.  EST  (color  and  black-and-white). 


A  rare  family  portrait,  from  Radie  Harris's  own  collection, 
taken  in  1952:  Dick  and  Mary  Halliday,  their  daughter  Heller, 
and  Mary's  son  Larry  (now  married).  At  right,  Mary  and  Heller 
on  their  memorable  tour  of  Europe,  with  "Skin  of  Our  Teeth." 


€f^ 


W^s> 


4    m , 


\ 


■--/ 


68 


But  Joyce  Randolph  didn't  take  much  stock  in  marriage — until  she  met  a  handsome  broker 


By  GREGORY  MERWIN 

Let's  face  it:  It's  not  easy  being  married  to  a  man  who  comes 
j  home  each  day  from  a  sewer — not  even  in  make-believe.  So 
it's  little  wonder  that,  when  "Trixie  Norton"  got  married — 
really  married — she  wed  a  stockbroker  who,  although  he  may 
have  to  thumb  through  some  inky  old  stock  certificates  during 
the  course  of  his  work,  at  least  deals  with  things  which  have 
.a  kind  of  a  money  smell  (and  is  that  bad?). 

Just  so  we  don't  start  off  with  the  wrong  impression,  Joyce 
Randolph — who  plays  Trixie  on  Jackie  Gleason's  The  Honey  - 
mooners — didn't  marry  a  stockbroker  just  to  get  away  from  her 
sewer -inspector  husband  on  that  hilarious  show.  After  all, 
Richard  L.  Charles  is  a  young  six-footer  who  is  just  breaking 
out  of  the  acting  business  and  into   (Continued  on  page  102) 

Joyce  Randolph  can  be  seen  as  Trixie  Norton  in  The  Honeymooners,  Starring 
Jackie  Gleason,  CBS-TV,  Sat.,  8:30  P.M.  EST,  as  sponsored  by  Buick  Dealers. 


Joyce  and  bridegroom  Dick  Charles  entertain  the 
two  who  introduced  them — designer  Peggy  Morrison 
and  her  husband  (on  couch).  In  the  kitchen,  Dick's 
an   expert   "de-froster,"   Joyce   is   the    rotisserie   chef. 


Dick  thinks  his  bride  buys  perfume  by  They  did  a  lot  of  the  decorating  "on  Joyce  loves  clothes,  and  not  just 
the  carton!  But  practical  Joyce  made  their  own,"  and  lacquered  most  of  the  at  trousseau-time.  She  prefers  vivid 
the   vanity   herself — from    an    old    desk,      furniture    in    dramatic    black-and-white.      colors,  simple  lines — and  "bargains." 


BURNS  AND  ALLEN 


flttS 


Something  new  has  been  added  to  George  and  Grade's  show 


70 


Father  and  son  set  out  for  work,  from  the  Burns  home  in  Beverly  Hills — together.  George  gave  Ronnie 
every  chance  to  choose  any  career  he  wanted,  is  mighty  proud  that  "show  business"  proved  irresistible! 


By  BUD  GOODE 


Maybe  we  should  change  the  billing  from 
'Burns  and  Allen'  to  'Burns,  Allen,  and 
Burns,'  "  kidded  Ronnie,   George's 
and  Grade's  19-year-old  son,  the  newest 
addition  to  television's  real-life  acting  families. 

"No,"  said  George,  "it  sounds  too  much 
like  a  legal  firm.  After  all,  we  are  still  in 
show  business.   Besides,  it  wouldn't  be  fair  to 
Grade  to  have  Burns  mentioned  twice." 

Ronnie,  over  six  feet  tall  and  weighing  170 
pounds — all  muscle,  as  a  result  of  15  years 
of  swimming  and  water-skiing — is  the  kind  of 
clean-cut  American  boy  who  is  sure  to  have 
sand  in  the  cuffs  of  his  blue-jeans.   Handsome, 
perennially  sun-tanned,  and  with  a  smile 
as  bright  as  an  ocean  whitecap,  Ronnie  has 
a  sparkle  in  his  eyes  at  the  pleasant  thought 
of  having  finally  found  the  one  job  he 
was  best  cut  out  for — acting. 

But  there  was  a  time  not  too  long  ago  when 
Ronnie  wasn't  sure  what  he  wanted  to  do. 
Acting,  as  a  career,  was  arrived  at  only 
after   Ronnie's   "what-I-want-to-be"   had 
bounded  around  like  the  ball  in  a  trained-seal 


a  tall,  talented  son  named  Ronnie 


George  and  Gracie  are  enjoying  new  roles  of  their  own — as 
grandparents  of  their  daughter  Sandra's  baby  girl,   "Laurie." 

See  Next  Page > 


71 


BURNS  AND  ALLEN 


fttt 


Family  harntony:  George  leads  his  favorite  quartet  in  a  stirring 
rendition  of  his  favorite  theme  song,  "I  Love  Her,  That's  Why."  At 
the  left,  son-in-law  Young  Willhoite,  III,  and  Ronnie.  At  the  piano, 
Grade  (the  song's  inspiration)  and  daughter  Sandra  Burns  Willhoite. 


Tuesday  night  is   usually  home-rehearsal   night  for  the  three   show- 
business  Burnses — except  when  Ronnie  baby-sits  with  his  niece  Laurie! 


(Continued) 


act.  George  s  own  personal  advice  to  Ronnie 
had  always  been:  "Pick  any  job  you  like. 
But  try  to  find  one  you'll  be  willing  to 
work  at  for  free.    That's  the  one  you're 
sure  to  be  a  success  at." 

Though  George  and  Gracie  never  tried 
to  force  their  children,  Sandra  and  Ronnie, 
into  any  special  job,  when  Ronnie,  at 
17,  had  not  made  a  selection,   George 
thought  he  would  make  a  few  suggestions. 
One  day  he  said  to  his  son,  "Ronnie, 
why  don't  you  take  up  law?   I  don't  care 
what  business  you  do  finally  go  into,  I 
think  you'll  find  the  law  a  good 
basis  for  every  job." 

Ronnie,- always  willing  to  please, 
said,  "Sure." 

George  recalls,  as  he  tells  the  tale,  "It's 
not  that  Ronnie  wanted  to.  be  a  lawyer, 
you  know.   But,  as  long  as  I  wanted  him 
to  become  a  legal  eagle,  it  was  oki?y  with 
him.   Ronnie  never  will  do  anything  to 
upset  the  apple-cart. 

"He  later  called  up  his  sister,  Sandra, 
to  tell  her  the  news,  and  I  heard  him 
on  the  phone.   He  said,  'Hello, 
Sandy,  I'm  going  to  be  a  lawyer.' 

"She  said,  'When  did  you  decide?' 

"Ronnie  said,   'I  didn't;   Dad  did.'" 

George  continues  describing  Ronnie's 
would-be  careers:   "Ronnie  was  a  'lawyer' 
for  about  three  or  four  months  and 
then  his  mother,  who  paints  water  colors 
as  a  hobby,  saw  a  picture  Ronnie  had 
done  in  school.    She  said,  'Ronnie,  you 
paint  so  well,  you  ought  to  be  an  architect.' 

"He  said,  'An  architect?    Sure,  why 
not  .  .  .' 

"He  called  up  his  sister  again,  saying: 
'Hello,  Sandy,  I  just  gave  up  law,  I'm 
an  architect  now.' " 

Ever  since  he  was  a  child,  Ronnie's  always 
been  two  things — cooperative  and  agree- 
able with  his  family.   Personality-wise, 
he's  something  of  a  diplomat.  That's  why 
George  says,  "Speaking  of  careers, 
I've  always  thought  Ronnie  should  have 
gone  into  the  State  Department.   He 
always  manages  to  make  ends  meet. 

"For  instance,  when  he  was  four  years 
old  and  Sandra  was  five,  I  bought  a 
new  dictionary  for  $40.  The  kids  promptly 
got  their  hands  and  their  mother's 
scissors  on  it.    Beginning  with  the  A's, 
they  began  cutting  out  all  the  pictures. 
When  I  caught  up  with  them  they  were 
half-way  through  the   S's — as  in   'stutter,' 
for  that's  just  what  I  found  myself 
doing  as  I  bawled  them  out.  I'd  no  sooner 
begun  than  Ronnie  turned  to  his  sister 
and  said,  'You    (Continued  on  page  86) 

The  George  Burns  And  Gracie  Allen  Show,  with 
Ronnie  Burns,  CBS-TV,  Mon.,  8  P.M.  EST,  sponsored 
by  B.  F.  Goodrich  Company  and  Carnation  Company. 


72 


Mary  Martin — Perennial  Peter  Pan 


(Continued  from  page  67) 
"Who  was  that?"  Mary  asked  as  he  rushed 
downstairs  to  the  stars'  dressing  rooms. 
"That,  darling,  is  Noel  Coward!"  was  my 
answer.  And  such  is  the  moving  finger 
of  Fate  that,  eight  years  later,  this  same 
Mr.  Coward  was  to  introduce  Mary  to  the 
British  public  at  the  most  famous  theater 
in  London,  the  Drury  Lane,  in  his  musical 
"Pacific  I860"— and,  eight  years  after  that, 
Mary  was  to  introduce  Noel  in  his  Amer- 
ican TV  debut  as  they  sang  and  danced 
"Together  With  Music"  to  their  vastest 
audience,   ninety   million  viewers! 

So  certain  was  Bill  Paley,  CBS  Chair- 
man of  the  Board,  of  the  assured  success 
of  this  co-starring  team  that  he  did  what 
is  generally  considered  a  risky  thing  in 
show  business.  He  planned  a  celebration, 
immediately  following  the  telecast.  It  was 
at  this  supper  party  at  "21"  that  Noel  said 
of  Mary,  "Working  with  her  is  like  work- 
ing with  another  half  of  me.  Not  since 
my  adored  Gertie  (Lawrence)  have  I  ever 
had  a  partner  who  so  shared  my  exhaust- 
less  capacity  for  work."  And,  like  Gertie, 
she  has  that  "extra  special"  quality  of 
which  stars  are  made. 

It  was  through  my  beloved  Gertie  Law- 
rence, my  closest  friend  until  the  day  of 
her  tragic  death,  that  I  first  met  Noel.  It 
was  this  bond  that  got  our  friendship  off 
to  a  wonderful  start  and  cemented  it 
through  the  years  of  many  happy  reunions 
in  London,  New  York,  Hollywood — and 
even  Las  Vegas,  where  I  saw  him  repeat 
his  Cafe  de  Paris  success  at  the  Desert 
Inn,  as  I  had  known  he  would. 

Jt»y  a  strange  coincidence,  Mary  Martin 
also  came  into  my  life  through  a  mutual 
friend.  Joy  Hodges,  who  studied  with  the 
same  singing  teacher  as  Mary  in  Holly- 
wood, dropped  me  a  note  telling  me  that 
Mary  was  coming  to  New  York  to  try  her 
luck  in  the  theater.  Mary  had  come  to 
Hollywood  first,  via  her  home  town  of 
Weatherford,  Texas  (population  4,000) ,  but 
she  had  been  thumbed  down  as  being  "un- 
photogenic  and  inexperienced."  Joy  re- 
minded me  that  my  native  New  York  can 
be  a  terrifying  place  to  a  young  stranger, 
jobless  and  alone,  and  asked  me  as  a  spe- 
cial favor  to  please  take  Mary  under  my 
wing.  "She's  a  darling  and  very  talented," 
she  hastened  to  assure  me. 

Now,  as  you  well  know,  there  is  no  trick 
to  meeting  famous  people  after  they  have 
arrived.  Success  breeds  success  and 
everyone  climbs  aboard  the  bandwagon 
then.  To  me,  it  has  always  been  a  far 
greater  thrill  to  have  known  Audrey  Hep- 
burn before  "Roman  Holiday"  or  "Gigi" 
skyrocketed  her  to  overnight  fame — Lau- 
ren Bacall,  when  she  was  a  hostess  at  the 
Stage  Door  Canteen — Shirley  Booth,  when 
she  was  my  fourth-floor  neighbor  at  the 
Hotel  Algonquin — and  so  many  others  who 
have  since  scaled  the  heights. 

And  so,  when  I  received  Joy's  letter,  I 
immediately  called  Mary  and  invited  her 
to  lunch  with  me.  I  felt  a  protective 
interest  in  Mary  before  we  had  even  fin- 
ished our  first  luncheon  course.  She 
looked  like  a  reasonable  facsimile  of  every 
small-town  girl  in  a  Big  City,  with  a  ward- 
robe that  can  only  be  described  as  "tacky 
Texas."  But  she  had  a  natural  friendli- 
ness and  warmth  that  has  never  changed. 
It  is  still  her  greatest  charm,  and  no  one 
who  meets  her  can  fail  to  succumb  to  it. 
During  that  first  luncheon  visit,  I  learned 
that  Mary  had  to  get  a  job  quickly,  not 
only  to  support  herself,  but  her  seven- 
year-old  son  Larry,  offspring  of  an  elooe- 
ment  with  a  Weatherford  Romeo  which 
had  ended  soon  after  Larry's  birth.  Larry 
is  now  married  and   can't  wait  to   make 


Mary  a  grandmother — and,  if  you  think 
that  makes  us  both  feel  old,  you're  abso- 
lutely  right! 

Turning  back  the  clock  seventeen  years, 
everything  is  so  indelibly  printed  in  my 
memory  that  it  seems  like  yesterday,  and 
yet  how  much  water  has  flowed  under  the 
bridge  since  then!  Has  Mary  changed 
with  the  overwhelming  success  that  has 
come  to  her?  Superficially,  yes.  When 
we  first  met,  she  was  living  in  a  theatrical 
boarding  house  on  Sixth  Avenue.  She 
now  commutes  between  her  beautiful  es- 
tate in  Norwalk,  Connecticut,  a  hotel  suite 
at  the  Dorset,  and  a  coffee  plantation  in 
Brazil — when  she  isn't  traveling  to  Lon- 
don, Paris,  Rome,  Madrid,  Rio,  Jamaica 
— her  fame  is  international. 

Kef  ore,  she  had  a  limited  budget  for 
wardrobe  and  no  style  sense.  Now  she 
has  most  of  her  clothes  created  for  her 
by  Main  Bocher,  and  is  so  exquisitely 
groomed  on  all  occasions  that  she  is  in- 
cluded in  the  top  list  of  "best  dressed 
women,"  along  with  such  other  fashion 
plates  as  the  Duchess  of  Windsor  and  Mrs. 
William  Paley.  Where,  before,  she  rode 
on  subways  and  busses,  she  is  now  driven 
by  a  liveried  chauffeur  in  a  Rolls  Royce, 
especially  imported  from  England.  Where, 
before,  her  "heart  belonged  to  Daddy," 
it  now  belongs  to  Richard  Halliday  and 
her  three  children,  fourteen-year-old  Hel- 
ler, twenty-five-year-old  Larry  and  his 
lovely  Swedish  bride.  Basically,  however, 
she  is  still  the  same  endearing,  unspoiled 
person  I  knew  "when." 

Mary  has  never  had  an  opening  since 
"Leave  It  to  Me"  that  she  and  Richard 
haven't  always  included  me  on  their  per- 
sonal invitation  list.  And  so,  of  all  her 
shows — "Lute  Song,"  "One  Touch  of  Ve- 
nus," "Annie  Get  Your  Gun,"  "South  Pa- 
cific," "Kind  Sir,"  "Peter  Pan"  and  "The 
Skin  of  Our  Teeth" — I've  only  missed  one: 
"Pacific  1860"  in  London,  in  1947,  because 
I  was  on  this  side  of  the  Atlantic.  I  was 
also  Mary's  ringside  guest  when  she 
played  her  only  supper-club  engagement 
at  the  Rainbow  Room  (where  the  eager 
grinning  young  hoofer  in  the  chorus  was 
Van  Johnson!). 

And  I  was  at  the  New  York  Paramount 
when  she  made  her  first  personal  appear- 
ance in  conjunction  with  her  film  debut 
in  "The  Great  Victor  Herbert" — a  film,  I 
hasten  to  add,  which  conditioned  her 
against  movies  from  then  on.  It  was  dur- 
ing the  shooting  of  this  picture  that  the 
Paramount  story  editor  took  more  than  an 
executive  interest  in  future  properties 
lined  up  for  her.  When  she  returned  to 
New  York  for  her  personal  appearance 
at  the  Paramount,  I  nonchalantly  said, 
one  day  in  her  dressing  room,  "You  are 
going  to  marry  Richard  Halliday."  "What 
makes  you  say  a  thing  like  that?"  Mary 
countered  in  wide-eyed  amazement.  "Be- 
cause you  mentioned  his  name  far  too 
often,   far   too   casually,   at   lunch   today!" 

It  wasn't  too  long  afterwards  that  ajl 
her  other  friends  were  stunned  by  the 
"surprise"  announcement  that  Mary  had 
slipped  off  to  marry  Richard  Halliday. 
During  the  fifteen  years  of  their  merger, 
theirs  has  been  a  partnership,  not  only 
domestically  but  professionally,  too.  Rich- 
ard is  the  guiding  light  behind  Mary's  ca- 
reer. He  selects  her  properties,  negotiates 
her  contracts,  chooses  her  wardrobe, 
handles  her  mail  and  phone  calls — with  the 
aid  of  a  secretary,  of  course — and  acts  as 
general  buffer  between  her  and  the  over- 
whelming demands  that  normally  clutter 
up  the  life  of  a  star.  Because  Mary  is  like 
Ado  Annie  in  "Oklahoma!" — just  a  "gal 
who  cain't  say  'no' " — Richard  always  an- 


swers the  phone.  He  can  say  "no,"  but  he 
does  it  with  such  gentlemanly  charm  (he's 
a  Southerner,  too,  suh)  that  no  one  ever 
takes   offense. 

Whenever  Mary  is  in  a  play,  Richard  is 
always  around  to  safeguard  her  privacy 
from  hordes  of  visiting  firemen  and  un- 
welcome intruders.  During  one  of  her 
musicals,  he  even  barred  the  producer 
from  backstage,  a  gesture  vociferously  ap- 
plauded by  the  rest  of  the  company!  Be- 
tween matinee  and  evening  performances, 
they  invite  close  friends  to  dine  with  them 
in  Mary's  beautifully  appointed  dressing 
room  and,  if  the  food  is  superb  and  the 
waiter's  face  familiar,  it's  because  both  of 
them  are  courtesy  of  the  "21  Club." 

After  the  show,  they  usually  drive 
straight  home  to  Connecticut  and  only 
come  to  New  York  on  matinee  days  and 
for  special  obligations,  such  as  a  recording 
session  or  a  charity  affair.  Mary  is  gre- 
garious and  likes  parties  but  Richard  is 
retiring  and  hates  them — so,  although  they 
are  deluged  with  invitations,  they  rarely 
accept  any.  Mary  is  still  recuperating 
from  the  unusual  excitement  of  two  re- 
cent parties  within  a  month — Bill  and  Bar- 
bara Paley's  buffet  supper  for  her  and 
Noel  Coward  at  "21,"  and  Frances  and  Sam 
Goldwyn's  dinner  dance  at  the  Ambassa- 
dor, when  "Guys  and  Dolls"  premiered. 

I've  had  many  happy  visits  with  the 
Hallidays  over  the  years,  but  it  wasn't  un- 
til a  few  weeks  ago  that  I  ever  saw  Mary 
alone.  When  she  arrived  for  lunch  at 
"21" — by  now  you  can  gather  that  this 
restaurant  is  her  favorite  rendezvous- — her 
entrance  created  quite  a  stir,  not  only  be- 
cause she  was  congratulated  on  all  sides 
for  her  TV  performance,  but  because  she 
was  a  "new  face"  among  all  the  regular 
patrons.  It  was  the  first  time  in  seven 
years  that  she  had  lunched  out  for  a  pure- 
ly social  date!  Afterwards,  when  we  went 
shopping  together  at  Bergdorf's,  Mary 
confessed  that  this  was  also  the  first  time 
that  she  had  shopped  "on  her  own"  in  the 
same  interval!  "I  order  everything  from 
advertisements  that  I  don't  have  made," 
Mary  explained.  "Or  Richard  or  my  maid, 
Gladys,  shop  for  me." 

Out,  even  when  Richard  isn't  along,  his 
influence  is  felt.  Mary  was  looking  at 
some  woolen  ensembles.  "I'm  always  cold 
in  the  country,  especially  around  my  legs, 
and  I  love  slacks,"  she  told  me.  "But 
Richard  loathes  them,  so  I  never  wear 
any."  At  lunch,  she  picked  up  a  cigarette 
and  smiled  guiltily.  "I'm  not  supposed  to 
smoke,  but  Richard  says  I  can  have  one 
a  day."  If  Mary  defers  to  Richard's  every 
wish,  it's  because  she  never  questions 
the  wisdom  of  his  guidance  or  his  abil- 
ity to  execute  all  the  manifold  duties 
he  assumes  to  protect  the  vitality  she 
needs  for  her  work,  and  the  freedom  to 
concentrate  on  her  career,  and  their 
daughter  Heller. 

Heller  is  an  amazing  child.  No  one 
could  be  further  from  a  "little  hellion" — 
which  is  the  meaning  of  her  unique  South- 
ern name.  In  the  Halliday  household,  she 
is  called  "Madame  Queen."  And  a  queen 
she  is — gracious,  beautifully  mannered, 
with  none  of  the  precociousness  of  the 
usual  stage  brat,  although  she  has  been 
acting  since  she  was  five,  when  she 
played  one  of  the  children  in  "Annie  Get 
Your  Gun."  During  the  road  tour  of  this 
musical,  Mary  was  always  so  worried 
about  Heller's  performance  that  Richard  f 
threatened  to  take  her  out  of  the  show.  v 
Mary  has  never  been  nervous  about  Heller  R 
since,  and  in  "Peter  Pan"  and  "Skin  of  Our 
Teeth"  she  treated  her  as  objectively  as 
she  did  the  rest  of  the  company. 


When  there  was  no  role  for  Heller  in 
"South  Pacific,"  Heller  was  miserable. 
Every  time  she  would  go  to  a  performance 
and  watch  young  Barbara  Luana  play  Ezio 
Pinza's  daughter,  she'd  come  backstage 
afterwards  and  whisper  to  Mary,  "Don't 
you  think  Barbara's  getting  too  old  for  the 
part?"  But,  by  the  time  Mary  took  "South 
Pacific"  to  London,  Heller  was  no  longer 
interested  in  hastening  Barbara's  growth. 
She  now  wanted  to  be  a  ballet  dancer,  and 
she  was  lucky  enough  to  be  accepted  by 
the  Sadler  Wells  Ballet  School.  Her  large 
brown  eyes  (a  happy  inheritance  from 
both  Mary  and  Richard)  danced  with  ex- 
citement as  she  told  me  how  much  she 
loved  her  classes,  when  we  dined  together 
in  the  beautiful  Grosvenor  Square  flat 
Mary  and  Richard  had  leased. 

But  now,  with  her  last  stage  and  TV 
role  in  "Skin  of  Our  Teeth"  behind  her, 
and  back  at  school,  Heller  has  dropped 
her  mantle  of  actress  and  ballerina — and 
everything  connected  with  her  career — as 
if  it  were  just  another  dress  she  has  out- 
grown. At  fourteen,  she  is  a  typical  teen- 
ager and,  if  you  don't  know  her  theatrical 
background,  you  would  never  suspect  she 
had  ever  appeared  on  the  stage.  Recent- 
ly, at  her  school  play,  Mary  and  Richard 
were  rather  startled  to  see  her  in  the  last 
row  of  the  chorus  with  not  even  one  line 
to  say.  "Didn't  you  try  out  for  a  speaking 
part?"  asked  her  bewildered  parents.  "No, 
I  didn't  know  anything  to  sing  or  dance," 
was  Heller's  amazing  retort. 

Heller,  be  it  said,  at  this  writing  is  more 
interested  in  love  than  a  career.  Romance 
has  reared  its  lovely  head  in  the  person  of 
her  "best  friend's"  brother.  His  name  is 
Clay  Hill  and  he  was  on  the  stage,  too. 
I  say  was  advisedly,  because  after  his  one 
appearance  as  John  Kerr's  younger  broth- 
er in  "All  Summer  Long" — in  spite  of  his 
excellent  notices — Clay's  parents  laid  down 
an  ultimatum.  No  more  acting  until  he 
finished  school!  So  he's  at  a  military 
school  in  Washington,  where,  if  he  isn't 
majoring  in  English  composition,  he  should 
be.  He  writes  Heller  at  least  seven  letters 
a  week.    He  has  to — to  keep  up  with  hers! 

Since  it  is  true  that  "an  apple  never 
falls  far  from  the  tree,"  Mary  is  also 
blessed  with  a  wonderful  son.  Larry,  as  a 
youngster,  was  never  fascinated  by  the 
fact  that  his  mother  was  a  famous  stage 
star,  nor  was  he  the  least  bit  interested  in 
the  theater.  He  wanted  to  remain  in  Tex- 
as and  be  a  horse  doctor,  or  a  rancher,  or 


a  farmer.  And  so  Mary  let  him  stay  in 
Weatherford  with  her  widowed  mother  and 
it  wasn't  until  after  her  mother's  untimely 
death,  and  Larry  came  to  New  York  dur- 
ing the  run  of  "South  Pacific,"  that  the 
stage  bug  hit  him,  too. 

Little  did  Mary  dream,  when  she  ran  a 
dancing  school  back  home  and  tried  so 
hard  to  teach  her  young  son  a  few  tap 
steps,  that  some  twelve  years  later  he 
would  make  his  stage  debut  as  a  "Seabee" 
in  the  London  production  of  "South 
Pacific,"  dancing  the  very  same  steps  in 
the  "Honey  Bun"  number!  Uncle  Sam 
soon  nipped  Larry's  career  in  the  bud, 
however,  just  as  he  was  getting  started, 
and  put  him  in  another  kind  of  uniform. 
He's  still  in  service  in  London,  in  charge 
of  special  entertainment  for  the  Air  Force. 

Larry's  married  now  to  a  beautiful 
Swedish  girl,  whom  Mary,  Dick  and  Heller 
met  for  the  first  time  when  they  were  in 
Paris  last  summer  with  "Skin  of  Our 
Teeth,"  and  the  entire  Halliday  family 
promptly  fell  in  love  with  her.  Maj  (pro- 
nounced Mai)  is  a  brilliant  clothes  de- 
signer, but  she  hopes  her  greatest  talent 
will  be  as  a  mother.  She  and  Larry  want 
a  large  brood,  and  they  don't  want  to  rely 
on  the  precariousness  of  show  business  to 
help  support  them.  They  want  firm  roots, 
and  so  Larry  has  turned  to  the  interest 
of  his  childhood  again — the  good  earth.  As 
soon  as  he  returns  to  civilian  life,  he  and 
Maj  want  to  run  the  coffee  plantation 
which  Mary  and  Dick  have  bought  in 
Brazil— and  start  their  nursery  there. 

This  300-acre  paradise  is  the  "Shangri- 
la"  that  Mary  and  Dick  hope  to  retire  to 
in  their  "lean  and  slippered  years."  In 
the  meantime,  they  hope  to  spend  from 
three  to  six  months  a  year  there,  depend- 
ing on  their  schedule,  as  time  goes  by. 
They  discovered  this  remote  spot,  twenty - 
five  miles  from  the  nearest  inhabited  post 
and  only  accessible  by  private  plane  from 
Sao  Paulo,  when  they  visited  Janet  Gay- 
nor  and  Adrian  there  last  winter,  and 
immediately  bought  the  only  other  acreage 
for  sale  in  this  isolated  area.  "The  bril- 
liant foliage  is  like  something  out  of  Van 
Gogh,"  Mary  glows.  "The  climate  never 
varies — it  is  always  summer,  with  no  hu- 
midity. And  the  price  of  the  house  we've 
bought  cost  less  than  the  one  guest  cottage 
we  added  to  our  Norwalk  cottage  for  Lar- 
ry and  Maj!  By  the  same  economics,  six 
servants  cost  less  than  one  in  New  York." 

No  wonder  Mary's  eyes  blazed  with  ex- 


74 


Is  my  husband  being 

Unfaithful? 

Agonizing  doubts  and  fears  are  likely  to  creep 
into  anyone's  mind.  That's  why  so  many  people 
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citement  as  she  described  all  this  to  me. 
Only  two  people,  very  much  in  love,  and 
with  an  inner  contentment,  can  shut 
themselves  off  from  the  rest  of  the  world 
so  completely.  Mary  and  Richard  are 
those  people.  Of  all  the  actresses  I  know, 
Mary  is  the  most  fulfilled,  because  her 
career,  while  very  important  to  her,  has 
never  been  her  all-absorbing  passion.  Un- 
like so  many  other  actresses,  who  have  no 
interest  but  their  work,  Mary  has  other 
resources  to  fall  back  on.  She  recently 
took  up  painting,  and  now  she  can't  wait 
to  get  to  Brazil  to  capture  this  landscape 
beauty  on  canvas.  Her  tapestry  and  need- 
lepoint are  exquisite,  but  then  there  isn't 
anything  her  eyes  see  that  her  hands  can't 
make.  She  is  an  avid  reader,  but  her  only 
complaint  is  that  she  never  gets  enough 
time  to  catch  up  on  all  the  books  piled 
high  on  her  shelves.  She  has  a  green 
thumb  she'll  put  to  great  practical  use  on 
her  coffee  plantation — which  is  not  only 
decorative  but  productive,  she  hopes! 

Amazingly  enough,  Mary  never  thinks 
of  herself  as  a  star.  "I  always  think  of 
someone  like  Joan  Crawford  or  Merle 
Oberon  as  being  a  star,"  she  recently  told 
me.  "I  never  think  of  myself  on  that 
same  glamour  planet."  Mary  would  be 
the  last  person  to  deny  that  she  doesn't 
enjoy  the  accoutrements  of  success — finan- 
cial security  and  world-wide  popularity. 
But,  to  her,  the  greatest  satisfaction  doesn't 
come  from  adulation,  fame,  beautiful 
clothes  and  jewels,  but  from  the  talent  to 
make  an  audience  laugh  and  cry.  If  she 
were  asked  to  name  the  high  spot  of  her 
entire  career,  she  would  tell  you,  "It  is 
remembering  the  sounds  of  children  see- 
ing 'Peter  Pan'  for  the  first  time." 

She  won't  be  hearing  those  sounds  again 
but  she  will  be  imagining  them  as  she  re- 
vives "Peter  Pan"  on  TV,  by  popular  re- 
quest, on  January  9.  This  will  be  her 
only  TV  commitment  until  fall,  when  she 
will  revive  another  favorite  of  hers — never 
before  telecast — "Annie  Get  Your  Gun." 
Before  she  introduces  this  Irving  Berlin- 
Dorothy  and  Herb  Fields  musical  on  TV, 
she's  planning  to  tour  it  on  the  West  Coast. 
"We  played  'Peter  Pan'  and  'The  Skin  of 
Our  Teeth'  to  a  live  audience  first,"  she 
observes,  "and  it  was  a  wonderful  break- 
in  for  our  TV  debut.  I'd  like  to  do  this 
all  the  time,  with  every  show.  Funnily 
enough,  although  I've  never  liked  pictures, 
I  adore  the  medium  of  TV." 

Mary's  TV  appearances  have  been  delib- 
erately few,  and  each  one  carefully  chosen 
for  their  diversified  appeal.  Certainly,  to 
run  the  gamut  from  co-starring  with  Ethel 
Merman  to  "Peter  Pan"  to  "Skin  of  Our 
Teeth"  to  performing  as  Noel  Coward's 
song-and-dance  partner  has  proven  her 
extraordinary  versatility.  Perhaps  the  one 
that  drew  the  most  fan  mail  was  that 
night  in  April,  1954,  when  Ed  Murrow 
visited  her,  Person  To  Person,  at  her  home 
in  Norwalk.  Here  was  Mary,  with  all  her 
natural  warmth,  charm  and  gaiety,  com- 
ing into  your  homes  and  making  them 
glow  with  her  radiant  personality. 

The  next  day,  Mr.  Murrow  was  flooded 
with  requests  for  the  Chinese  proverb 
Mary  had  woven  into  the  needlepoint  rug 
she  made  for  her  living-room  floor,  and 
which  she  had  shown  to  the  TV  audience. 
Because  it  is  the  philosophy  of  life  that  she 
lives  by — and  has  made  her  the  great 
human  being  she  is — I  can't  think  of  a 
better  way  to  end  this  article  than  to 
quote  it  for  those  of  you  who  might  have 
missed  it:  "If  there  is  righteousness  in  the 
heart,  there  will  be  beauty  in  the  charac- 
ter. If  there  be  beauty  in  the  character, 
there  will  be  harmony  in  the  family  home. 
If  there  is  harmony  in  the  home,  there  will 
be  order  in  the  nation.  When  there  is 
order  in  the  nation,  there  will  be  peace  in 
the  world." 


Father  Knows  Best 

(Continued   from   page    58) 
Knows  Best,  saying  proudly,  "They're  all 
mine — almost." 

What  does  it  take  to  become  a  success- 
ful father?  With  his  experience  in  raising 
"two"  families,  Bob  Young  knows  best 
that  the  successful  father  must  be  all 
things  to  all  children:  Provider  of  love, 
encouragement  and  allowances;  teacher  of 
assorted  school  subjects  from  Art  to  Zool- 
ogy; and  part-time  psychologist.  He  has  to 
know  all  the  answers  to  "why"  and 
"when"  and  "how."  And,  among  other 
things,  he  also  has  to  be  at  home  on  a 
horse,  a  motorcycle,  or  in  an  airplane. 

Of  course,  no  father  can  be  expected  to 
bat  1000  in  all  these  areas,  but  it  can  be 
said  safely  that  Bob  Young — six  feet  tall, 
golfingly  athletic,  and  with  a  wide-screen 
smile — does  one  of  the  best  all-around  jobs 
of  fathering  his  brood  of  any  man  in  the 
country. 

It  is  inevitable  that  his  TV  children,  Billy 
Gray,  Elinor  Donahue  and  Lauren  Chapin, 
come  to  Bob  with  some  of  their  real-life 
problems,  for  they  spend  as  much  time 
with  him  on  the  set  as  they  do  with  their 
own  families. 

Billy  is  the  only  "son"  in  Bob's  life.  But, 
as  Bob  says,  "Boy  or  girl — it  doesn't  make 
any  difference  what  the  sex  of  a  child  is. 
They  all  need  love,  understanding,  recog- 
nition, a  sense  of  being  needed.  You  have 
to  give  them  time.  With  a  boy,  you  play 
ball.  A  girl,  you  take  shopping." 

Seventeen-year-old  Billy  is  mechanical- 
ly minded.  With  a  father-like  pride,  Bob 
encourages  this  interest.  One  Christmas, 
Bob  gave  Billy  subscriptions  to  Popular 
Mechanics  and  Popular  Science.  And  when 
Bob,  a  pilot,  flies  to  San  Diego  or  other 
near-by  points,  he  takes  Billy  with  him  in 
his  plane.  Bill  says  he  likes  flying.  But,  at 
the  present  moment,  motorcycles  are  Bill's 
favorite  form  of  transportation.  ("Gee,"  he 
explains,  "a  plane  costs  so  much.") 

Billy  gets  five  units  of  credit  from  the 
studio  school  in  mechanical  arts.  With 
Bob's  steady  encouragement,  he  has  taken 
up  welding,  plastering  and  electricity.  Bob 
proudly  says,  "Though  the  rest  of  us  just 
stumble  over  them,  Billy  can  tell  you  what 
every  cable  and  switch  in  the  studio  is 
for." 

Young  Bill  has  become  an  excellent 
welder.  Bob  helped  him  buy  his  first  com- 
plete welding  set  at  a  cost  of  $500.  Billy 
has  already  done  enough  welding  on  his 
friends'  motorcycles  to  pay  for  the  set. 

Bob  describes  Billy  as  a  brilliant  student 
but  shy — "You  never  know  on  first  meet- 
ing that  he  is  so  talented."  One  day  Bob 
admired  a  new  oil  filter  system  on  the 
boy's  motorcycle.  The  chrome  shone  like 
silver.  The  next  day,  Billy,  without  asking, 
installed  one  in  Bob's  car.  Another  time, 
when  Bob's  automobile  kept  stalling,  he 
asked  Billy  to  look  at  it  while  waiting  for 
the  mechanic.  Billy  lifted  up  the  hood  and 
poked  about  in  the  mysterious  interior. 
After  a  few  minutes  of  diagnosis,  he  an- 
nounced, "The  carburetor  idling  jet  needs 
to  be  set  up." 

By  then  the  motor  mechanic  had  arrived. 
After  a  look,  he  described  the  car  as  very 
sick  indeed— he  said  it  had  to  be  towed  to 
the  garage  to  have  the  carburetor  boiled. 
Bob  said,  "Billy  says  it's  the  what-do- 
you-call-it.  Maybe  we  should  let  him  try 
to  fix  it." 

With  a  simple  twist  of  the  screwdriver, 
Billy  turned  the  jet  up  and  solved  the 
problem.  Bob  said,  "In  this  case,  I  knew 
Billy  knew  best." 

All  of  the  children  on  the  set  are  good 
students.  Reading  is  one  thing  they  enjoy 
in  common.  They  frequently  come  upon 
new  words  which  they  write  down  and,  at 


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WE  PURCHASE  INDIANHEAD  pennies.  Complete  allcoin 
catalogue  25c.  Magnacoins,  Box  61-FS,  Whitestone  57,  N.Y. 

BUSINESS  OPPORTUNITIES r_ 

WANT  TO  MAKE  Big  Money  at  Home?  Invisibly  reweave 
damaged  garments.  Details  free.  Fabricon,  8340-S  Prairie, 

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NURSING  SCHOOLS 

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FEMALE  HELP  WANTED 


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MONEY  MAKING  OPPORTUNITIES 

GROW  MUSHROOMS,  CELLAR,  Shed,  Spare,  full  time, 
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STUFFING— MAILING  ENVELOPES.  Our  instructions  tell 
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SELL  HAMBURGERS,  PIE.  No  capital  needed.  Or  operate 
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mailings  at  home.  Temple  Co.,  Muncie  2,  Indiana. 

NUTRIA,  TALKING  MYNAHS,  monkeys.  Herb  Miller,  513 

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BIG   CHANCE  TO  Get  Singing   Experience.   Cloud,  2419 

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GUARANTEED  HOMEWORK!  IMMEDIATE  Commissions! 
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PERSONAL 
BORROW  BY  MAIL.  Loans  $50  to  $600  to  employed  men  and 
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EDUCATIONAL  OPPORTUNITIES 


HIGH  SCHOOL— NO  Classes.  Study  at  home.  Spare  Time. 
Diploma  awarded.  Write  for  Free  Catalog  HCH31,  Wayne 

School,  2527  Sheffield,  Chicago  14,  III. 

HIGH  SCHOOL  DIPLOMA  at  home.  Licensed  teachers. 
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Station  E,  Atlanta,  Georgia. 

BOOKS 

NEW-USED  BOOKS.  Fascinating  Assortment  $1.  Bargain 
List  Samples  Gift  30  cts.  Persil,  436  N.  Y.  Ave.,  Brooklyn  25, 

N.Y. 

MISCELLANEOUS 


FREE  BOOK  ON  Arthritis,  Rheumatism  explains  specialized 
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INSTRUCTION 

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LEATHERCRAFT 

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MALE  &  FEMALE  HELP  WANTED „ 

EARN  EXTRA  MONEY  selling  Advertising  Book  Matches. 
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MORE   CLASSIFIED   ON    PAGE   76 


BE  YOUR  OWN 
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OF    MUSIC 

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(Please   Print) 


I    Address.. 
I 


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OPPORTUNITIES 

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76 


LOANS  BY  MAIL       (Feb-Wom.)  6 

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MORE   CLASSIFIED   ON    PAGE   75 


the  end  of  the  day,  the  three  youngsters 
and  Bob  have  a  "word"  meeting,  where  he 
explains  the  word,  its  history  and  origin 
(a  practice  he  developed  with  his  own 
four  children  at  home). 

Etymology — the  study  of  words — is  a 
hobby  of  Bob's.  And  "etymology"  is  now 
one  of  the  words  the  children  have  added 
to  their  own  vocabularies,  though  ten- 
year-old  Lauren  insists  on  calling  Bob  an 
entomologist  (which  happens  to  mean  "a 
student  of  insects"). 

Everybody  in  the  cast  knows  that  Billy 
is  "good  at  everything."  One  afternoon 
during  a  word  session,  "ambidextrous" 
came  up.  When  Lauren  learned  the  word 
meant  being  able  to  use  both  hands  with 
equal  ease,  she  decided  that  she  was  go- 
ing to  be  "good  at  something,"  too.  So  now 
Bob  spends  an  extra  few  minutes  every 
afternoon  with  Lauren  while  she  practices 
writing  with  both  her  left  and  right  hands. 
Lauren  is  determined  to  be  ambidextrous 
— even  though  she  can't  pronounce  the 
word  yet. 

1  hough  Bob  likes  to  encourage  Lauren's 
real-life  interests,  her  talents  as  a  tomboy 
are  sometimes  almost  too  much  for  him. 
"That  girl,"  laughs  Bob,  "never  rode  a 
three-wheel  trike.  I'm  sure  she  started  im- 
mediately on  a  two-wheeler."  Lauren  also 
swings  on  rings  and  bars  and  jumps  on  the 
trampoline. 

She  likes  to  ride,  and  can  saddle  her 
own  horse.  The  Father  Knows  Best  family 
generally  works  one  day  a  week  at  Co- 
lumbia Studio's  ranch,  where  Lauren  does 
her  between-scenes  riding.  Once,  after 
saddling  up,  she  said  to  Bob,  "Come  on, 
put  a  saddle  on  that  horse.  It's  a  cinch." 
Bob  complied,  but  he  failed  to  "cinch"  up 
the  saddle  strap — and  he  and  the  saddle 
hit  the  ground  together. 

Bob  has  had  two  tomboy  daughters  of 
his  own  and  had  been  thankful  when  they 
got  through  that  period.  But,  like  any  good 
father,  he's  willing  to  go  through  the  stage 
once  more — even  at  the  risk  of  life  and 
limb — to   encourage  his  show-child. 

In  contrast  with  her  tomboy  nature, 
Lauren  is  a  softie  at  heart.  "Given  an  op- 
portunity," says  Bob,  "Lauren  would  like 
to  run  a  shelter  for  lost  and  lonely  animals. 
She  somehow  brings  in  all  the  stray  cats 
and  dogs  in  the  neighborhood.  She  will  go 
without  food  herself  to  feed  them." 

One  day,  a  lost  parakeet  arrived  on  the 
set.  Its  wing  was  slightly  injured,  so  Lau- 
ren took  charge.  She  nursed  it  back  to 
health,  feeding  it  scraps  from  her  own 
lunches,  and  Bob  brought  it  some  seed. 
Later,  when  the  bird  was  well  again,  Lau- 
ren offered  it  to  Bob.  "There's  no  room  in 
my  cage  at  home,"  she  said,  "and,  besides, 
you  helped  look  after  'Budgie'  when  he 
was  hurt.  .  .  ." 

In  an  area  such  as  this,  where  children 
are  emotionally  involved  in  their  interests, 
Bob's  attitude  is  one  of  acceptance,  defi- 
nitely not  of  criticism.  He  reassured  Lau- 
ren that  he  would  take  good  care  of 
"Budgie,"  give  him  loads  of  love,  and  then 
happily  took  the  bird  home. 

Lauren  also  receives  encouragement 
from  Bob  with  her  singing.  She  likes  to 
harmonize.  Though  she's  only  in  the 
fourth  grade,  she  can  read  notes,  knows 
her  musical  staff,  sharps,  flats,  and  proud- 
ly says,  "I  sing  in  the  key  of  E-flat,  A-flat, 
and  C."  Lauren  is  also  a  good  math  stu- 
dent— but,  when  Bob  tries  to  help  her,  she 
says,  "You  always  give  me  the  hard  ones." 

Bob's  oldest  show  daughter,  Elinor 
Donahue,  18,  is  a  good  student,  too.  At 
present  she's  studying  psychology  and 
History  of  the  Theater.  Elinor  wants  to  be 
an  actress  and  is  grateful  to  Bob  for  every 
second  he  devotes  to  her.  She  says  with  a 
sigh,  "Just  think,  Mr.  Young  is  a  movie 
star!" 


When  Bob  has  visitors  on  the  set,  or  an 
interview  to  do,  Elinor  comes  over  to 
stand  in  the  reflected  light  of  Robert 
Young,  the  movie  star.  Bob  understands. 

Aside  from  dramatics,  Elinor's  main  in- 
terest lies  in  dancing.  "In  this  regard," 
says  Bob,  "Elinor  is  very  much  like  my 
own  daughters,  Kathy  and  Barbara — ex- 
cept that  Elinor  dances  professionally,  and 
my  kids  dance  for  the  help  it  gives  them 
in  posture  and  carriage." 

During  the  time  Elinor  was  studying 
English  literature,  Bob  and  his  wife,  Betty, 
gave  her  an  elegantly  bound  book  of  son- 
nets for  Christmas.  Bob  had  seen  her 
thirty-five-cent  copies  of  the  books  rec- 
ommended for  the  course,  and  thought  the 
classics  deserved  a  more  elegant  binding. 
Elinor  relies  on  Bob's  help — especially,  of 
course,  in  History  of  the  Theater.  She  says 
impressively,  "Mr.  Young  went  to  the 
Pasadena  Playhouse,  and  he  knows  every- 
thing about  dramatics." 

As  for  Bob's  own  history,  Robert  George 
Young  was  born  in  Chicago  on  Washing- 
ton's Birthday,  one  of  five  children.  His 
father  was  a  building  contractor  who 
moved  his  family  to  Seattle  when  Bob  was 
three.  At  eight,  Bob  was  helping  the  fami- 
ly budget  along  by  working  as  a  helper  on 
a  grocery  delivery  truck.  When  Bob  was 
ten,  the  Youngs  moved  to  Los  Angeles.  All 
through  grade  school  and  Lincoln  High 
School,  Bob  had  odd  jobs.  He  sold  news- 
papers, worked  as  a  soda  jerk  and  in  the 
press  room  of  the  Los  Angeles  Times, 
drove  a  cleaning  truck,  and  worked  as  a 
grease-monkey  in  a  gas  station. 

After  graduation,  he  was  a  collector  for 
a  building  and  loan  company,  then  worked 
in  a  Lake  Tahoe  bowling  alley,  and  finally 
in  a  Los  Angeles  stock  brokerage  house 
when  the  crash  came  in  1929.  One  day 
shortly  after,  when  he  was  employed  by 
the  Farmers  and  Merchants  Bank,  his 
high-school  dramatic  teacher  came  up  to 
his  window.  She  gave  him  a  letter  of  in- 
troduction to  the  Pasadena  Playhouse. 
During  the  next  four  years,  Bob  appeared 
in  forty-five  productions  at  the  Playhouse, 
then  won  the  lead  in  the  touring  produc- 
tion of  "The  Ship." 

He  was  signed  to  a  movie  contract  at 
M-G-M  and  was  immediately  loaned  out 
to  Fox  for  "Black  Camel,"  first  of  the 
Charlie  Chan  films  starring  Warner  Oland. 
He  next  won  critical  attention  as  Helen 
Hayes'  son  in  "The  Sin  of  Madelon  Clau- 
de!" From  there  on,  his  acting  career  was 
a  steady  climb.  He  has  appeared  in  nearly 
a  hundred  films,  and  was  on  the  radio  for 
five  years  as  star  of  Father  Knows  Best. 

In  1933,  Bob  married  Betty  Henderson, 
his  high-school  sweetheart.  They  have 
four  children:  Carol,  22,  now  married; 
Barbara,  18;  Betty  Lou,  12;  and  Kathy,  10. 
Bob  describes  his  children  as  "two  artists, 
one  logician,  and  a  pixie." 

There  are  moments  in  the  Young  house- 
hold that  are  just  as  tender  and  heart- 
warming as  those  on  Father  Knows  Best. 
Bob  is  a  completely  understanding  father 
when  it  comes  to  the  heartaches  of  his 
own  children.  One  recent  Christmas,  for 
example,  in  order  to  avoid  duplication  in 
the  gifts  from  his  children,  he  told  his 
wife  Betty  to  pass  on  the  information  that 
he  would  like  some  sort  of  alarm  clock  to 
wake  him  on  the  mornings  he  reported  to 
the  set  of  Father  Knows  Best,  a  half-dozen 
golf  balls,  and  perhaps  a  new  electric 
shaver.  He  spaced  the  prices  on  the  gifts 
to  fit  his  children's  varying  pocketbooks. 

Then  Bob  took  each  girl  in  tow  and  they 
went  Christmas  shopping.  Once  in  the 
store,  of  course,  they  had  to  go  off  and 
"buy  something  for  Daddy."  Bob  didn't 
know  until  Christmas  morning  what  that 
"something"  was. 

The  first  gift,  from   10-year-old  Kathy, 


was  a  $1.29  Mickey  Mouse-type  alarm 
clock  that  went  "Ding."  The  second  gift 
was  a  moderately  expensive  electric  clock 
with  a  mellow  "Bing-bong"  chime.  And 
the  third  gift  was  a  relatively  expensive 
clock  radio  which  not  only  woke  you  to 
music,  but  turned  on  the  coffee,  too. 

Little  Kathy's  face  was  all  smiles  when 
her  inexpensive  gift  was  first  opened,  be- 
cause she  knew  her  daddy  needed  an 
alarm  clock.  But,  as  the  other  clocks  ap- 
peared, her  face  began  to  cloud  up.  Final- 
ly the  elegant  radio  was  too  much  for  her, 
and  her  big  brown  eyes  filled  with  tears. 

"What's  wrong,  Kathy?"  asked  Bob  sur- 
prised. 

"You're  sure  to  send  back  my  clock,"  she 
stuttered. 

Bob  looked  around  the  circle  of  faces. 
Neither  Carol,  Betty  Lou  nor  Barbara 
seemed  upset  at  the  duplication.  Since  it 
wasn't  important  to  them,  he  made  a  quick 
decision — even  as  he  gave  the  shiny  new 
clock  radio  one  longing  glance.  "Don't 
worry,  Kathy,"  he  smiled,  "yours  is  the 
one  I'll  be  using  .  .  ."  Kathy's  smile  was 
more  than  enough  reward. 

Having  partially  raised  two  families 
through  their  adolescent  years,  Bob  well 
knows  the  problems  that  period  presents: 
Allowances  .  .  .  clothes  .  .  .  teen-age  tele- 
phonitis  .  .  .  and  dating! 

"Allowances,"  says  Bob,  "are  as  impor- 
tant at  home  as  they  are  on  Father  Knows 
Best.  Betty  and  I  have  tried  to  teach  the 
children  the  importance  of  money,  what  it 
will  buy,  and  what  it  means  in  the  way  of 
work.  So  we  have  delegated  certain  jobs 
they  should  do — like  putting  away  the 
linens,  making  their  own  beds,  picking  up 
after  themselves,  setting  the  table,  and  oc- 
casionally helping  in  the  kitchen. 

"On  the  program,  we  make  it  clear  that 
the  children  have  to  earn  their  allowances, 
too.  In  fact,  Kathy  is  always  needling  Jim 


Anderson  for  a  raise  from  twenty-five 
cents  a  week  to  thirty  cents.  She'll  do 
anything  short  of  blackmail  to  get  it,  too!" 
smiles  father  Jim. 

"My  Kathy  at  home  is  no  different," 
father  Bob  admits.  "She  gets  fifty  cents  a 
week,  but  10-year-olds  get  wise  fast.  She 
looks  at  the  fifty  cents  and  then,  with  a 
wave  of  the  hand,  she  says,  'It  just  doesn't 
seem  to  balance  with  all  this  .  .  .'  But  I 
explain  that  fifty  cents  is  all  she  has 
earned  and,  if  she  wants  more,  there  are 
plenty  of  things  around  the  house  that 
need  doing,  and  she  can  take  her  pick  of 
jobs." 

Dating  is  one  of  the  big  problems  that 
come  up  during  adolescence.  Though  Fa- 
ther seems  to  be  on  the  outside,  looking  in 
on  this  problem  of  dating,  he  experiences 
the  same  feelings  of  loneliness  and  being 
left  out  that  his  children  suffer,  both  in 
the  script  and  at  home.  "Between  the  ages 
of  twelve  and  sixteen,"  Bob  says,  "the  girls 
grow,  they  seem  to  flower.  They  get  in- 
terested in  boys.  In  fact,  generally,  they 
are  bigger  in  size  than  boys.  Boys,  on  the 
other  hand,  are  in  their  shy  and  gawky 
years.  The  girls  couldn't  be  more  inter- 
ested— and  the  boys  couldn't  be  less  inter- 
ested. So  we've  tried  to  explain  to  our  girls 
at  home  that,  if  they'll  just  be  patient,  it 
won't  be  long  before  the  boys  catch  up 
with  them  in  their  interests." 

Sex  education  is  another  subject  that 
Father  Knows  Best  has  touched  on,  though 
it  is  admittedly  a  delicate  problem  to  be 
presented  on  TV.  "On  the  show,"  Bob  says, 
"I  have  started  talking  to  Bud  a  number 
of  times  and  he  has  turned  to  me,  saying, 
'Now,  look,  Dad,  if  this  is  going  to  be  the 
birds  and  bees  again,  I've  heard  all  that.' 
Of  course,  we  have  always  gotten  a  laugh 
out  of  that  line,  but  the  purpose  is  to  at 
least  indicate  that  this  is  something  we 
have  talked  about. 


"At  home,  it  is  quite  another  thing.  I 
owe  a  great  deal  to  my  wife  Betty  in  this 
regard.  She  has  been  alert  and  wise  in 
handling  the  girls.  We  are  fortunate  that 
today  we  have  films  which  we  have  gotten 
from  the  audio-visual  aids  department  of 
UCLA  and  which  have  been  a  great  aid  to 
us.  It's  such  an  awkward  thing  for  a  father 
with  four  girls,  yet  I  feel  this  is  something 
which  definitely  is  a  family  responsibility. 
So,  together,  Betty  and  I  and  the  film, 
'Human  Growth,'  have  been  able  to  ex- 
plain life — beautifully  illustrated  in  color, 
at  that." 

Besides  his  "two"  families,  Bob's  other 
interests  are  golf,  flying,  PTA,  and  the 
Episcopal  Theater  Guild.  Bob  is  president 
of  the  Guild,  and  they  have  been  busy 
preparing  the  play,  "The  Valiant,"  with 
Bob  playing  the  condemned  man.  He 
hasn't  missed  a  Father's  Night  at  the  PTA, 
where  he  and  his  friend,  Ralph  Edwards, 
supply  the  talent. 

His  interest  in  airplanes  has  been  a 
long-standing  one,  though  he  only  took  up 
flying  in  1947.  "It  was  kind  of  an  odd  par- 
lay," Bob  says,  "from  motorcycles  to  air- 
planes. During  the  war,  I  used  a  motor- 
cycle for  transportation  to  save  gasoline. 
After  the  war,  Betty  wanted  me  to  give  it 
up,  but  I  rather  enjoyed  it.  Since  I  had 
been  wanting  to  take  flying  lessons  for 
years,  she  agreed  to  the  flying,  providing 
I  would  leave  the  motorcycle  in  the  ga- 
rage. Now  she  wishes  I  had  the  motor- 
cycle back." 

Whether  he's  on  a  motorcycle,  in  an  air- 
plane, at  home  or  on  the  set,  Bob's  heart  is 
dedicated  to  the  best  interests  of  his  own 
family  and  his  "show  family."  Bob  knows 
best  that  a  successful  father  must  be  all 
things  to  all  children:  Teacher  of  assorted 
school  subjects  from  Art  to  Zoology,  and 
provider  of  love,  encouragement — and  al- 
lowances! 


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A  NORWICH   PRODUCT 

Street  '  , 

{ptEASE  PRINt) 

Cltv 

7.nne- 

Starr 

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8:35  Dance  Party 
(con.) 


News 

9:05  Dance  Party 

(con.) 
Van  Voorhis,  News 
9:35  Dance  Party 

(con.) 


News 

10:05  Hotel  Edison 

Van  Voorhis,  News 
10:35  Lawrence  Welk 


News,  LeSeuer 
7:05  Juke  Box  Jury 


News,  Jackson 
8:05  Country  Style 


8:55  Sports 


News,  Collingwood 
9:05  Philadelphia 
Orchestra 


News 

10:05  Basin  Street 

Jazz 
Orchestra 


Sunday 


NBC 


Morning  Programs 


MBS 


ABC 


CBS 


8:30 

Monitor 

Light  And  Life  Hour 

Renfro  Valley 

8:45 

8:55  Galen  Drake 

9:00 

Monitor 

Wings  Of  Healing 

News 

9:05  Great  Moments 

World  News  Roundup 
The  Music  Room 

9:15 

Of  Great  Composers 
9:25  Van  Voorhis, 
News 

9:30 

Back  To  God 

Voice  Of  Prophecy 

Church  Of  The  Air 

9:45 

Art  Of  Living 

10:0U 

National  Radio 

Radio  Bible  Class 

News 

News 

10:15 

Pulpit 

10:05   Message   Of 
Israel 

10:05   Invitation  To 
Learning 

10:30 

Monitor 

Voice  Of  Prophecy 

News 

The  Leading  Question 

10:45 

10:35  College  Choir 

1 1 .00 

Monitor 

Frank  And  Ernest 

Van  Voorhis,  News 
11:05  Sunday 
Melodies 

News 

11:05  E.  Power 
Biggs 

11:15 

Christian  Science 
Monitor 

Marines    On 
Review 

UN  Report 

11:30 

New  World 

Northwestern 

News 

Salt  Lake  Tabernacle 

Reviewing  Stand 

11:35  Christian  In 

Choir 

11:45 

Action 

Afternoon  Programs 

12:00 

Monitor 

As  I  See  It 

News,   Robert  Trout 
12:05  Washington 
Week 

12:15 

World  Affairs 

12:30 

The  Eternal  Light 

News,  Bill  Cunning- 
ham 

Van  Voorhis,  News 
12:35  Front  &  Center 

Les  Elgart  Orch. 

12:45 

Merry  Mailman 

1:00 

Monitor 

Les  Paul  &  Mary  Ford 

Herald  Of  Truth 

Woolworth  Hour- 

1:15 

Christian   Science 

Percy   Faith, 

1:30 

Lutheran  Hour 

News 

Donald   Woods 

1:45 

1:35  Pilgrimage 

2:00 

The  Catholic  Hour 

Dr.  Oral  Roberts 

Symphonette 

2:15 

2:30 

Monitor 

Wings  Of  Healing 

New  York  Philhar- 

2:45 

monic-Symphony 

3:00 

Monitor 

News 

3:05  Pan  American 

Symphony  (con.) 

3:15 

Union 

3:30 

Van  Voorhis,  News 

3:45 

3:35   Billy   Graham 

4:00 

Monitor 

Salute  To  The  Nation 

Old-Fashioned 

News 

4:15 

Revival  Hour 

4:05  On  A  Sunday 

4:30 

Nick  Carter 

Afternoon 

4:45 

4:55  Lome  Greene 

5:00 

Monitor 

Adventures  of  Rin 

Holiday  For  Strings 

News 

5:05  Your  Radio 

Tin  Tin 

5:05  On  A  Sunday 

5:15 

Theater 

• 

5:25  Van  Voorhis, 
News 

Afternoon 

5:30 

Wild   Bill  Hickok 

Greatest  Story  Ever 

5:45 

5:55  Tomorrow's 
World 

Told 

Evening   Programs 


6:00  | 

Meet  The  Press 

Walter  Winchell 

Monday  Morning 

News 

Headlines 

6:05  Make  Way 

6:15 

Tomorrow's 
Headlines 

Lifetime  Living 

For  Youth 

6:30 

Monitor 

On  The  Line,  Bob 
Considine 

News 

6:35  Evening  Comes 

Gunsmoke 

6:45 

Les  Paul  &  Mary  Ford 

Tremendous  Trifles 

7:00 

Monitor 

Pan  American 

News 

News  Analysis 

Panorama 

7:05  Showtime 
Revue 

7:05  Bergen- 
McCarthy  Show 

7:15 

Van  Voorhis,  News 

7:30 

Ted  Heath  Music 

7:35  Valentino 

7:45 

Travel  Talk 

8:00 

T 

Monitor 

Hawaii  Calls 

American  Town 

News 

8:15 

Meeting 

8:05  Our  Miss 
Brooks 

8:30 

Bonsoir  Paris 

Two  For  The  Money 

6:45 

9:00 

Monitor 

Wm.  Hillman,  News 

News,  Paul  Harvey 

News 

9:05    Music   Hall, 

9:15 

Dick  Joseph, 
World  Traveler 

News,  E.  D.  Canham 

Mitch  Miller 

9:30 

Manion  Forum 

Van  Voorhis,  News 
9:35  Sammy  Kaye 

9:55  John  Derr, 

9:45 

Keep  Healthy 

9:55  News 

Sports 

10:00 

Monitor 

Billy  Graham 

Overseas 
Assignment 

10:05  Face  The  Na- 

10:15 

It's   Time 

tion 

10:30 

American  Forum 

Global  Frontiers 

Revival  Time 

Church  Of  The  Air 

See  Next  Page- 


79 


Tw  program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  JANUARY  8— FEBRUARY  11 


Monday  through  Friday 


7:00  ©  Today— For  the   birds,   early  ones 
8:00  0  Captain    Kangaroo— Great  for   kids 
8:55  0  George    Skinner    Show— Relaxin' 
9:00  ©  Herb   Sheldon— Plus   Jo   McCarthy 

0  Look   To  Win— Family-style   quiz 
9:30  ©  Todd  Russell  Corner— Cozy 
10:00  0  Garry  Moore  Show— Get  happy 

©  Ding  Dong  School— TV  nursery 
10:30  0  Godfrey  Time— Simulcast  except  Fri. 
©  Ernie  Kovaes— Anything  can  happen 
0  Claire  Mann— Beauty  hints 
11:00  ©  Home— Everything    about    everything 
0  Janet  Dean,  R.N.— Stars   Ella   Raines 
0  Romper   Room— TV   kindergarten 
11:15  ©  Life  With  Elizabeth— Gay  &  cute 
11:30  0  |j0  Strike   It  Rich— Quiz  for   needy 

0  Beulah— Hilarity   with   Louise    Beavers 
11:45  ©  Mr.  &  Mrs.   North— Urbane  crime 
12:00  0  Valiant  Lady— Stars   Flora   Campbell 
©  Tennessee    Ernie— Peapickin'   time 
0  Johnny  Olsen  Fun  House— Jolly 
12:15  0  [§]  Love  Of  Life— Jean  McBride  stars 
12:30  0  [U  Search   For  Tomorrow— Serial 
©  Feather  Your   Nest— Bud   Collyer 
12:45  0  HD  Guiding  light— Ellen   Demming 
1:00  0  Jack  Paar  Show— Nimble  &  quick 

©  One  Is  For  Sheldon— Affable,  laffable 
0  Virginia  Graham— Wild  &  witty 
1:30  0  Love    Story— Jack    Smith    runs   this 
©  Sky's  The  Limit— Quiz  for  prizes 
0  Afternoon  Show— Hollywood  films 
2:00  0  Robert  Q.  Lewis  Show— Wowriety 

©  Richard   Willis— Facial   decorator 
2:30  0  00  Linkletter's  House  Party 

©  Jinx    Falkenburg— Kindly    interviews 
©  Maggi   McNellis— For   gals  only 
(D  Florian   ZaBach— Fiddle-faddle 
3:00  0  H]  Big  Payoff— With  Randy  &  Bess 

©  Matinee  Theater— Live,  hour  dramas 
0  Ted  Steele  Show— Tunes  &  talk 
(D  Dione Lucas— She  knowswhat'scookin' 
3:30  0  Bob  Crosby  Show— Swingin'&singin' 

tfj>  Candid  Camera— Alan  Funt's  fun 
4:00  0  [5]  Brighter  Day— Blair  Davies  stars 
©  Date  With  Life— Dramatic  serial 
©  Wendy    Barrie— Delightful    screwball 
4:15  0  00  Secret  Storm— Peter  Hobbs  stars 

©  First  Love— With  Pat  Barry  . 
4:30  0  On  Your  Account— Dennis  James,  quiz 
©  Mr.    Sweeney— Chuckles    Ruggles 

EARLY  EVENING 

5:00  ©  00  Mickey  Mouse  Club— For  kids 
5:30  ©  Howdy  Doody— A  kiddie  favorite 
6:00  0  News  &  Weather 
6:15  0  Early  Show— Feature  films 
6:30  ©  Patti  Page— Tues.  &  Thurs.  only 
7:15  ©  Tex   McCrary— Interviews   VIPs 

0  John    Daly,   News— Prize-winner 
7:30  ©  00  Songs— Tony   Martin,   Mon.;    Dinah 
Shore,  Tues.,  Thurs.;  Eddie  Fisher,  Wed.,  Fri. 

0  Million   Dollar   Movies— Top-rate 
7:45  ©  John  Cameron  Swayze,  News 

LATE  NIGHT 

10:00  0  Million   Dollar   Movies— Excellent 
11:00  0   ©   ©  News    &   Weather 

(D  Liberace— Candelabra   time 
11:15  0  Late  Show— Feature  films 

©  Steve  Allen— Lots  of  laughs 


Monday  P.M. 


80 


7:30  0  Robin    Hood— From    Sherwood    Forest 
©  Peter  Pan— Jan.  9,  7:30-9:30,  starring 
Mary  Martin    and   Cyril    Ritchard 

8  The  Lone  Wolf— The  two-legged  kind 
Topper— Hocus-pocus  comedy 
8:00  0  Burns  &  Allen— Gracie  burns  George 


©  Caesar's    Hour— Sid    &    Nanette    ex- 
cept Feb.  6,  Producers'  Showcase,  8-9:30 
0  00  Digest   Drama— Tailored   tales 
8:30  0  Godfrey's  Talent  Scouts— Showcase 
0  [J]  Voice  Of  Firestone— Concert  time 
9:00  0  |Tj  I  Love  Lucy— Delightful  &  delirious 
©  The   Medic— Hardhitting   stories 
0  Dotty  Mack  Show — Musicmimics 
9:30  0  December  Bride— It's  always  Spring 
©  Robert  Montgomery  Presents 
0  QO  Medical    Horizons— Clinical 
10:00  0  00  Studio  One— Superb  hour 

0  Boxing    From   St.   Nicholas   Arena 
0  Dangerous  Assignment— Thrills 
10:30  0  Boris    Karloff— Spine-chillers 


Tuesday 


7:30  0  Name  That  Tune— Musical  $$  quiz 
0  Waterfront— Preston  Foster,  skipper 
0  Qs]  Warner  Bros.  Presents— Films 

8:00  0  Phil  Silvers  Show— Belly-bustin'  laffs 
©  Berle-Hope-Raye  Show— Clowns  all 

8:30  0  Navy   Log— Brilliant   documentary 
0  [jO  Wyatt  Earp— Action  Westerns 

9:00  0  Joe  And  Mabel— Comedy 

©  Jane  Wyman's  Fireside  Theater 
0  [¥]  Make  Room  For  Daddy— Comedy 

9:30  0  Red  Skelton  Show— Rollicking 
©  Playwrights  '57-Circle  Theater 
©  City  Assignment— Big  Town  reruns 
0  f5]  DuPont  Cavalcade  Theater 
10:00  0  fT]  $64,000   Question— Hal   March 
10:30  0  Do  You  Trust  Your  Wife?— Bergen 
©  Big  Town— Mark  Stevens  as  Steve 
0  Where  Were  You?— Ken  Murray 


Wednesday 


7:30  0  Brave    Eagle— Western    adventure 
0  The  Big  Fight — Boxing  history 
0  |T)  Disneyland— Fun    in    fantasyland 

8:00  0  Godfrey  &  Friends— Arthur's  variety 
©  Screen  Directors'  Playhouse 

8:30  ©  (fU    at  9:30)  Father  Knows  Best 
O  00  M-G-M   Parade-Half-hour  films 

9:00  0  The  Millionaire— $torie$ 

©  Kraft    Theater— Always    top-notch 
0  fj]  Masquerade   Party— Panel   panic 

9:30  0  I've  Got  A  Secret— Garry's  got  it 
0  This  Is  My  Story— On  film 
0  [T)  Break  The  Bank— Quiz  &  cash 
10:00  0  [i]  U.S.    Steel    Hour— alternates    with 
20th  Century-Fox  Hour 

©  This  Is  Your  Life— Surprise  bios 
10:30  ©  Patti  Page  Party— You're  invited 


Thursday 


7:30  0 

0 

8:00  0 

© 

o 

8:30  0 
© 
0 

o 

9:00  © 
© 

o 

9:30  0 
© 

o 

10:00  0 

© 

10:30  0 

o 


Preston  Of  The  Yukon— Mounties 
The  Goldbergs— Molly's  merry 
Bob   Cummings  Show— Farce  &  fun 
fjO  Groucho  Marx— Lusty  wit 
Bishop  Fulton  J.  Sheen— Inspirational 
Climax— Melodramas 
Dragnet— About  crime  &  cops 
Secret   Files,    U.S.A.— Robert  Alda 
00  Stop  The  Music— Bert  Parks  pays  off 
People's   Choice— Jackie   Cooper 
Wrestling— Hour-long    melodrama 
00  Star  Tonight— Filmed  dramas 
Four  Star  Playhouse— Slick  stories 
(00  at  10:30)  Ford  Theater— Fine 
00  Down  You  Go— Dr.   Bergen   Evans 
Johnny  Carson— Cheeky  with  chuckles 
00  Lux  Video  Theater— Hour  dramas 
"Wanted"— Public  enemy  talent  hunt 
Racket  Squad— Reed   Hadley  stars 


O  00  Rin  Tin  Tin— About  a  dog 
8:00  0  Mama— About  a  mother 

©  Truth    Or    Consequences— Crazy! 
0  Sherlock  Holmes— Whodunits 
O  00  Ozzie  &  Harriet— Warm  &  funny 
8:30  0  Our  Miss    Brooks— Brooksie  bubbles 
©  Life  Of  Riley— Bill  Bendix  blunders 
0  00  Crossroads— About    clergymen 
9:00  0  The  Crusader—  Pierces  the  iron  curtain 
©  Big  Story— Real  &  exciting 
O  00  Dollar  A  Second— Jan  Murray 
9:30  0  Playhouse  Of  Stars— Filmed  drama 
©  Star  Stage— Filmed  stories 
0  00  The  Vise— Taut  from   Britain 
(D  Duffy's   Tavern— Gardner's  guffaws 

10:00  0  The  Line-Up— City   police  in   action 
©  Boxing— Headline  events 
0  Ethel  &  Albert— Marital  fisticuffs 

10:30  0  Person  To  Person— Murrow's  essay 
0  Adventures  Of  The  Falcon— Thrillers 


Saturday 


3:00-4:45  0  P.M.  Big  Ten  Basketball-Pur- 
due at  Michigan  State,  Jan.  14;  Iowa  at 
Michigan,  Jan.  21;  Northwestern  at  Minne- 
sota, Jan.  28;  Indiana  at  Ohio  State,  Feb. 
4;  Illinois' at  Ohio  State,  Feb.  11 
6:30  0  The  Lucy  Show— Reruns  by  Desilu 
7:00  0  Gene  Autry  Show— Gallopin'  tales 

0  Step  This  Way— Ballroom  dancing 
7:30  0  Beat  The  Clock— Stunts  for  prizes 
©  The  Big  Surprise— $100,000  quiz 
0  Ozark  Jubilee— Variety  country  style 
8:00  0  00  The   Honeymooners— Gleason 

©  Perry  Como  Show— Gags,  gals,  songs 
8:30  0  00    Stage      Show— Dorsey      Brothers 

Band,   June   Taylor   Dancers,   guest   stars 
9:00  0  Two  For  The  Money— $hriner  quiz 
©  People  Are  Funny— Art  Linkletter. 
Jan.  21,  Max  Liebman  Presents,  9-10:30 
0  00  Lawrence  Welk— Pop  music 
9:30  0  It's  Always  Jan— Janis  Paige  comedy 
©  Durante-O'Connor   Show— Jokers 
10:00  0  Gunsmoke— Blood   on   the  saddle 

©  George  Gobel— The  little  king 
10:30  0  Damon   Runyon  Theater— Stories 
©  00  Your  Hit  Parade— Top  tunes 


Sunday 


Friday 


7:00  ©  Science  Fiction— Out  of  this  world 
7:30  0  Champion— About  a  horse 


4:00  0  Front  Row  Center— Fine  hour  dramas 

©  Maurice   Evans  Presents  alternates 
with  Wide  Wide  World 

0  China  Smith— Dan  Duryea  adventures 
5:00  0  Omnibus— Quality  stuff  for  90  minutes 

0  Super  Circus— For  kids  six  to  sixty 
6:00  ©  Meet  The  Press— Someone's  burning 
6:30  0  00  You   Are  There— History  alive 

©  Roy  Rogers— Plus  Trigger  &  Dale 

(D  Life  With  Father— Leon  Ames  comedy 
7:00  0  Lassie— Canine  opera 

©  It's  A  Great  Life— Dunn's  fun 
7:30  0  00  Jack    Benny   alternates   with    Pri- 
vate Secretary 

©  Frontier— Adult  Westerns  except  Jan. 
29,  Color  Spread  Spectacular 

0  Famous   Film   Festival— Screen  hits 
8:00  0  [J |  Ed  Sullivan  Show— The  cream 

<D  Inspector    Mark    Saber— Whodunits 
9:00  0  G-E   Theater— Ronald    Reagan,    host 

©  The  A-G  Hour— Full  hour  teleplays 

0  00  Chance  Of  A  Lifetime— Variety 
9:30  0  Alfred  Hitchcock  Presents— Drama 

0  00  Ted  Mack— Original  Amateur  Hour 
10:00  0  Appointment  With  Adventure 

©  Loretta  Young  Show— Romantic 

©  The  Hunter— Melodrama 

0  00  Life  Begins  At  80-Spry 
10:30  0  00  What's  My  Line?— Job  game 

©  Justice— Gripping  documentary  dramas 

fj)  The  Whistler-Off-key  mysteries 


The  Greatest  Glamour 

(Continued  from  page  39) 
stunning.  Men  are  just  stunned.  However, 
if  you  are  a  man,  and  lucky  enough  to 
have  a  date  with  Janis  on  a  weekday, 
you'd  have  to  get  her  home  by  nine-thirty. 
"I  like  rings  on  my  fingers  and  maybe  even 
dangling  from  my  ears,"  she  says,  "but  un- 
der my  eyes,  no!" 

Another  thing:  If  you  take  Janis  out, 
you're  most  likely  to  have  a  chaperon — 
for  Janis  doesn't  quite  live  alone.  Her  con- 
stant companion  is  a  dog  which  definitely 
doesn't  lead  a  dog's  life.  Liebchen,  a  ma- 
hogany-hued  dachshund,  is  a  gentle  lady. 
She  goes  with  Janis  to  the  best  restaurants 
and  the  lush  supper  clubs.  Liebchen  is  one 
gal  who  seldom  stays  home  on  a  Saturday 
night. 

Liebchen  lives  in  a  fashionable  hotel 
apartment  between  Park  and  Madison.  The 
service  is  fine  and  the  location  handy  to  a 
fine  curb — and  the  television  studios.  In 
Beverly  Hills,  her  friend  Janis  had  a  lovely 
home  furnished  on  the  outside  with  trees 
and  inside  with  antiques.  Everything 
stayed  behind  when  they  came  east,  but  no 
tears  are  shed  by  Liebchen. 

Together — and  Janis  and  Liebchen  are 
together  most  of  the  time,  for  Liebchen 
makes  frequent  guest  appearances  on 
Feather  Your  Nest — they  make  a  study  in 
contrasts.  It's  quite  a  tribute  to  them  both 
that  two  beings  who  travel  at  such  ex- 
tremely different  altitudes  can  love  each 
other  so  much. 

Naturally,  Liebchen  finds  much  to  ad- 
mire in  Janis,  for  Janis  Carter  is  a  woman 
of  many  accomplishments — she  was  once 
introduced  by  Eleanor  Roosevelt  as  "the 
girl  who  has  traveled  more  than  I"  (that 
year,  Janis  did  250,000  miles,  which  in- 
cluded two  trips  abroad  and  personal  ap- 
pearances in  twenty-nine  cities) .  She's  a 
bit  of  a  daredevil.  A  sport-car  enthusiast, 
she  has  jockeyed  her  Jaguar  up  to  one- 
thirty,  yet  she  can  knit  or  needlepoint 
better,  probably,  than  your  favorite  grand- 
ma. She  sings  almost  as  well  as  a  Met 
artist,  and  has  sung,  danced  and  acted  her 
way  through  nearly  fifty  movies.  She  has 
played  in  several  Broadway  musicals  and 
owns  two  college  degrees.  She  once  wrote 
scripts  for  Gangbusters  and  We,  The  People 
and  has  done  several  series  of  articles  on 
women's  fashions.  She  plays  piano  and 
has  served  as  semi-professional  interior 
decorator  for  herself  and  her  friends. 

She's  a  gal  of  many  talents,  but  her 
greatest  would  appear  to  be  that  of  making 
friends.  When  her  birthday  came  calling 
this  year,  Janis  had  been  with  the  show 
less  than  ten  months  but  had  already  im- 
pressed everyone  with  her  warmth  and 
charm.  So  they  threw  a  party  for  her. 
There  was  a  special  cake,  with  a  model  of 
Liebchen  on  the  top.  That  would  have  been 
quite  enough,  but  they  wanted  to  give  her 
something,  too.  They  didn't  just  chip  in 
the  usual  way.  Each  person  on  the  show — 
producer,  director,  assistants,  secretaries, 
and  all  the  others — bought  an  individual 
gift.  This  is  a  rare  tribute  in  the  television 
business. 

On  the  other  hand,  Janis  herself  was 
quite  a  study  when  she  opened  the  gifts. 
She  took  five  to  ten  minutes  with  each, 
unknotting  ribbons  and  saving  and  folding 
away  the  paper.  And  she  was  so  touched 
she  flowed  a  river  of  tears. 

"Janis  is  the  kind  you  want  to  do  things 
for,"  says  Louise  Hammett,  associate  pro- 
ducer on  the  show.  "I've  never  known 
anyone  easier  to  work  with.  She's  a  dear, 
and  there's  never  any  question  of  what's 
best  for  her— it's  always  the  show  first.  But 
you  can't  do  much,  for  Janis  isn't  the  help- 
less type." 

One  of  the  most  difficult  jobs   on  the 


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show  is  to  describe  the  furniture  and  car- 
peting and  household  accessories  that  are 
given  as  prizes.  The  style  varies.  It  may  be 
colonial  or  provincial  or  period  or  modern 
or  something  else.  The  people  who  run 
the  show  figured  on  getting  an  interior 
decorator  to  teach  Janis  about  these  things 
— but,  the  first  day  on  the  set,  she  was  dif- 
ferentiating the  Hepplewhite  from  the 
Chippendale.  She  even  took  it  upon  her- 
self to  write  her  own  script,  and  starts  each 
day  mighty  early  to  do  it. 

"I  got  the  early  habit  in  Hollywood," 
she  explains.  "Out  there,  it  was  getting  up 
at  four-thirty.  Now  I've  kind  of  relaxed 
down  to  six-thirty  or  seven." 

At  eight  A.M.,  she  tunes  in  on  Garroway 
and  sits  down  at  her  typewriter  to  do  the 
day's  show.  At  nine,  she  begins  to  consider 
what  she  will  wear,  for  she  feels  that  her 
clothes  must  be  in  keeping  with  the  kind 
of  furniture  on  the  set.  For  a  modern  set, 
she  will  dress  in  something  streamlined 
and  chic.  For  period  pieces,  she  will  wear 
something  with  more  detail. 

"Personally,  I  favor  earth  colors — or- 
anges, olive  greens,  that  kind  of  thing,"  she 
says.  "Being  a  New  Yorker,  of  course,  I 
wear  lots  of  black.  I  like  the  sheath  with 
a  small  jacket  and  a  little  jewelry." 

.Liebchen,  who  often  appears  on  the 
show,  must  be  dressed  appropriately,  too. 
But  this  is  no  problem,  since  she  has  one 
of  the  finest  canine  wardrobes  in  the  coun- 
try. Liebchen  has  three  knitted  coats,  two 
evening  wraps,  one  tweed  jacket,  a  rain 
coat,  green  galoshes  (four  of  them,  natural- 
ly). She  has  a  gold  lame  skirt,  and  she 
boasts  a  Mr.  John  hat  which  features  a 
rose  over  each  ear. 

"Let's  make  this  clear,"  says  Janis.  "I 
have  never  bought  a  thing  for  her.  It's  my 
friends  who  behave  like  adoring  idiots. 
They  are  always  making  a  fuss  over  her." 
Liebchen  has  ten  necklaces  or  chokers — 
certainly  not  "collars" — made  of  rhinestone, 
gold,  drop  pearls,  silver  bells,  etc.  But 
Liebchen,  at  the  annual  dinner  held  by  the 
Dog  Couturiers  of  America,  came  in  sec- 
ond as  the  world's  best-dressed  dog.  Hope 
Hampton's  dog  won  first  prize. 

Janis,  tongue  in  cheek,  explains,  "Hope 
Hampton's  dog  outpointed  Liebchen  with 
lace-trimmed  lingerie  and  pajamas.  You 
see,  Liebchen  likes  to  sleep  in  the  nude." 
Janis  allows  a  small,  harmless  joke,  now 
and  then,  but  she  is  serious  in  her  love  of 
animals.  So  much  so  that  she  is  allergic  to 
"hunter's"  green  and,  as  she  says,  "I've 
never  gone  to  a  bullfight,  But,  if  I  did,  I 
would  be  rooting  for  the  bull." 

As  a  child,  between  eight  and  ten,  she 
had  two  pets,  both  dogs.  When  they  died, 
she  carried  on  for  so  long  that  her  mother 
decided  she  would  have  no  more  pets — but 
this  was  about  the  only  thing  Janis  was 
deprived  of.  She  had  piano,  dance,  language 
and  vocal  lessons.  She  had  season  tickets 
to  concerts   and   theaters. 

Janis  was  born  and  raised  in  Cleveland, 
Ohio.  Her  father,  John  Dremann,  owned 
one  of  the  largest  dry  cleaning  firms  in 
the  city.  He  was  a  very  handsome  man 
whose  artistic  bent  can  still  be  seen  in 
pen  and  pencil  sketches  and  his  photog- 
raphy— a  man  who,  like  his  daughter,  loved 
fine  clothes  and  fast  cars. 

"He  drove  a  Stevens,"  Janis  says,  "and 
Mother  remembers  he  used  to  personally 
wash  his  own  racing  gloves  and  cap." 

He  died  when  Janis  was  only  four  and 
her  mother  took  over  the  business  and 
ran  it  for  six  years,  until  she  remarried. 
During  most  of  those  years,  Janis's  con- 

T    stant    companion    was    her    Grandmother 

v    Carter,  a  strawberry  blonde  who  loved  to 

„    laugh  and  sing. 

"We  had  so  much  fun,"  Janis  says,  "it 
didn't  matter  whether  it  was  dominoes  or 
knitting  or  playing  with  dolls  or  making 

82 


mud  pies,  Grandmother  was  right  beside 
me. 

All  of  the  Carter  women  are  singers. 
Grandmother,  besides  being  an  excellent 
pianist,  was  a  coloratura  soprano.  Janis's 
mother  sang  a  deep  contralto,  and  Janis 
has  successively  been  a  coloratura,  lyric 
and  mezzo-soprano.  As  a  matter  of  pro- 
priety, her  grandmother  never  entertained 
in  public.  Janis's  mother  traveled  with  the 
famous  Elsie  Janis  troupe  to  entertain 
soldiers,  during  World  War  I,  but  only 
in  an  amateur  capacity.  It  was  for  Elsie 
Janis  that  she  named  her  only  child. 

There  was  never  any  suggestion  of  Janis 
going  into  show  business — though,  when 
she  had  her  vaccination,  it  was  tactfully 
suggested  that  it  be  scratched  on  her 
thigh  rather  than  her  arm,  so  it  wouldn't 
mar  her  beauty.  "I  think,"  Janis  adds,  "that 
most  of  my  concentration  on  the  arts  was 
directly  a  result  of  illness.  I  had  pneu- 
monia ten  times — in  between  other  things." 

By  the  time  she  was  fifteen,  she  began 
to  regain  her  health,  but  then  she  was  un- 
happy about  being  thin  and  tall,  even 
though  she  had  never  lacked  for  dates. 

She  went  on  to  Western  Reserve,  a 
Cleveland  college  with  a  superb  music  de- 
partment. Janis  was  a  good  music  student 
but  so  active  in  extra-curricular  activities 
that  she  incurred  the  wrath  of  an  English 
teacher.  The  teacher  noted  in  class  that  no 
one  with  as  many  things  to  do  as  Janis 
could  learn  anything,  promised  to  flunk 
Janis — and  kept  her  promise.  Janis  was 
furious.  When  the  new  semester  started, 
she  signed  up  for  twice  as  many  courses 
and,  at  graduation,  was  awarded  not  one 
but  two  degrees:  Bachelor  of  Music  and 
Bachelor  of  Arts. 

"And  then,  about  three  minutes  later," 
she  says,  "I  took  a  Greyhound  bus  to  New 
York  to  become  a  singer." 

She  became  one  of  the  prize  pupils  of 
one  of  the  country's  great  teachers,  Edwin 
Swain.  As  one  of  the  favored  few,  she  lived 
in  his  home.  She  took  a  lesson  every  morn- 
ing, practiced  a  couple  of  hours  and,  around 
eleven,  went  to  work.  She  worked  as  a 
model  and  as  a  waitress  at  Schrafft's. 

She  tried  for  the  Metropolitan  Auditions 
Of  The  Air  and  was  accepted  to  sing  on 
the  show.  "Afterwards,"  she  recalls,  "they 
told  me  that  I  was  good  but  needed  in- 
tensive training — and  told  me  to  go  abroad 
to  study  for  eight  years.  I  thanked  them, 
but  they  might  as  well  have  suggested  that 
I  fly  to  the  moon.  Some  of  those  days,  I 
had  trouble  scraping  up  bus  fare." 

Janis  auditioned  for  the  Broadway  mu- 
sical, "DuBarry  Was  a  Lady."  Cole  Porter 
and  other  VIPs  auditioned  Janis  and,  after 
she  sang,  they  stood  up  and  applauded. 
They  were  very  enthusiastic  and  prom- 
ised her  that,  if  she  took  a  small  part  in 
"DuBarry,"  they  would  give  her  a  num- 
ber of  her  own  in  their  next  production. 

So  Janis  went  into  "DuBarry"  and,  as 
the  producers  had  promised,  in  their  next 
show — "Panama  Hattie,"  starring  Ethel 
Merman — they  gave  Janis  the  opening 
number  in  the  second  act.  Darryl  Zanuck 
saw  her  on  opening  night  and,  the  next 
day,  Janis  had  a  Hollywood  contract. 

Ten  years  and  forty-five  pictures  later, 
she  came  back  to  New  York.  Of  course,  a 
lot  of  things  can  happen  in  Hollywood  in 
ten  years  and  Janis  wasn't  immune  to  the 
climate.  She  had  a  brief,  unsuccessful  mar- 
riage. In  between  pictures,  she  took  up 
racing  cars  as  a  hobby.  And  she  learned 
that  her  mother  hadn't  placed  the  vaccina- 
tion quite  high  enough  for  Hollywood 
cheesecake.  She  took  up  interior  decor- 
ating, specializing  in  antiques,  and  fur- 
nished her  home  exquisitely.  She  even  got 
to  meet  her  namesake,  and  therein  lies  a 
story. 

"I    had    always    wanted    to    meet    Elsie 


Janis,"  she  says,  "but  I  never  got  to  see 
her,  even  though  she  had  retired  to  Holly- 
wood and  lived  in  a  house  right  around 
the  corner  from  mine." 

When  some  of  Elsie  Janis's  possessions 
were  put  up  for  sale  at  auction,  Janis  went 
down  to  buy  what  she  could  afford — 
towels,  napkins,  some  Venetian  lace,  an 
ink  well.  She  was  at  the  auction  almost 
every  evening  and,  one  day,  the  auctioneer 
came  by  and  said,  "Miss  Janis  says  she 
has  read  about  you  and  knows  that  you 
were  named  for  her  and  she  would  like 
to  have  you  for  tea." 

J  anis  set  a  date  and  was  met  by  a  woman 
in  her  late  sixties  who  still  had  the  lithe 
figure  of  a  girl.  Miss  Janis  was  dressed  in 
a  black  turtleneck  sweater  and  tights — a 
costume  considered  unusual  at  tea  time, 
even  by  Hollywood  standards.  As  our 
Miss  Carter  walked  in,  Miss  Janis  did  a 
split  and  said,  "See,  I've  never  got  out  of 
condition." 

Janis  bent  over,  stuck  down  her  hand 
and  said,  "How  do  you  do?" 

They  became  good  friends  and  still  cor- 
respond. 

In  December  of  1950,  Janis  came  East 
for  several  months  to  work  on  the  big 
television  shows — Ken  Murray's  revue,  the 
Johnny  Johnston  show,  plus  a  half-dozen 
dramatic  hours.  As  suddenly,  she  returned 
to  Hollywood  with  a  two-year  contract  at 
RKO.  Her  last  picture  was  "Half  Breed." 

When  she  came  East  again,  a  year  ago,  it 
was  with  no  great  sorrow,  for  Janis  loves 
Manhattan  and  calls  herself  a  "New  Yorker 
raised  in  Cleveland."  She  loves  the  lady- 
with-the-torch  in  the  harbor,  the  restau- 
rants, the  clubs,  her  friends — and  even  the 
"dogging  hour." 

"Dogging  hour  is  about  nine-thirty  on 
Park  Avenue,"  Janis  tells  you.  "You  get 
to  meet  a  nice  class  of  dogs."  There  is  one 
man  who  is  walked  by  two  husky  basset 
hounds,  for  instance.  He  and  Janis  have  a 
barking  acquaintance — mostly  because  he 
is  always  traveling  much  too  fast  to  do 
much  more. 

There  is  also  an  elderly  lady  with  whom 
Janis  once  was  friendly.  They  used  to  chat 
every  evening.  The  woman  owned  two 
handsome  but  graying  poodles  and  Janis, 
was  curious  about  the  dogs'  ages. 

"They  are  four  years  old,"  the  woman 
said. 

"Four?"  Janis  repeated.  "Only  four?" 

The  woman  turned  angrily  away,  pulling 
her  dogs  behind  her,  and  growled,  "We 
girls  don't  discuss  our  real  ages." 

Besides  New  York  with  its  character  and 
characters,  Janis  is  pleased  with  the  idea 
that,  when  she  is  East,  she  is  near  her 
folks.  She  talks  enthusiastically  about  her 
stepfather,  Arthur  Heiss,  saying:  "He  is 
seventy-one  and  looks  fifty-one.  He's  the 
rugged  outdoor  type  and  likes  to  fish  and 
hunt.  When  I  was  a  child,  he  was  always 
making  things  for  me.  I  think  I  was  the 
only  kid  in  the  neighborhood  with  her 
own  parallel  bars  in  the  backyard." 

Janis  is  also  very  proud  of  her  mother. 
"She's  honest  and  gracious  and  nice.  She's 
been  a  terrific  yardstick  for  me."  And  then 
Janis  adds,  "A  friend  I  knew  in  Germany 
came  to  New  York  when  Mother  was 
visiting  me,  and  so  they  met.  The  friend 
called  the  next  day  and  raved  about 
Mother.  Said  she  felt  as  if  she  had  known 
her  a  million  years.  She  said  there  was 
only  one  word  to  describe  her  and  that  was 
gemutlich — a  German  word  that  means 
very  human  and  very  warm." 

People  who  have  come  to  know  and  love 
Janis  will  tell  you  that  it  is  very  much  a 
case  of  "like  mother,  like  daughter."  For 
all  her  beauty  and  talent,  she  has  the 
glamour  which  means  more  to  any  woman 
than  how  she  looks  or  what  she  can  do. 
Janis  Carter  has  the  gift  of  making  friends. 


Hour  of  Glory 

(Continued  from  page  55) 
For  Nanette  is  an  actress  who  began  her 
professional  career  at  the  age  of  three 
and  through  the  years  has  been  developing 
a  unique  comedy  style — along  with  sing- 
ing and  dancing  and  considerable  theatri- 
cal know-how.  Here  was  a  girl  who  had 
already  learned  to  throw  away  a  comedy 
line  as  though  she  had  just  made  it  up  on 
the  spot  (which  she  must  often  do  now, 
when  Sid  departs  from  the  script  and  Nan 
has  to  improvise  madly  to  match  his  fast 
ad  libs).  A  girl  who  can  cry  in  a  way  to 
make  viewers  fracture  themselves  with 
laughter — and  who  can  break  into  a  hot 
jazzy  number  or  a  torchy  ballad  with 
equal  fervor  and  effectiveness. 

It  took  only  a  few  days  of  rehearsal,  for 
that  first  broadcast  together,  to  convince 
Sid  that  he  had  found  an  actress  who 
responded  to  his  every  TV  mood.  Nan 
went  on  the  first  show  to  receive  instant 
audience  appreciation — and  the  next,  and 
the  next.  Securing  a  release  from  her 
commitment  with  Mr.  Liebman,  she  signed 
with  Sid.  And  Nanette  Fabray  began  her 
second  season  with  Caesar  last  fall. 

Nanette  must  be  ready  for  anything  new 
in  the  way  of  lines  or  business  dreamed 
up  on  the  spur  of  the  moment.  While 
cameras  are  close  up  and  mikes  hover  to 
catch  every  word,  Sid  will  come  up  with 
spontaneous  bits  of  hilarious  business  and 
lines  that  have  just  occurred  to  him,  and 
Nanette  will  match  him,  bit  for  bit  and 
line  for  line.  Yet  somehow  she  seems 
to  know  the  exact  second  when  he  is 
ready  to  settle  down  again  to  the  script 
as  they  rehearsed  it.  And  all  this  "live." 

"Nan  has  some  kind  of  sixth  sense  that 
tells  her  what  I'm  thinking,  almost  before 
I  know  it  myself,"  Sid  says.  And  Nan 
says:  "Sid's  funniest  lines  are  the  ones  he 
springs  without  warning."  Between  them 
is  a  telepathic  something,  a  sympathy  of 
ideas,  which  makes  each  sensitive  to  the 
other's  mood  of  the  moment.  "Terrific 
teamwork,"  someone  explained  it. 

Nanette  was  born  Ruby  Bernadette  Nan- 
ette Therese  Fabares  (pronounced  Fa- 
bah-ray)  in  San  Diego,  California.  Her 
father  was  French.  The  family's  last 
name  was  so  often  mispronounced  that 
Nan  finally  changed  its  spelling  to  make 
it  easier  for  everyone.  Her  mother  was 
Irish — and  a  "frustrated  actress"  who  had 
found  marriage  and  three  children  a  ca- 
reer in  themselves,  but  who  kept  looking 
for  signs  of  theatrical  talent  in  her  grow- 
ing family.  In  little  Nan,  she  found  a 
child  who  could  recite  a  nursery  rhyme 
with  the  aplomb  of  a  Shakespearean 
trouper,  who  could  sing  with  pitch  and 
poise  and  could  hardly  keep  her  feet  from 
dancing.  She  sent  her  to  dancing  school, 
where  her  own  beliefs  were  justified  when 
Nan  won  the  school's  "kiddie  contest." 

Armed  with  this  distinction,  Nan  be- 
came a  professional  entertainer  before  she 
was  four,  appearing  locally  in  Los  An- 
geles and  later  touring  in  a  vaudeville 
unit  with  Ben  Turpin,  beloved  comedian 
of  silent  films.  She  put  in  quite  a  hitch 
as  one  of  the  succession  of  golden-haired 
darlings  in  "Our  Gang"  comedies.  Today, 
her  hair  has  grown  more  darkly  auburn. 
But  the  hazel-brown  eyes  looked  out  from 
under  brows  which  had  a  way  of  arching 
a  little  quizzically  at  the  world  even  then, 
as  if  seeing  some  of  its  comedy  under  the 
ordinary  routine  of  living,  and  her  mouth 
was  as  full  and  pretty  as  it  is  now.  "Baby 
Nan,"  as  they  called  her,  was  quite  a  peiv 
sonality — for  a  toddler  who  had  not  yet 
achieved  the  stature  of  being  even  a 
kindergarten  miss. 

"But  things  happen  to  baby-faced  little 
actresses,"  she  explains.     "Like  front  teeth 


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falling  out,  and  legs  and  arms  that  get 
scrawnier  and  scrawnier  as  the  milk  and 
cereal  and  spinach  go  into  height  instead 
of  breadth.  So,  happily  for  me,  I  was  out 
of  show  business  and  just  a  schoolgirl  for 
a  while.  This  was  good.  A  child  needs 
some  time  to  grow  up  naturally.  Then 
there  was  that  period  called  The  Depres- 
sion when  all  jobs  were  scarce,  especially 
those  for  small  girls  beginning  to  go 
through  the  age  of  awkwardness." 

In  Hollywood  High,  Nanette  began  to 
think  about  a  medical  career,  having  an 
enormous  interest  in  medicine  which  she 
suspected  was  far  more  than  a  morbid 
curiosity.  She  wasn't  sure  that  she  was 
a  good  enough  student  to  see  it  through, 
and  she  was  almost  certain  that  she  could 
never  retain  all  the  thousands  of  bits  of 
information  a  doctor  must  have  filed  in 
his  mind.  "I  learn  a  script  quickly,  it's 
true,"  she  says,  "But  a  script  is  something 
you  don't  have  to  remember  for  the  rest 
of  your  life.  Sometimes,  though,  I  won- 
der if  I  could  have  made  it.  .  .  ." 

1  o  play  it  safe — not  knowing  at  this 
point  just  what  she  wanted  to  do  with  her 
life — Nan  took  three  years  of  shorthand 
and  typing  in  high  school.  (Sometimes 
now  she  surprises  interviewers  who  take 
shorthand  notes  by  reading  what  they 
have  jotted  down  about  her.)  At  Los 
Angeles  Junior  College,  she  was  still  won- 
dering what  she  would  do  later  on.  But, 
in  the  meantime,  she  was  continuing  with 
some  radio  acting,  enough  to  earn  a  lit- 
tle now  and  then  to  help  along.  It  was 
one  of  these  radio  programs  which  was 
heard  by  a  scout  from  Max  Reinhardt's 
Dramatic  Workshop,  who  suggested  that 
she  might  want  to  try  out  for  a  scholar- 
ship. She  did — and  won  two  successive 
scholarships.  Nan  feels  that  this  was  one 
of  the  great  turning  points  in  her  life,  just 
as  her  guest  shot  on  Caesar's  Hour  was 
another. 

Although  her  own  years  as  a  child  per- 
former have  undoubtedly  given  Nan  some 
of  the  poise  and  sureness  she  has  now, 
she  doesn't  approve  of  youngsters  going 
into  show  business  too  early.  She  thinks 
it's  fine  to  help  develop  a  child's  talents, 
and  is  all  for  dancing  lessons  for  those 
who  want  them — and  also  for  those  who 
seem  to  have  no  talent  in  that  direction, 
because  the  latter  may  need  them  most 
to  learn  graceful  ways.  "Dancing  takes 
away  self-consciousness,  and  I'm  all  for 
that.  And  kids  need  whatever  help  they 
can    get    in    developing    natural    abilities. 

"It's  wonderful,"  she  continues,  "when 
parents  make  real  sacrifices  to  give  their 
children  a  more  gracious,  fuller  life  than 
they  have  known.  But  a  boy  or  girl 
needs  to  grow  up  a  little  before  getting 
into  the  competitive  life  of  show  busi- 
ness— except,  perhaps,  in  some  rare  cases 
of  unusually  gifted  children  who  just  can't 
be  kept  down.  Even  then,  parents  should 
remember  that  there  are  emotional  prob- 
lems created  by  being  placed  in  an  adult 
world  without  an  adult's  viewpoint.  Prob- 
lems which  are  difficult  to  overcome  later. 
That's  something  I  know  from  my  own 
experience.  And,  as  far  as  the  successes 
of  a  child  performer  being  important  later 
on,  I  have  seen  plenty  of  evidences  that 
this  isn't  so.  What  you  did  then  was  done 
as  a  child.  When  you  are  an  adult,  you 
must  prove  what  you  can  do  as  a  mature 
person." 

Nan's  years  with  Mr.  Reinhardt,  how- 
ever, were  happy  and  good  ones  into  which 
she  put  a  great  deal  of  hard  work — and 
from  which  she  took  out  an  enormous 
amount  of  knowledge.  During  that  pe- 
riod, she  made  two  pictures  for  Warner 
Bros.,  appearing  in  "Elizabeth  and  Essex," 
starring  Bette  Davis,  and  "A  Child  Is 
Born,"    with    Geraldine    Fitzgerald     and 


Jeffrey  Lynn.  But  Nan  never  did  make 
any  very  big  splash  in  pictures,  even  when 
her  latest  one,  M-G-M's  "The  Band- 
wagon," was  released  a  few  years  ago. 
Its  reviews,  and  hers,  were  the  kind  that 
should  have  brought  a  bundle  of  con- 
tracts for  her  to  choose  from.  But  she 
had  come  back  to  Hollywood  when  every- 
one was  being  fired,  not  hired. 

New  York  first  saw  Nanette  some  four- 
teen years  ago  in  a  revue  which  had 
opened  in  Hollywood,  and  then  been 
brought  East,  called  "Meet  the  People." 
She  was  earning  only  twenty-five  dollars 
a  week  when  they  opened  in  Hollywood 
and,  if  anyone  had  told  her  that  someday 
she  would  think  in  terms  of  thousands, 
she  would  have  put  that  person  and  his 
predictions  in  the  category  of  a  man  from 
Mars.  One  of  her  big  numbers  in  "Meet 
the  People"  was  a  satire  of  a  coloratura 
soprano  wrestling  with  the  aria,  "Cara 
Nome."  Musical  conductor  Arthur  Rod- 
zinski  heard  her  sing  it — he  just  hap- 
pened to  pass  in  the  street  and  listened 
through  the  open  door  of  the  theater — and 
he  suggested  that  Nan  go  to  the  Juilliard 
School  for  some  serious  musical  training. 

However,  the  might-have-been  "classi- 
cal" singer  went  from  one  musical  show 
to  another,  some  of  them  considerable 
hits,  some  rather  considerable  flops.  A 
partial  list  includes  "Let's  Face  It,"  with 
Danny  Kaye;  "Bloomer  Girl";  "High  But- 
ton Shoes,"  with  Jack  McCauley  and 
Phil  Silvers  (Nan  stopped  the  show  at 
every  performance  with  "Papa,  Won't 
You  Dance  With  Me?").  There  was  one 
with  Ray  Bolger,  called  "By  Jupiter." 
And  there  were  "Jackpot,"  with  Allan 
Jones;  "Love  Life,"  "Arms  and  the  Girl," 
and  "Make  a  Wish."  There  were  several 
acting  awards  (two  Donaldsons  and  a 
Perry),  and  somewhere  along  the  way 
she  was  included  in  a  group  of  America's 
best-dressed  women — which  didn't  have 
much  to  do  with  acting  but  probably  had 
something  to  do  with  the  fact  that  she  has 
the  figure  for  rather  stunningly  simple 
clothes,  and  also  a  good  press  agent. 

During  the  run  of  "High  Button  Shoes," 
she  married  Dave  Tebet,  well-known  press 
agent  who  was  working  with  the  show. 
Their  marriage  didn't  last,  but  their 
friendship  did.  Her  household  now,  in  an 
apartment  just  off  Central  Park,  consists 
of  a  secretary  and  sometimes  a  visiting 
out-of-town  friend.  She  keeps  the  house 
in  Beverly  Hills,  sometimes  lends  it  to 
Easterners  working  in  the  Hollywoods. 

The  New  York  place  is  decorated  in 
what  she  calls  "contemporary  mixed - 
everything,  rather  than  blatant  modern." 
There  is  no  slavish  conformity  to  any 
special  style,  but  some  of  the  influence  is 
modern  Japanese,  some  strictly  U.S.A. 
From  living  room  to  kitchen  there's  a 
feeling  of  airiness  and  light — qualities 
which  Nan  must  have  to  be  comfortable. 
Colors  are  soft,  with  a  pastel  quality. 
Lots  of  beige  in  the  living  room,  ice-pink 
in  her  bedroom,  pale  lemon  yellow  in  din- 
ing room  and  kitchen.  Even  the  den, 
though  done  in  orange  and  brown  and 
beige,  is  in  muted  tones. 

As  a  cook,  Nan's  sure  she  would  never 
have  a  long  run.  "I'm  a  spasmodic  cook, 
who  adores  preparing  a  big  holiday  din- 
ner for  twenty,  and  practically  has  a  ner- 
vous breakdown  next  day,  when  it's  all 
over.  Women  who  can  turn  out  good 
meals  every  day  of  the  year  for  their 
families,  and  for  guests,  and  not  make  any 
fuss,   seem   absolutely   wonderful   to   me." 

Like  most  performers  who  are  known 
for  their  sharp-edged  comedy,  she's  a 
serious  person  who  talks  about  humor 
rather  soberly.  "Sometimes,"  she  says, 
"a  wife  who  can  laugh  at  the  right  mo- 
ment will  keep  a  small  situation  from  be- 


coming  a  big  and  difficult  one.  But 
humor  works  the  other  way,  too.  A  wife 
can  laugh  at  the  wrong  time  and  turn 
a  small  situation  into  a  large  one.  This  is 
the  way  it  usually  happens  to  Sid  and  me 
on  the  show.  It  makes  for  comedy,  be- 
cause people  see  themselves  in  our 
sketches,  all  broadly  caricatured  for  em- 
phasis." 

lhe  crying  bit  that  is  beginning  to  make 
her  famous  is  not  a  routine  thing:  "If  a 
spot  comes  up  where  it's  natural  to  have 
me  do  a  crying  scene,  I  do  it.  That's  the 
way  it  started,  in  a  rehearsal  of  a  tele- 
phone scene.  I  started  to  cry  into  the 
phone,  Sid  liked  it,  and  it  was  left  in. 
Sid  is  too  great  a  showman  to  keep  doing 
the  same  things  over  and  over,  unless 
they  just  work  in  naturally.  If  it's  some- 
thing audiences  like,  it's  because  they 
know  it  could  happen.  After  all,  aren't 
tears  supposed  to  be  natural  to  a  woman?" 

Only  once  has  Sid  broken  her  up  when 
they  were  on  the  air,  but  he  did  a  thorough 
job  of  it  that  time.  He  and  Carl  Reiner 
and  Howard  Morris  and  Nanette  were  do- 
ing a  gypsy  number,  with  the  boys  stand- 
ing behind  her  singing  one  of  what  she 
calls  "those  wonderfully  crazy  songs  that 
Sid  helps  dream  up  for  the  show."  She 
never  got  the  chance  to  sing  her  part. 
Every  time  she  opened  her  mouth,  Carl 
would  begin,  in  a  loud  voice,  "I  love  her." 
Howie  would  chime  in  with,  "I  love  her, 
too."  Sid  would  yell,  in  his  funny,  husky 
voice,  "Shut  up,  you  crazy  gypsy  nuts, 
and  let  her  sing" — none  of  which,  of 
course,  was  in  the  script.  This  went  on 
and  on,  until  the  audience  was  roaring  and 
Nanette  was  completely  helpless,  crying 
and  laughing  at  the  same  time.  "That's 
the  way  I  went  off,"  she  says.  "But,  most 
of  the  time,  I  can  keep  a  straight  face — 
if  I  don't  look  directly  at  Sid.  Although 
all  anyone  has  to  do  now  is  say,  'Shut  up, 
you  crazy  gypsy  nuts,'  and  we  all  begin 
to  giggle." 

She  finds  Sid  wonderful,  but  not  always 
easy  to  work  with.  Not  easy — because  he 
wants  the  show  and  everything  connected 
with  it  to  be  as  good  as  it  possibly  can  be, 
and  is  never  satisfied  that  it  couldn't  be 
better.  That  goes  for  his  part  in  it,  as 
much  as  anyone  else's,  and  for  everything 
that  is  done  behind  the  scenes.  But  won- 
derful— "because,"  she  says,  "Sid  is  a 
wonderful  person."  The  dressing  room 
and  office  he  had  fixed  for  her  this  "year, 
just  off  their  rehearsal  room,  is  an  exam- 
ple of  his  thoughtfulness.  Here  she  man- 
ages to  relax  a  bit  between  rehearsals  and 
drink  the  endless  cups  of  weak  tea  on 
which  she  survives  when  she's  busy,  later 
making  up  for  it  with  good,  sensible  meals 
when  she's  finished.  Rehearsals  go  on  for 
days  at  a  time,  and  of  course  there  are  the 
inevitable  costume  fittings,  the  interviews, 
the  thousand  and  one  details  of  being  on 
a  top  show  and  keeping  up  with  all  its 
demands. 

As  Sid's  TV  wife,  Nan  is  often  asked 
how  his  wife -in-f act  feels  about  their 
scenes  together,  the  violent  quarrels  and 
the  kiss-and-make-up  scenes.  "Florence 
and  I  are  very  fond  of  each  other  and  are 
the  best  of  friends,"  Nan  answers.  "I 
often  'double-date'  with  Sid  and  Florence." 

She  sighs  contentedly.  "All  I  can  say," 
Nan  does  say  then,  "is  that  I  feel  very 
lucky  to  have  been  in  the  right  place  at 
the  right  time  to  become  Sid's  television 
wife.    It's  just  great." 

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Burns  and  Allen  Plus 


(Continued  from  page  72) 
better  listen  to  him.    He  knows  what  he 
is  talking  about!' 

"I  didn't  want  him  on  my  side  at  all. 
I  didn't  need  any  help.  But  Ronnie's  al- 
ways been  one  jump  ahead  of  us. 

"Then,  when  he  was  six,  there  was  the 
episode  with  the  stuffed-up  wash  bowl. 
Ronnie  let  the  water  run  all  over  the 
place — carpets  ruined,  everything.  He  was 
going  to  Black-Foxe  Military  Academy  at 
the  time,  and,  when  Gracie  saw  the  lake, 
she  said,  'I'm  certainly  going  to  talk  to 
him  when  he  gets  home.' 

"When  Ronnie  walked  into  the  house 
from  school,  he  pointed  to  the  wet  rug 
and  said,  'Mother,  what  is  the  matter 
with  me,  anyway?  I'm  six-and-a-half 
years  old,  and  you'd  think  I'd  know  bet- 
ter.' Then  he  tapped  his  head,  saying, 
'What  have  I  got  up  here  for  brains?'" 

But  the  Burnses'  home  life  is  not  just  a 
continuous  series  of  childish  pranks:  Ron- 
nie and  Sandra  both  have  wonderful  rela- 
tions with  their  parents.  Ronnie  says: 
"We  have  always  been  very  close.  Dad 
and  I  used  to  go  to  the  fights  every  Friday 
night.  In  the  baseball  season,  we  went  to 
all  the  games  together.  He  always  found 
time  for  my  interests." 

And  George  continues:  "We're  pals.  We 
do  a  lot  of  things  together — we  sit  outside 
and  talk,  and  when  I  tell  jokes  Ronnie 
always  laughs.  I  must  have  told  him  my 
life  story  a  hundred  times  and  he's  heard 
the  same  gags  over  and  over.  But  Ronnie 
listens  patiently  anyway.  That's  the  kind 
of  son  every  comedian  should  have. 

"Ronnie's  a  great  comfort  around  the 
house.  He's  gallant.  For  example,  Friday 
nights,  Gracie  and  I  separate — I  go  over 
to  the  Friars'  for  a  game  of  bridge,  and 
Gracie  plays  gin  rummy  with  the  girls. 
But,  every  once  in  a  while,  Gracie's  game 
is  called  off  and  she  has  nothing  to  do. 
On  a  number  of  these  occasions,  when  he 
has  a  Friday  date  with  a  girl,  I've  heard 
Ronnie  say,  'We're  going  to  a  picture 
show,  Mother,  come  and  join  us.' 

"He  not  only  does  it  for  us,  but  for  his 
sister,  Sandra,  now  married.  The  other 
Tuesday  night,  Sandy  wanted  to  go  out. 
Tuesdays  we  usually  stay  home,  study  our 
scripts,  and  go  to  bed  early  because  we 
get  up  at  6:00  A.M.  to  start  shooting.  But 
Ronnie  took  his  script  and  went  over  to 
Sandy's  to  baby-sit." 

Ronnie's  reaction  to  the  baby-sitting  is: 
"My  niece,  Laurie,  is  a  doll.  Baby-sitting 
with  her  is  no  chore.  Besides,  I  love 
music  and  Sandy  has  a  great  record  col- 
lection. I  also  have  the  run  of  the  refrig- 
erator. My  brother-in-law  pays  well. 
Anyway,  until  I  prove  I'm  an  actor,  baby- 
sitting brings  me  a  steady  income." 

According  to  George,  Ronnie  is  bright, 
but  not  necessarily  the  greatest  pupil  in 
school.  He  went  to  Black-Foxe  Military 
Academy  from  five  to  twelve,  then  to 
Chadwick  High  School.  At  Chadwick,  fif- 
teen miles  down  the  peninsula  at  Palos 
Verdes,  he  "lived  in,"  coming  home  only 
on  weekends.  It  was  at  Chadwick  that 
Ronnie  learned  his  love  for  swimming  and 
surfing  and  underwater  photography. 

After  high  school,  Ronnie  went  to  Santa 
Monica  Junior  College,  and  later  to  the 
University  of  Southern  California,  where 
he  studied  architecture.  "Ronnie  told  me 
one  day,"  says  George,  "that  he  really 
thought  he  was  smarter  than  the  other 
fellows  who  got  high  marks  in  the  school 
exams.  It's  just  that  the  exams  made 
him  nervous.  He  used  to  come  home  after 
a  test,  saying,  'Take  this  biology  quiz,  for 
example.  Just  ask  me  anything.  I  will 
get  an  'A'  here  at  home.' 

"Of  course,  he  knew  I  couldn't  ask  him 


any  questions  because  I  didn't  know  the 
answers.  So  Ronnie  always  got  an  'A' 
from  me." 

When  Ronnie  was  eight  or  nine,  George 
and  Gracie  gave  him  dancing  lessons.  Ac- 
cording to  George,  Ronnie  could  be  one 
fine  dancer — he's  just  naturally  graceful. 
George  and  Gracie  both  know  something 
about  dancing,  because  they  used  to  dance 
professionally  themselves.  In  fact,  when 
Gracie  began  her  theatrical  career  in  San 
Francisco,  she  was  one  of  the  finest  Irish - 
jig  dancers  in  the  country.  And  George 
says,  "If  you  wanted  to  make  a  dollar  on 
Broadway,  you  had  to  know  most  of  the 
steps — buck  and  wing,  soft  shoe,  every- 
thing. You  needed  to  dance  because  you 
needed  'an  exit.' 

"So  we  were  thrilled  when  we  saw 
Ronnie  do  his  first  complete  routine.  His 
body  moved  very  well.  You  could  feel  it. 
Right  then  and  there,  I  saw  he  danced 
better  for  free  than  I  did  for  pay.  And 
that  is  why  I  stopped  dancing." 

Ronnie's  attitude  toward  money  reflects 
his  father's  philosophy  toward  work:  If 
you  like  something  well  enough  to  do  it 
for  free,  then  you're  sure  to  be  happy. 
As  a  child,  Ronnie  always  had  chores  to 
do  around  the  house.  And,  during  his 
high-school  summers,  he  worked  as  a 
film- cutter  at  his  father's  McCadden  TV 
Productions.  Al  Simon,  in  charge  of  the 
department,  says:  "Ronnie  was  a  good 
cutter.  But  he's  too  sharp— the  job  wasn't 
enough  of  a  challenge  for  him.  We  all 
loved  him  here.  Though  Mr.  Burns  owns 
McCadden  Productions,  the  gang  accepted 
Ronnie  as  one  of  them — he  never  carried 
tales  to  his  dad.  That's  a  good  quality  in 
any  young  man." 

After  two  summers  as  a  cutter,  Ronnie 
began  spending  most  of  his  time  on  the 
beach.  After  all,  he'd  learned  what  there 
was  to  film-cutting.  George  says,  "He 
had  me  worried,  you  know — all  he  would 
do  was  swim  and  go  skin-diving.  He  is  a 
great  swimmer  and  all  that,  but  I  didn't 
think  you  could  make  much  money  selling 
sand." 

Jiiarlier  in  the  summer,  George  called 
the  Pasadena  Playhouse  College  of  Dra- 
matic Arts,  asking  them  if  Ronnie  could 
go  to  their  six-week  summer  session. 
They  said  sure,  all  he  had  to  do  was 
register. 

Then  George  caught  Ronnie  one  day 
on  his  way  to  the  beach.  "Have  you  ever 
thought  of  acting?"   asked   George. 

"No,"  Ronnie  answered  casually  with 
a  raised  eyebrow  and  a  "what-did-you- 
have-in-mind"  look   in  his   eye. 

George  said  briefly  but  emphatically, 
"Why  don't  you  try  the  Playhouse  this 
summer?     Maybe  you'll  like  acting." 

"I  didn't  know  if  he  would  take  to  show 
business  or  not,"  says  George.  "But  I  was 
trying  to  find  something  Ronnie  could 
fall  in  love  with — something  that  would 
come  natural  to  him." 

Ronnie  says,  "The  classes  were  all  new 
to  me.  Even  though  I  had  been  raised 
in  a  show-business  family,  I  found  there 
was  a  lot  to  learn.  In  fact,  I  was  fasci- 
nated. First  time  in  my  life  that  I've 
really  been  interested." 

It  has  been  more  than  three  months 
now  since  George  stuck  the  show-busi- 
ness needle  in  Ronnie's  arm.  But,  inside 
the  first  week,  George  knew  the  shots  had 
taken.  It  was  clear  to  him  shortly  after 
Ronnie  had  finished  his  registration. 

Late  in  the  afternoon  of  the  second  day 
of  classes,  Ronnie  left  his  car  in  the  drive- 
way at  home,  and  stumbled  up  the  front 
steps  to  the  house.  Ronnie  had  a  book  in 
his  hands  and  was  trying  to  read  by  the 
failing  light. 


Said    George,    "Good    evening,    Ronnie." 

"Stanislavsky  .  .  ."  muttered  Ronnie. 

"It  was  then  apparent  to  all  of  us,"  says 
George,  "that  Ronnie  had  finally  found 
something  to  capture  his  interest.  We  had 
never  seen  him  trying  to  read  in  the  dark 
before.  I  wondered  for  a  moment  if  we 
were  going  to  have  a  theatrical  Abraham 
Lincoln  on  our  hands. 

"Ronnie  studied  his  lines  and  acting 
theories  from  the  first  day,  even  in  his 
car  on  the  way  to  the  Playhouse.  The 
road  carries  him  at  least  twenty  miles 
over  a  freeway,  and  I  was  worried  about 
his  reading  and  driving  at  the  same  time, 
for  fear  he'd  confuse  the  line  in  the  book 
with  the  line  on  the  road." 

Ronnie's  interest  in  acting  was  magni- 
fied when  George  told  him  that,  if  he 
were  successful  at  the  Playhouse,  he 
would  be  invited  to  become  part  of  the 
Burns  and  Allen  TV  show.  He  had  al- 
ready been  on  the  show  four  or  five  times 
before  with  simple  lines  to  read,  just  as 
a  gag,  but  George  had  never  seriously 
considered  adding  Ronnie  to  the  show. 

Ronnie  was  thrilled,  therefore,  when  he 
was  offered  the  third-act  lead  in  "Picnic" 
at  the  Playhouse.  'It  happened  this  way," 
says  Ronnie.  "Because  there  were  forty- 
five  kids  in  the  class,  and  only  fifteen 
parts  in  the  play,  we  divided  the  show 
in  thirds — fifteen  people  in  the  first  act, 
fifteen  people  in  the  second,  and  fifteen 
in   the   third.    I  had   the   third-act   lead." 

Ronnie  was  excited  about  the  part  be- 
cause it  could  be  the  test  which  would 
or  would  not  put  him  on  the  Burns  and 
Allen  show.  But  the  very  fact  that  he 
got  the  lead,  not  one  of  the  supporting 
parts,  was  encouraging  in  itself.  When 
he  came  home  that  afternoon  and  told  his 
father,  George  says,  "I  couldn't  believe  my 
ears. 

"We  had  had  an  understanding  at  the 
outset,"  George  continues,  "that  Ronnie 
would  only  stay  in  acting — and,  sec- 
ondarily, come  on  the  TV  show — if  he  was 
good.  If  he  wasn't  good,  acting  was  the 
last  place  his  mother  and  I  wanted  him. 
We  never  pulled  any  punches  in  this  re- 
gard, and  Ronnie  understood  that. 

"The  afternoon  of  the  show,  Gracie  and 
I  went  to  the  Playhouse  with  Mary  Benny 
and  a  few  other  friends.  There  were  only 
about  forty  people  in  the  audience,  be- 
cause this  was  the  student  presentation — 
the  professional  cast  worked  at  night  to 
a  full  house — yet  the  small  audience 
couldn't  dampen  the  dramatic  enthusiasm 
of  these  kids.  Finally,  in  the  third  act, 
when  Ronnie  walked  on  the  stage,  I 
couldn't  believe  my  eyes.  I  said  to  Gracie, 
'Who  is  that?'  He  did  such  a  great  job, 
I  couldn't  believe  it  was  Ronnie. 

"A  lot  of  people,  when  they  are  new 
on  stage,  bump  into  the  furniture  or  other 
players.  They  don't  know  what  to  do 
with  their  hands  or  feet.  But  not  Ronnie. 
He  has  a  graceful  body — I  knew  that  from 
his  dancing — he  walked  well,  he  moved 
well,  he  knew  what  to  do  with  his  hands. 
And  he  didn't  have  any  inhibitions — when 
he  played  a  love  scene,  he  played  it. 

"But  then,  he's  never  had  any  inhibi- 
tions. One  time,  when  he  was  ten  years 
old,  he  was  on  the  Art  Linkletter  show. 
Art  asked  Ronnie  what  his  daddy  did, 
and  Ronnie  said,  'He's  a  ham  actor.'  .  .  . 
Absolutely  no  inhibitions  whatever! 

"Of  course,"  George  continues,  "we 
couldn't  wait  to  get  backstage,  that  night, 
to  congratulate  Ronnie  on  his  terrific  job. 
It  looked  like  he'd  found  his  career." 

"Yes,"  concludes  Ronnie,  "I've  got  a  job 
I'm  happy  with — one  I'd  work  at  for  free. 
But,  since  I'm  getting  paid,  too,  I  guess 
that  really  makes  me  a  success." 


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And  Baby  Makes  Three 


(Continued  from  page  53) 
don't  see  how  the  baby  could  be  anything 
but  healthy,  husky  and  happy,"  Walter 
added,  "for,  all  during  her  pregnancy, 
Betty  was  healthy  and  happy.  The  happiest 
she's  ever  been." 

"Never  felt  so  good  in  my  life,"  said 
Betty. 

"So  calm,"  Walter  continued,  "so  well 
adjusted.  She  walked  all  the  way  up  Fifth 
Avenue,  the  night  the  doctor  told  her  she'd 
better  get  going  to  the  hospital." 

"Even  during  labor  I  was  very  comfort- 
able most  of  the  time,"  Betty  said,  "thanks 
to  having  my  baby,  as  I  did,  by  'Natural 
Childbirth.'  All  the  exercises  you're  given 
in  the  natural-childbirth  classes  teach  you 
to  relax  the  muscles  and,  since  you  are 
also  taught  what  to  expect  during  the  dif- 
ferent stages  of  labor,  the  nervous  system 
is  relaxed  too.  There's  as  little  anaesthesia 
as  possible — although,  since  I  was  in  labor 
sixteen  hours,  I  was  asleep  part  of  the 
time.  However,  I  was  wide  awake,  I'm 
happy  to  say,  when  my  baby  was  born." 

Walter  is  afraid  that,  as  the  hands  of 
the  clock  reached  3:04  on  that  afternoon 
of  June  26,  1954,  he  was  sleeping.  In  a 
chair.  In  the  room  the  hospital  reserves 
for  the  vigils  of  expectant  fathers.  But 
sleeping,  nonetheless.  "Sixteen  hours  of 
waiting,"  he  admitted,  "slowed  the  tradi- 
tional pacing  of  this  expectant  father  to  a 
standstill." 

It  is  when  you  bring  a  baby  home — 
especially  a  first  baby,"  Betty  observed, 
"that  you're  supposed  to  have  a  rather 
rugged  time  of  it.  You'll  find  out,'  some  of 
my  friends  warned  me,  'what  changes — 
and  we  don't  mean  diapers — a  baby  can 
make!' 

"But  I  didn't  find  out,"  Betty  laughed. 
"Neither  of  us  did.  We've  always  kept  our 
personal  life  as  simple  as  possible.  We  like 
it  that  way.  No  help,  I  mean,  except  for  a 
cleaning  woman.  I've  always  done  the 
cooking,  and  still  do.  I  have  a  seventy - 
pound  freezer,  do  a  lot  of  marketing  all 
at  once,  decide  early  in  the  morning  what 
we're  going  to  have  for  dinner,  defrost  it — 
and  get  it  in  half  an  hour! 

"We  had  a  charming,  motherly  'practical 
nurse' — 'Mimi'  Gunn — when  we  first  ar- 
rived home  from  the  hospital.  She  was 
with  us  for  two  whole  weeks,  but  now  we 
have  no  nurse  for  the  baby.  We  don't  want 
a  nurse  for  the  baby — she  is  our  baby 
and  we  want  to  keep  it  that  way — but  only 
a  mother's  helper  who  comes  in  from  ten 
to  six  every  weekday.  All  the  while  the 
baby  was  on  the  bottle,  I  ffave  Tina  her 
seven  o'clock  morning  feeding,  bathed 
her — to  miss  bathing  your  baby  would  be 
to  miss  one  of  the  loveliest  things! — put 
her  down  for  her  naps  and  to  bed  at  night. 
Now  that  she's  outgrown  the  bottle,  she 
has  her  breakfast  and  her  lunch  with  us. 
The  only  meal  I  miss  with  her  is  her  five 
o'clock  dinner  which — since  Pepper 
Young's  Family  is  on  the  air  from  4:45  to 
5:00 — I  can't  quite  make.  But  Tina  some- 
times 'sits  in'  with  us  at  our  dinner.  And, 
in  any  case,  I'm  always  home  in  time  to 
play  with  her  before  her  bedtime. 

"Actually,  I'm  only  away  from  her  for 
about  two  hours  of  the  day,  five  days  a 
week — from  3:15  in  the  afternoon,  when 
I  leave  for  the  studio,  to  5:15  or  so,  when 
I  get  home.  Not  that  this  is  any  particular 
change  for  us,  either.  I've  always  been  at 
home,  wanted  to  be  there,  when  not  work- 
ing. When  we're  invited  out  to  dinner,  or 
to  play  bridge  with  friends,  we  always 
take  the  baby  with  us.  All  our  friends  take 
their  babies  with  them  when  they  go  out. 

"No,  no  changes,"  Betty  smiled,  "except 
toys  on  the  floor,  a  play-pen  where  a  burled 


cabinet  used  to  be — 'fun'  things  like  that 
which  add  to,  rather  than  subtract  from, 
the  home  feeling  and  happiness.  .  ." 

"Hear,  hear!"  said  Walter,  cutting  in. 
"Second  the  motion — making  it  unanimous 
that  there  are  no  changes,  but  only  a  'plus' 
added  to  our  home  and  happiness.  As  for 
Betty  herself,"  Walter  continued,  "the  only 
change  in  Betty  is  that,  since  the  birth  of 
the  baby,  she  has  had  a  greater — an  in- 
finitely greater — sense  of  security  than  she 
ever  had  before  .  .  .  because,  I  suppose, 
when  a  woman  has  fulfilled  her  basic 
function,  she  is  more  secure,  isn't  she? 

"The  birth  of  a  child  affects  a  man  in  a 
somewhat  different  way,  I  think,  but  also 
for  the  better.  Speaking  for  myself,  I  re- 
alize I  am  more  aware  than  I  ever  was 
before,  of  the  future — such  as  taking  out 
more  insurance,  being  more  careful  to 
save  money,  being  anxious  to  work 
harder.  .  ." 

"For  seven  weeks  while  I  was  preg- 
nant," Betty  explained,  "Walter  was  in 
Hollywood  playing  the  lead — the  part  of 
Captain  Sam  Merritt — in  'Conquest  of 
Space'  at  the  Paramount  Studios.  In  his 
makeup,  white  hair  and  all,"  said  Mrs.  B. 
with  the  fervor  of  a  fan,  "he  looked  so 
distinguished. 

"He's  also  had  some  exceptionally  good 
parts  on  TV — on  Studio  One,  Philco,  Amer- 
ican Inventory  and  others — and  he  just 
couldn't  be  happier  than  he  is  about  his 
running  part  in  The  Brighter  Day.  He's 
just  great  on  the  show,"  Betty  smiled  lov- 
ingly,   "hateful,    just    hateful!" 

"I've  played  so  many  bland  young  men," 
Walter  grinned,  "or,  at  best,  the  nice  kind 
of  guy  who  only  turns  out,  at  the  end,  to 
be  a  son-of-a-gun  ...  so,  when  I  was 
offered  the  choice  of  two  roles  on  The 
Brighter  Day — one  good  fellow,  the  other 
bad — I  said,  'I'll  play  the  bad  one  if  you 
make  him  real  bad!' " 

"They  made  him  real  bad,"  Betty 
laughed.  "You  should  see  the  fan  mail 
Walter  gets!  All  sorts  of  fan  mail  telling 
him — and  I  quote — what  'a  horrible  old 
meanie'  he  is! 

1  have  also  been  doing  quite  a  few 
additional  shows,"  Betty  continued.  "Sev- 
eral parts,  for  instance,  on  Public  Prose- 
cutor, directed  by  Chick  Vincent  and 
starring  Jay  Jostyn,  who's  so  well  known 
as  Mr.  District  Attorney.  A  number  of 
parts,  too,  on  Keep  Healthy,  with  Vinton 
Hayworth,  and  on  Paging  The  New  with 
Bret  Morrison,  long  famed  as  The  Shadow. 

"You  seem  to  work  more  easily  after 
you've  had  a  baby,"  Betty  said.  "Or  I  seem 
to.  I  often  wish  that,  when  my  children  on 
Pepper  Young's  Family  were  as  young  as 
my  own  baby  is  now,  I'd  had  my  own 
baby  ...  I  would  have  known  so  much 
better  what  to  do,  and  how  to  do  it.  I 
didn't  know.  But  Elaine  Carrington  did," 
Betty  laughed,  "so  I  just  did  what  she 
wrote. 

"I'm  not  the  sort  of  person  who  has 
ever  been  terribly  ambitious,"  Betty  ex- 
plained, "but  I  do  like  to  do  well  anything 
I  do.  And,  much  as  I  love  home  life,  and 
life-with-baby,  and  all,  I  certainly  have 
no  intention  of  giving  up  my  career.  There 
has  been  no  change,  none  at  all,  in  my 
purpose  or  my  aims.  If  anything,  the  baby 
is  an  additional  spur  to  me,  an  inspira- 
tion. .  . 

"Our  child  will  never  think  otherwise 
than  that  she  was  a  spur  to  us,"  said  Betty, 
"that  she  added  to  our  ambition  to  grow, 
to  reach  up  in  our  careers,  as  in  our  per- 
sonal lives — and  that  she  brought  us  luck. 
I  really  think  that  having  a  baby  does 
bring  luck  into  the  home,  a  lot  of  luck,  as 
it  has  brought  into  ours  .  .  .  for,  no  sooner 


was  Tina  born  than  we  began  to  get  all 
sorts  of  wonderful  things.  .  ." 

"A  17-room,  7V2-bathroom  house,  for  in- 
stance," Walter  interpolated,  cocking  a 
comic  eyebrow,  "on  2V2  acres  of  arable 
land,  within  a  stone's  throw  of  the  sea, 
in  Elberon,  New  Jersey." 

"Before  the  baby  came,  even  before  we 
knew  she  was  coming,"  Betty  said,  "we 
were  planning  to  buy  a  house — remem- 
ber?" 

"A  town  house,"  Walter  laughed,  "right 
here  in  New  York  City.  Not  a  rural  be- 
hemoth with — I  counted  'em — 100  win- 
dows! For  this  unexpected  purchase,  let's  ' 
face  it,  our  daughter  was  the  sparkplug. 
And  rightly  so.  There's  no  substitute,  real- 
ly," said  Father  Brooke,  "for  a  kid  being 
in  fields  and  woods  and  gardens,  among 
birds  and  bees  and — er,  crickets!" 

1  he  way  the  house  "happened"  to  them, 
the  Brookes  explained,  they  just  happened 
to  spend  a  weekend  last  July  with  some 
good  friends  named  Pearson  who  live  in 
Elberon.  The  Pearsons  just  happened  to 
mention  that  the  house  next  door  was  for 
sale.  Mildly  interested,  the  Brookes — all 
three  of  them — just  happened  to  wander 
over  for  a  look  at  the  house  next  door  .  .  . 
brown-shingled,  with  white  trim,  about 
fifty  years  old.  They  liked  what  they  saw. 

"The  house  is  ninety-nine  percent  per- 
fect," Walter  said.  "It's  solid.  Built  with 
these  big,  heavy  six-by-eight  beams — you 
could  take  out  every  other  one  and  it  would 
still  stand!  Completely  furnished,  too,  in- 
cluding refrigerator,  and  even  a  billiard 
room  downstairs,  cue  ready  to  hand.  We 
bought  it  as  an  investment,  too — had  a 
good  buy  on  it.  We  can  open  up  a  retreat, 
if  ever  it's  necessary,"  Walter  laughed,  "for 
actors,  directors,  producers,  cameramen 
and  crews! 

"In  the  meantime,  we  spend  our  week- 
ends there,  go  down  Thursday  nights 
whenever  possible,  and  will  spend  our 
summer  vacations  there.  Although  noth- 
ing really  has  to  be  done  to  the  place, 
we're  having  fun  painting  (since  it  was 
rather  dark  inside,  everything  possible  is 
being  painted  white) ,  re-papering,  re-doing 
the  bathrooms  in  ceramic  tile  (my  brother 
and  I  completed  five-and-a-half  of  them 
last  summer).  Betty  wants  to  make  white 
curtains  to  replace  the  heavy  dark  red 
and  dark  blue  draperies  of  Victorian  vin- 
tage — hung,  I  suspect,  by  the  original 
owner.  But  I  tell  her,  'Let's  take  it  easy,' 
make  this  a  place  to  relax,  smell  the  fresh 
country  air,  laced  with  the  smell  of  the 
sea,  the  burning  leaves  and  all.  .  ." 

Above  all,  Betty  and  Walter  agree,  a 
place  in  which  Christina  Lynne,  growing 
up,    will    fulfill    her    bright    promise.    .    . 

"She  may  be  a  dancer,"  Betty  said.  "She 
does  the  split  now,  points  squares,  does 
Arabesques.  You  have  only  to  say,  'Arabes- 
que!' and  there  she  is,  leg  out  behind, 
doing  a  ballerina  sort  of  thing.  She  may 
be  a  concert  pianist — she  loves  to  bang  on 
the  piano  which  we  have  placed  next  to 
her  play-pen.  She  may  be  an  actress — she 
loves  to  watch  children  on  TV.  .  .  ." 

"Or  a  locomotive  engineer,"  Walter 
broke  in.  "That  is  a  definite  possibility. 
She  loves  trains  more  than  anything.  Take 
her  to  the  railroad  station  in  Elberon,  as 
I  often  do,  to  watch  the  trains  come  in, 
and  you   can't   drag  her   away! 

"All  I  hope,"  Walter  adds,  "is  that  she'll 
be  a  happy  girl  with  a  sense  of  values  and 
a  sense  of  humor  .  .  .  and  that,  wherever 
she  is,  with  whomever  she  is,  people  will 
be  glad  to  see  her.  As  glad,"  he  smiled, 
"as  we  were!" 

"Sp  glad,"  Betty  echoed  contentedly, 
"We've  found  it  so  fine,  such  fun,  to  be 
the  three  of  us  that  we  hope — a  year  from 
now — to  be  the  four  of  us!" 


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Marion  Marlowe's  Bridal  Glow 


(Continued  from  page  35) 
each  other  fondly  as  "Mrs.  Puck" — which, 
of  course,  they  both  are.  Marion  is  a 
doting  "grandma"  as  far  as  Norman  is  con- 
cerned. "He's  only  a  little  past  a  year  old 
and  just  bustin'  out  of  a  size  three,"  she 
brags.  "And  he's  the  cutest,  with  the  most 
terrific  personality!" 

Career-wise,  Marion's  work  for  Ed  Sul- 
livan has  had  enormous  impact.  She  can't 
say  enough  about  him,  and  what  his  help 
has  meant  to  her.  "Ed  has  been  my  guardi- 
an angel.  He  has  helped  me  with  all  sorts 
of  problems,  professional  and  personal, 
and  always  given  me  great  advice.  In  1956, 
I  will  do  eight  guest  shots  on  The  Ed 
Sullivan  Show  on  television,  probably  at 
least  one  from  Hollywood.  I  am  going  to 
be  in  the  picture  Ed  is  planning  to  pro- 
duce independently  with  Jack  Warner,  for 
Warner  Bros,  distribution,  which  will 
start  sometime  around  February.  The 
picture  will  be  in  Technicolor  and  Cine- 
maScope. 

"Ed  thinks  that  color  will  be  a  good 
thing  for  me,"  she  added.  "He  is  always 
encouraging  me,  telling  me  I  can  ac- 
complish so  many  more  things,  do  things 
well  that  I  would  otherwise  be  afraid  to 
tackle.  What's  more,  when  he  says  so,  I 
find  myself  believing  it.  And  trying,  every 
moment,  to  justify  his  confidence  in  me. 
Incidentally,  Ed  and  my  husband  have 
been  good  friends  for  a  long  time,  long 
before  I  came  upon  the  scene." 

.Last  fall,  Marion  was  out  on  a  six-city 
tour  with  Ed  and  a  troupe  of  picked  per- 
formers, doing  what  is  known  as  "one- 
nighters."  They  played  some  of  the  smaller 
cities  and  towns  where  people  seldom  get 
a  chance  to  see  "live"  any  of  the  celebri- 
ties they  have  watched  on  TV.  These  tours 
are  being  repeated  at  intervals.  "Standing 
Room  Only"  signs  were  changed  to  "Sold 
Out"  long  before  the  shows  started.  Each 
show  lasted  two  hours,  and  each  was  a 
happy,  if  hectic,  experience  for  Marion. 

Hers  is  a  whole  new  career  now,  stimu- 
lating to  a  girl  with  her  urge  for  learning 
and  doing.  Not  the  least  exciting  new 
phase  is  the  night-club  work  Marion  began 
last  year  and  will  continue  this  year.  The 
only  drawback  has  been  the  separations 
from  her  husband  when  she  is  booked 
into  places  like  Las  Vegas,  Miami  Beach, 
various  Canadian  clubs,  the  Chez  Paree 
in  Chicago,  the  Beverly  Hilton  in  Los 
Angeles.  So  far,  the  problem  has  been 
helped  by  weekend  plane  trips  for  Larry 
to  whatever  city  Marion  is  working  in. 
This  year,  she  is  set  for  some  twenty 
weeks  of  night-club  appearances,  but  they 
will  be  staggered  over  the  year  in  such  a 
way  that  she  can  be  home  a  great  deal 
in  between — except  for  the  movie,  which 
will  keep  her  in  Hollywood  almost  a  month. 

Beginning  with  her  first  important  club 
engagement,  at  the  Hotel  Pierre's  Cotillion 
Room  in  New  York  last  February,  Marion 
has  shown  an  unexpected  flair  for  sophisti- 
cated comedy  which  is  delightful.  Also  an 
ability  to  think  quickly  on  her  feet  and 
talk  easily,  and  an  instinctive  knowledge 
about  when  to  stop  on  a  punch  line. 
"Night-club  audiences  are  difficult  to 
please,"  she  noted.  "But,  if  you  work  hard 
for  them,  they  will  give  you  a  good  hand. 
You  can't  bluff.  You  keep  hoping  that  you 
have  what  it  takes.  When  you  do,  they're  a 
wonderful  audience." 

All  this  marvelous  new  experience  has 
developed  a  new  type  of  singing,  a  style 
which  has  caused  a  lot  of  comment,  all  of 
it  flattering.  In  fact,  when  Marion  appeared 
on  Ed's  television  show  last  October  20,  it 
was  a  toss-up  whether  the  new  way  of 
putting  across  a  song  or  the  new  tightly- 


draped,  24-carat  gold  gown  got  the  most 
bouquets.  The  gown  was  sensational,  but 
so  was  the  entrance  of  Miss  Marlowe, 
swinging  her  hips  ever  so  slightly,  looking 
sultry  and  utterly  stunning,  and  turning 
out  a  completely  glowing  singing  job. 
•  She  continues  her  vocal  study  with 
Enrico  Rosati,  and  is  planning  on  dramatic 
coaching  before  the  winter  is  over,  if  she 
can  find  time.  She  hopes  one  day  to  do  a 
Broadway  musical  and,  of  course,  to  do 
.other  motion  pictures  after  the  Ed  Sullivan 
movie.  And  more  recordings,  for  the  Ca- 
dence label.  (That's  Archie  Bleyer's  re- 
cording company,  where  many  of  the  old 
Godfreyites  are  together  once  more — 
including  Julius  La  Rosa,  the  Mariners, 
the  Chordettes.)  Until  recently,  "Man  in  a 
Raincoat"  .  was  Marion's  only  disc  for 
Cadence. 

The  new  Marlowe's  figure  is  rather  sen- 
sational, too.  She  lost  eighteen  pounds,  by 
rigid  self-denial,  and  is  down  to  126 — 
certainly  not  too  much  for  her  five-feet, 
seven-inches  height,  which  looks  even 
taller  because  of  the  four-inch  heels 
she  likes.  Marion's  measurements  now  are 
37-22-37,  and  she  pours  divinely  into  the 
tightly  draped  clothes  she  adores.  Even 
her  hair-do  is  new,  a  Grecian  bun  wound 
tightly  high  up  on  her  neck,  and  vastly 
becoming.  "I  like  it.  Larry  likes  it.  I  think 
audiences  like  it  now,  too,"  she  says. 

Marion's  ideas  about  clothes  have 
changed  completely:  "Because  I  lost  weight 
— and,  with  it,  some  self-consciousness 
about  my  figure — I  can  now  wear  wide 
skirts  when  I  want  to,  and  not  because  I'm 
trying  to  hide  my  hips.  But  now  I  go  for 
those  draped,  Grecian-type  things.  Like  the 
gold  gown."  (As  noted,  it  was  pure  24-carat, 
on  jersey.  She  has  a  silver  one  now,  made 
like  it.)  All  her  costumes  are  designed  by 
Katherine  Kuhn,  and  all  are  terribly  ex- 
pensive and  quite  lovely,  because  she 
believes  now  in  lush,  handsome  materials 
and  skilled  handling,  rather  than  in  bead- 
ing and  sequins  and  fancy  trims.  "It's  me, 
not  my  dress,  I  want  people  to  notice,"  she 
says,  although  the  tendency  so  far  has 
been  to  notice  both. 

The  new  Marlowe  has  a  touch  of  the  old 
one's  love  of  comfortable  old  things.  She 
still  likes  blue  jeans,  even  mended  ones, 
and  one  of  Gramps'  old  flannel  shirts  when 
she's  puttering  around  the  house.  Or — 
the  other  extreme — trailing  negligees  and 
hostess  gowns.  There's  an  emerald  green 
satin,  with  pink  chiffon  tucked  into  the 
neck,  that's  a  knock-out.  But  even  the 
new  Marlowe  likes  to  kick  off  the  pretty 
mules  that  go  with  it  and  walk  around  the 
apartment  barefoot.  "I  can't  stand  anything 
on  my  feet  very  long,"  she  explains.  "I 
never  get  quite  that  elegant." 

The  five-room  apartment  is  still  in  the 
process  of  being  furnished,  and  Marion  is 
too  busy  to  take  much  time  out  for  that 
right  now.  The  thirty-seven-foot  living 
room  is  handsomely  carpeted  in  rose  pink, 
to  harmonize  with  the  walls — a  color 
scheme  that  runs  throughout  the  house, 
except  in  Larry's  own  room,  which  is  in 
dusky  greens.  There  will  be  a  long,  long 
sofa  and  lots  of  big  chairs  and  modern 
tables  and  lamps,  and  a  few  carefully 
chosen  pictures  (probably  some  bleak 
scenes  of  water,  or  mountains,  or  woods 
— "mood  pictures,  the  kind  I  love,"  Marion 
says) . 

Until  recently,  a  spinet  piano  has  stood 
alone  in  what  will  some  day  be  a  sort 
of  "music  corner."  The  rest  of  the  furnish- 
ings include  a  card  table  and  two  chairs 
borrowed  from  Emmett  and  Norma,  two 
television  sets— oh,  yes,  and  a  hair  dryer 
that  needs  fixing.   And  dozens  of  stuffed 


toys,  for  which  Marion  has  such  a  passion 
that  Larry  brings  her  at  least  one  every 
time  he  fLies  out  to  where  she  is  filling  a 
booking.  Now  she  has  taken  to  buying 
them  for  him,  too.  Little  Norman  has 
plenty  of  things  to  play  with,  when  he 
visits! 

There's  a  little  terrace  that  has  the  same 
view  as  most  of  the  rooms — a  gorgeous 
vista  of  the  East  River,  with  the  little 
tugs  blinking  their  way  up  and  down  and 
the  big  freighters  sailing  majestically  to 
and  from  New  York  harbor  and  the  whole 
wide  world.  They  can  see  the  planes  begin 
to  drop  on  their  way  across  to  LaGuardia 
airport  on  Long  Island. 

This  all  adds  up  to  comfort,  even  to 
luxury — but  there's  another  hint  of  the 
old  Marlowe  in  the  way  Marion  reacts  to 
it.  Her  idea  of  a  fine  time  is  to  sit  around 
on  the  floor  with  baby  Norman,  or  with 
friends  she  feels  close  to,  and  dip  into  a 
big  bowl  of  popcorn,  have  a  pizza  pie 
when  she  gets  hungry  (or  her  favorite, 
spaghetti  Villanova),  and  just  talk  or 
watch  TV. 

The  old  days,  when  she  was  in  her  teens 
and  trying  desperately  hard  to  crack  the 
movies  in  Hollywood,  are  all  just  so  many 
memories  now.  She  will  be  there  under 
very  different  circumstances  this  time,  a 
top  performer  with  an  assured  place  in 
her  profession,  and  with  a  made-to-order 
role  in  one  of  the  most  important  pictures 
of  the  year,  working  with  one  of  the  most 
skillful,  best  known  and  best  loved  show- 
men, Ed  Sullivan.  The  eighteen  months 
she  spent  on  musical-comedy  stages  in  Eng- 
land— a  homesick,  lonely  girl  who  seemed 
to  droop  in  the  British  climate — are  almost 
forgotten.  The  singing  engagements  she 
was  lucky  to  get  back  in  this  country,  but 
which  never  seemed  to  add  up  to  much, 
are  all  part  of  the  past,  too. 

The  fortunate  circumstance  that  brought 
her  to  Arthur  Godfrey's  attention  at  Miami 
Beach,  Florida,  and  the  shaking-scared 
weeks  when  she  first  appeared  on  his 
shows  are  part  of  the  past.  So  is  the 
success  she  had,  and  then  the  awful  mom- 
ent when  it  was  all  over,  and  she  was  out 
of  a  job.    "That's  history  now,"  she  says. 

Instead,  she  talks  about  the  satisfactions 
of  her  new  work — and  more,  the  happiness 
of  her  new  life.  About  the  things  she  and 
Larry  want  to  accomplish  together,  the 
fun  they  have  and  will  continue  to  have, 
the  traveling  they  want  to  do,  the  work 
they  will  share. 

"I  can  never  forget  the  night  last  year, 
when  I  emceed  the  television  program 
for  Ed  Sullivan,  while  he  was  away.  I 
couldn't  imagine  why  he  entrusted  such  a 
big,  important  show  to  me  at  that  stage  of 
my  career,  but  he  had  complete  confidence 
— and  so,  I  might  add,  did  my  husband. 
They  gave  me  all  the  strength  I  needed. 
But  a  number  of  things  happened.  All 
my  dresses  for  the  show  were  delivered 
late,  because  of  late  ordering.  One  gown 
came  five  minutes  before  the  show  started. 

"Then,  in  the  opening  number,  I  almost 
fell,  coming  down  a  flight  of  stairs.  I 
don't  think  anyone  noticed,  but  it  made  me 
jittery.  The  rest  of  the  program  went 
along  without  incident.  But,  as  I  came 
off  the  set  at  the  end,  I  found  Larry  wait- 
ing right  there.  The  tension  suddenly  re- 
laxed, and  I  fell  into  his  arms  and  started 
to  cry.  'What  are  you  crying  about?'  he 
asked,  patting  me.  'Ed  was  just  on  the 
telephone,  saying  how  happy  he  was  about 
everything.  You  were  terrific!' 

"I  knew  then,"  Marion  glows,  "that — 
while  being  a  successful  performer  is  a 
wonderfully  satisfying  and  important 
thing,  a  very  big  thing  in  my  life  now, 
and  I  hope  always — it's  even  more  im- 
portant to  have  Larry  waiting,  and  his 
shoulder  to  cry  on  ...  or  to  laugh  on." 


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He  Gives  Away  His  Heart 


(Continued  from  page  36) 
standards  which  he  and  his  pretty  wife, 
Lois,  are  now  instilling  in  their  five  "little 
Linkletters." 

Because  of  the  time  difference  on  the 
West  Coast,  Art  has  most  of  his  after- 
noons— as  well  as  whole  weekends — free 
to  spend  with  his  family.  And  home  is 
where  he  heads,  the  minute  his  day's  work 
is  done,  to  be  greeted  with  a  "Hey,  Dad," 
by  his  brood  of  five:  Jack,  18;  Dawn,  16; 
Robert,  11;  Sharon,  9;  and  Diane,  7. 
Likely  as  not,  they'll  all  head  out  on  a 
bicycle  safari,  which  will  take  them  on 
either  of  two  routes. 

"The  northern  route,"  Art  explains, 
takes  us  up  into  the  Bogarts'  grounds, 
through  Judy  Garland's  garage,  and 
around  Lana  Turner's  driveway.  The 
southern  route  takes  us  down  to  Jane 
Withers'  yard,  through  Walter  Wanger's 
garden,  around  Bing  Crosby's  driveway. 

"But,"  he  adds,  "when  we  get  off  our 
bikes,  the  kids  scatter  like  quicksilver. 
They  all  have  interests  of  their  own.  I 
never  cease  to  be  amazed  at  how  five 
children,  raised  in  the  same  environment, 
with  the  same  training  and  heredity,  can 
act  so  much  as  though  they  each  had  a 
different  set  of  parents!" 

Art  points  out  that  the  differences  are 
there — in  his  family,  as  well  as  other 
growing  American  families — and  parents 
might  as  well  accept  it.  He  feels  the  im- 
portant things  are  for  the  parents  to 
learn  what  their  children  are  really  like, 
love  them  for  themselves,  respect  them  as 
individuals,  and  encourage  their  special 
interests. 

For  example,  Art  describes  his  18- 
year-old  son,  Jack,  as  the  most  aggres- 
sive of  the  Linkletter  children.  "He's  the 
kind  of  boy  who  barges  ahead  on  the 
assumption  that  he's  going  to  win.  He's 
an  optimist  of  the  first  order.  Luckily 
for  him,  when  the  ball  bounces  the  other 
way,  he  doesn't  worry  about  it. 

"When  Jack  was  at  Beverly  Hills  High 
School,  for  example,  he  ran  for  student- 
body  president.  He  was  sure  he  was 
going  to  win — no  doubt  about  it.  But  he 
lost.  Rancor?  Not  at  all.  He  threw  his 
full  support  behind  the  winner.  He  be- 
came Commissioner  for  the  Student  Body 
Assemblies,  instead." 

Art  reports  that  Jack  is  outgoing  in 
every  respect — except  with  money.  "He's 
the  family's  greatest  miser.  He  spends 
all  his  spare  time  figuring  how  not  to 
spend  money.  He's  got  little  jars  filled 
with  pennies,  nickels,  and  dimes  cached 
in  every  drawer  in  his  room.  When  it 
comes  to  the  coin  of  the  realm,  he's  a 
regular  packrat." 

Going  on  the  assumption  that  hard  work 
and  enthusiasm  are  worthwhile  character 
traits,  Art  and  Lois  encourage  Jack  when- 
ever they  can.  For  a  long  time,  he's  been 
wanting  to  be  an  emcee  just  like  his  dad. 
Art  invited  him  to  guest  on  House  Party, 
later  taught  him  how  to  deliver  a  com- 
mercial, and,  finally,  Jack  sold  himself  to 
CBS  Radio  as  a  teen-age  disc  jockey. 
Lately,  Art  has  made  Jack  official  roving 
correspondent  for  House  Party. 

Dawn,  Art's  and  Lois's  16-year-old 
daughter,  is  the  opposite  of  her  brother 
Jack  personality-wise,  Art  says.  "If  the 
two  of  them  came  up  to  a  door,  for  ex- 
ample, and  it  didn't  open,  Dawn  would 
shrug  her  shoulders  and  leave.  Jack  would 
rattle  the  doorknob,  bang  on  the  panel — 
and,  if  it  still  didn't  open,  he'd  get  an  axe 
and  chop  it  down." 

Jack  and  Dawn  are  different  in  other 
respects,  too.  "Money  again  comes  to 
mind,"  says  Art.  "Where  Jack's  every 
pocket   becomes   a  bank,   if  you   were   to 


ask  Dawn  for  a  definition  of  money,  she'd 
say,  'To  spend.' " 

On  the  other  hand,  Art  describes  Dawn 
as  having  the  friendliest  smile,  and  one 
of  the  most  winning  personalities  of  the 
five  children.  Art  thinks  that  Dawn 
sometimes  uses  her  winning  smile  to  bol- 
ster her  own  feelings  of  uncertainty. 

According  to  Art,  Dawn  and  Jack,  like 
all  children  who  are  close  in  age,  have 
been  competitive.  Art  says,  "Dawn  has 
always  wanted  to  do  the  things  Jack  does. 
Being  the  older  and  a  boy,  he  has  gen- 
erally been  bigger,  stronger,  faster  and 
gotten  there  earlier.  It's  especially  diffi- 
cult for  her,  since  Jack  is  naturally 
aggressive  and  Dawn  is  naturally  retir- 
ing. It  seems  these  character  traits  have 
been  dominant  since  they  were  infants." 

Dawn,  at  16,  has  reached  the  age  where 
she  is  developing  an  interest  in  boys. 
Again  Art  points  out  how  Jack  and  Dawn 
are  different:  "Dawn  today  is  interested 
in  the  boys — but  not  much — whereas 
Jack  started  going  with  girls  in  kinder- 
garten. Dawn's  going  out  with  a  few 
fellows,  but  so  far  hasn't  found  anybody 
she's  really  interested  in.  Dawn's  very 
hard  to  please.  That's  an  understate- 
ment— she's  downright  critical!  Her  dates, 
for  example,  have  to  be  more  than  good 
dancers.  They've  got  to  be  bright,  bril- 
liant and  smooth.  The  other  night  when 
she  came  in,  Lois  and  I  asked  her  if  she'd 
had  a  good  time.  'Well,'  Dawn  said  with  a 
shrug,  'he's  a  good  dancer — but  he's  so 
silly.'  " 

According  to  Art,  Dawn  is  the  best 
dancer  in  the  family.  "I  taught  her  to 
dance  myself.  Jack  is  a  good  dancer,  too, 
but  he  didn't  pick  it  up  the  way  Dawn 
did.  She's  a  natural."  Then,  almost  as 
an  afterthought,  he  adds,  "Jack  isn't  criti- 
cal at  all.  The  main  thing  he  requires  of 
his  dates  is  that  they  have  on  a  dress." 

As  with  Jack,  Art  and  Lois  are  anxious 
to  encourage  the  positive  aspects  of 
Dawn's  personality,  her  warmth,  her  win- 
ning smile  and  friendliness.  Art  says  that 
Dawn  is  anxious  to  work  in  TV,  and  cer- 
tainly has  no  sense  of  inadequacy  when 
trying  to  do  the  things  she's  interested 
in.  She  is  studying  dramatics  and  writ- 
ing at  school — Chadwick  High  in  Palos 
Verdes — and  shows  good  promise.  Art  has 
had  her  on  House  Party,  where  she  has 
done  some  of  the  commercials.  "She  has 
a  good  strong  delivery,"  he  beams.  "She 
is  really  good.  With  that  smile,  she's  sure 
to  be  a  winner. 

"Robert,  at  eleven,"  says  Art,  "is  a 
horse  of  an  entirely  different  color.  Ex- 
cept for  Lois,  Robert  is  the  only  one  in  the 
family  with  any  mechanical  ability.  He  is 
always  fooling  around  with  engines  and 
motors.  He's  always  taking  things  apart. 
The  family  has  to  keep  an  eagle  eye  on 
alarm  clocks.  Robert  loves  to  act,  too. 
More  than  anyone  else  in  the  family,  he 
is  the  most  artistic  and  sensitive.  It's 
quite  a  contrast  with  his  mechanical  abil- 
ity. He's  going  to  be  a  great  producer. 
He's  already  put  together  a  number  of 
costume  plays,  magic  acts  and  living- 
room  circuses. 

"He's  a  sweet  child,"  Art  observes.  "He 
still  kisses  me  goodnight — whereas,  Jack, 
when  he  was  eight  and  on  his  way  to  bed, 
might  give  me  a  loving  kick  as  he  went 
by!" 

According  to  Art,  Robert  was  also  the 
shy  one  in  the  family.  Art  says  that,  a 
couple  of  years  ago,  Robert  wouldn't  go 
into  a  shower — because  he  didn't  want  to 
be  alone.  He  was  timid  about  going  out 
and  playing  with  other  children;  he  loves 
his  two  younger  sisters  and  would  rather 
stay  home  with  them.    Lois  observed  that 


this  tended  to  keep  him  on  the  young 
side,  so  it  was  decided  to  send  him  to  a 
different  school  than  Diane's  or  Sharon's. 

Art  and  Lois  followed  a  regular  course 
in  trying  to  draw  Robert  out  of  his  shy 
shell.  A  little  at  a  time,  they  took  him 
out  to  parties  and  dinners,  introducing 
him  to  new  people  and  places.  The  re- 
sult of  this  encouragement  was  illustrated 
during  the  summer  he  was  nine  years  old. 
"The  principal  of  his  school  invited  him 
to  spend  part  of  the  summer  with  her," 
says  Art.  "We  took  him  to  the  plane,  he 
flew  to  New  York,  where  he  was  met  by  a 
friend  of  mine — though  a  stranger  to  him — 
who  transferred  him  to  a  plane  for  Bos- 
ton, where  he  was  met  by  the  principal. 
Our  report  was  that  Robert  was  'one  big 
smile'  in  both  New  York  and  Boston. 

"Sharon,  our  nine-year-old,"  says  Art, 
"is  the  'oldest'  one  in  the  family.  She 
is  a  little  mother.  She  is  sensible,  under- 
standing, thoughtful,  mature,  intelligent, 
hard-working,  gets  straight  A's,  is  a  year 
ahead  of  herself  in  school,  keeps  her  room 
neat,  is  never  in  trouble,  baby-sits  with 
seven-year-old  Diane,  and  is  down  the 
middle  of  the  road  in  'most  everything 
else."  Art  taps  his  head,  saying,  "She's 
got  it  right  here. 

"Diane,  the  baby  of  the  family,"  laughs 
Linkletter,  "is  the  temperamental  one. 
She's  the  actress.  She's  the  one  who  cries 
easiest,  laughs  easiest.  When  she  looks 
happy,  she  bubbles.  When  she  is  miser- 
able, she  looks  awful.  When  Diane 
smiles,  even  without  her  two  front  teeth, 
you've  never  seen  such  a  grin!" 

According  to  Lois,  Diane  is  the  one  who 
has  been  clothes  conscious  for  years.  "I 
set  the  other  youngsters'  clothes  out  in 
the  morning,"  says  Lois,  "but  Diane  has 
to  choose  her  own — from  panties  on  up. 
When  we  go  to  buy  shoes,  the  other  chil- 
dren go  in,  saying,  'We  want  a  pair  of 
school  shoes.'  That  usually  means  saddle 
shoes — but  not  to  Diane.  She  first  has 
to  try  them  all  on.  Then  she  says,  'I  want 
dress  shoes  for  school.  I  want  pumps 
like  I  wear  to  Sunday  School — I  don't 
want  them  to  have  straps.  I  wouldn't  be 
seen  dead  in  saddle  shoes.  I  want  pumps.' 
So  we  settle  for  moccasins.  Some  com- 
promise!" 

Lois  describes  the  two  little  girls  as 
being  as  feminine  as  little  girls  can  be. 
"They  are  always  playing  with  dolls,"  she 
says,  "which  makes  them  different  from 
Dawn,  who  was  too  busy  trying  to  keep 
up  with  Jack  to  have  time  for  dolls. 

"The  big  thing  in  their  lives  now  is  nail 
polish.  You  have  to  be  firm  with  some 
things,  and  this  is  one  of  them.  I  try  to 
explain  that  it's  a  lot  of  fun  growing  up. 
'The  time  will  come,'  I  say,  'when  it  will 
mean    something    to    wear     nail    polish.' 

"Of  course,"  Lois  adds,  "I'm  happy  to 
have  them  take  enough  interest  to  curl 
their  own  hair.  Though  they  sleep  with 
curlers  on,  and  are  miserable  doing  it, 
they  are  willing  to  make  the  sacrifice  in 
order  to  look  nice  for  Sunday  School." 

It  is  Art's  and  Lois's  feeling  that  the 
young  ones  are  too  small  for  allowances. 
Since  they  take  their  lunches  to  school 
and  there  is  no  place  around  home  for 
them  to  spend  money,  there's  really  no 
reason  for  a  regular  allowance.  "How- 
ever," says  Lois,  "if  they  ever  want  to  go 
out  of  their  way  to  make  money,  we  en- 
courage it.  Robert,  for  example,  gets  a 
quarter  every  time  he  polishes  the  chrome 
on  the  car.  And,  when  he  puts  on  his 
circus  shows,  he  charges  a  penny  ad- 
mission. 

"During  the  summer,"  she  smiles,  "we 
have  to  keep  an  eye  on  the  three  younger 
children — to  keep  them  from  selling  the 
house  to  tourists.  Beverly  Hills  maps  are 
sold  on  the  highways,  showing  locations 
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it  was  Sharon's  idea — she's  the  practical 
one — to  take  advantage  of  this  'gold  mine.' 
She,  Robert,  and  Diane  filled  their  wagon 
with  geranium  bouquets,  wrapped  with 
paper  doilies.  The  tourists  bought  them  as 
if  they  were  summer  violets!  When  the 
geraniums  were  gone  from  the  flower 
bed,  Sharon  wasn't  stopped.  With  Robert's 
and  Diane's  help,  she  organized  an  artifi- 
cial-flower factory.  It  was  all  very  enter- 
prising. They  figured  every  angle  they 
could.  I  was  lucky  to  come  home  when  I 
did — at  least  the  house  was  still  there. 

"We're  fortunate,"  Lois  continues,  "that 
there  is  an  age  gap  between  the  two  older 
and  three  younger  ones.  It's  almost  im- 
possible to  take  five  youngsters  anywhere. 
So  it's  handy  to  be  able  to  take  the  two 
older  kids  with  us  on  occasions,  and  stiH 
be  able  to  explain  to  the  younger  ones  that 
their  time  will  come  later. 

"Of  course,  there  are  times  when  Art 
and  I  go  off  for  a  week  or  two  by  our- 
selves. Every  December,  for  example,  we 
go  to  New  York  for  the  Pillsbury  'bakeoff,' 
making  a  little  business-vacation  out  of 
that.  In  February,  we  try  to  go  to  Acapulco. 
We  sail,  fish,  swim,  and  lie  in  the  sun.  We 
like  the  manana  atmosphere. 

"It's  pretty  hard  to  tell,"  says  Lois,  "if 
you've  been  successful  in  raising  your  chil- 
dren until  you  get  their  reactions  and 
relations  to  you  when  they  grow  into  their 
late  teens.  For  example,  we  think  we've 
been  fairly  successful  with  Jack,  who's 
now  18  and  in  the  Naval  Reserve,  but  still 
brings  some  of  his  problems  to  us  and  is 
eager  to  share  his  new  life  at  college. 

"Last  Wednesday,  for  example,  I  came 
back  from  our  monthly  mother-son  fra- 
ternity luncheon  and  was  upstairs  sewing 
when  Jack  came  in  from  school.  I  hadn't 
seen  him  since  Sunday,  except  for  the  few 
minutes  at  lunch.  When  he  came  in,  he 
made  a  bee-line  through  the  house,  up 
the  stairs — and  then,  sitting  on  the  foot- 
stool in  front  of  me,  bubbled  over  with 
everything  that  had  happened  during  his 
week.  He  wanted  to  share  every  item 
down  to  the  last  detail.  It's  a  wonderful 
feeling." 

Such  experiences  as  this  make  Art  and 
Lois  Linkletter  feel  they've  been  success- 
ful in  raising  their  family  of  five.  As  Art 
says,  they  are  all  different,  they  are  all 
individuals,  yet  they  must  be  loved  for 
themselves,  and  their  interests  encouraged. 

Art  carries  this  love,  this  understanding 
of  the  similarities  and  differences  between 
individuals,  into  the  occasional  interviews 
with  the  featured  guests  he  now  brings  to 
House  Party  mikes  and  cameras.  There 
are  many  reasons  why  Art  has  developed 
these  guest-interviews.  First  of  all,  quite 
simply,  Art  wants  to  give  a  pat  on  the 
pack  to  deserving  people  who  ordinarily 
wouldn't  get  full  recognition.  Second,  the 
new  House  Party  feature  takes  full  ad- 
vantage of  Linkletter  talents  which  have 
never  before  been  shared  so  completely 
with  his  audience.  These  interviews  are 
not  presented  as  simple  newscasts,  but  re- 
veal Art  as  the  "human  interest"  reporter 
he  is.  There  is  a  keen  intellect  behind  his 
bluff  and  hearty  facade,  and  there  aren't 
many  people  who  have  his  ability  for  deli- 
cately drawing  out  an  emotional  story 
from  the  heart  of  his  subjects. 

Why  is  Art  so  good  at  doing  this?  Be- 
cause he  has  an  intuitive  understanding 
of  the  guests  on  his  show.  He  has  been 
described  as  having  "perfect  pitch"  for 
people — the  reason  being  that,  during  his 
early  life,  he  has  fought  many  of  the  same 
struggles,  and  this  has  given  him  an  under- 
standing of  others'  problems.  An  orphan, 
lonely  as  a  child  until  his  adoption — and 
then  his  foster  father  was  an  evangelistic 
preacher  with  limited  income— Art  early 
found  himself  being  handed  around  from 
one  temporary  home  to  another  like  a  pair 


of  scuffed  shoes.  Later,  having  worked  his 
way  through  school,  Art  married,  raised 
his  family  of  five  children — and,  in  the 
process,  achieved  his  own  final  security. 
He  knows,  therefore,  from  first-hand  ex- 
perience about  the  many  problems  com- 
mon to  those  whom  he  interviews. 

Who  are  these  featured  guests  on  House 
Party?  Well,  not  too  long  ago,  Art  inter- 
viewed Miss  Dorothy  Middleton,  an  Amer- 
ican missionary  who  had  been  imprisoned 
by  the  Chinese  Communists  for  four  heart- 
breaking years — the  first  six  months  in 
solitary  confinement.  Despite  humiliation 
and  attempts  at  "indoctrination,"  Miss 
Middleton's  faith  had  never  wavered.  Un- 
der Art's  gentle  questioning  on  House 
Party,  she  took  only  a  few  minutes  to  tell 
a  story  full  enough  for  an  average  life- 
time. But,  from  coast  to  coast,  you  could 
have  heard  a  pin  drop,  as  Dorothy  Middle- 
ton  read  her  favorite  passage  from  the  tat- 
tered Bible  which  had  been  her  solace 
and  companion. 

Another  featured  guest  spoke  of  the 
Good  Book,  too,  but  from  the  point  of 
view  of  a  man  who  has  devoted  most  of 
his  remarkable  career  to  bringing  the  art 
of  the  motion  picture  together  with  the 
best  stories  of  the  Bible.  Cecil  B.  DeMille 
— the  forever  young,  75-year-old  producer- 
director  of  "The  Ten  Commandments" — 
told  what  it  meant  to  be  nearing  comple- 
tion on  his  grandest  epic  yet,  a  dream  he'd 
held  all  his  life.  DeMille  talked  of  the 
gigantic  production  problems  he  faced  in 
producing  "The  Ten  Commandments."  He 
answered  audience  questions  about  Holly- 
wood's pioneer  days  with  wit  and  humor. 
And,  again,  as  he  described  a  memorable 
Christmas  Eve  on  the  set  of  his  earlier 
religious  film,  "The  King  of  Kings,"  a 
nationwide  audience  was  silent  with  awe 
and  respect. 

At  first,  DeMille  had  been  a  little  reticent 
about  appearing  on  House  Party.  In  forty- 
one  years  of  movie-making,  he  had  built 
a  reputation  for  quality,  and  he  was  not 
about  to  put  it  in  jeopardy  at  the  hands 
of  a  stranger.  So,  before  he  accepted  the 
invitation  to  appear,  he  inquired  about 
Art  through  his  sources  in  the  film  in- 
dustry. To  a  man,  they  said:  "You  can 
trust  Art  Linkletter." 

This  trust,  exhibited  by  all  of  Art's 
featured  guests,  is  a  result  of  his  many 
steadily  climbing  years  in  radio  and  TV. 
Art's  career  has  not  been  rocket-like  or 
sensational.  It  was  never  based  on  a  "gim- 
mick." His  fans  are  everywhere,  yet  they 
are  not  the  kind  to  snatch  at  his  clothes 


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House  Party  featured  guests:  Dan 
and  Una  Schmidt — in  a  rare  picture, 
just  before  Dan  went  over  to  Korea. 


whenever  he  steps  outside  the  studio  doors. 
Link's  career  has  a  broad  three-dimen- 
sional base,  like  that  of  an  Egyptian  pyra- 
mid. And  now,  more  than  ever,  the  respect 
for  his  good  taste,  the  knowledge  that  no 
featured  guest  will  be  exploited — and  the 
trust  in  Linkletter,  the  man — are  beginning 
to  pay  off  in  the  new  format. 

Among  the  most  interesting  couples  who 
have  guested  on  House  Party  were  Danny 
and  Una  Schmidt,  whose  modern  "Enoch 
Arden"  story  touched  the  heart  of  the  na- 
tion this  past  year.  Dan  and  Una  had  been 
married  fifty-seven  days  before  he  went 
to  Korea  with  the  Army.  He  was  20,  his 
bride  17.  Three  months  before  Danny,  Jr., 
was  born,  Una  was  notified  by  the  Gov- 
ernment that  Dan  was  missing  in  action. 
Una  told  House  Party  audiences  how  she 
had  written  150  letters  to  Danny,  hoping 
to  reach  him  in  a  Chinese  prison — but  re- 
ceiving no  answer.  When  prisoners  were 
finally  exchanged,  there  was  still  no  word 
of  Danny,  and  Una  felt  certain  he  was 
dead.  A  year  and  two  months  later,  she 
married  Alford  Fine. 

Finally,  after  thirty  months  of  captivity, 
Dan  was  released.  Una  said  her  first 
thought,  on  hearing  that  he  was  coming 
home,  was:  Now  the  baby  will  be  able  to 
see  his  real  Dad.  After  their  reconcilation, 
when  Linkletter  offered  them  a  trip  to 
Los  Angeles,  where  they  had  relatives,  the 
young  Schmidts  felt  they  could  make  the 
trip  into  a  second  honeymoon — after  nearly 
three  years  apart,  they  could  get  to  know 
each  other  again.  And,  like  all  the  other 
featured  guests,  they  trusted  Art  Link- 
letter's  integrity.  They  knew  their  plight 
would  be  presented  in  good  taste. 

And  it  was.  "What  decided  you  to  go 
back  together?"  Linkletter  asked  Una 
quietly. 

"Danny,  Jr.  needed  more  than  just  a 
father  and  mother,"  she  answered.  "He 
needed  both  of  us  together." 

This  was  the  type  of  story  of  sensitive 
family  understanding  for  the  needs  of 
their  child  which  Art,  as  a  father,  feels 
can  set  an  example  to  the  millions  in  his 
audiences.  But,  in  addition  to  pointing  out 
deserving  and  interesting  people,  Art  also 
likes  to  train  House  Party's  revealing 
electronic  eye  on  deserving  causes.  That's 
why  Art  suggested  to  his  staff  that  they 
examine  the  area  of  medical  quacks  and 
charlatans,  to  see  what  could  be  done 
about  the  problem. 

The  American  Medical  Association  of- 
fered one  of  its  specialists,  Dr.  Joseph  de 
los  Reyes,  as  a  featured  guest  on  House 
Party.  He  brought  with  him  a  machine 
with  thirty-six  dials,  as  a  sample  of  fake 
therapeutic  equipment.  Even  without  the 
patient  present,  the  gaudy  machine  was 
supposed  to  diagnose  and  treat  every  dis- 
ease in  the  world.  "There's  only  one  thing 
wrong  with  it,"  Art  remarked.  "It  doesn't 
work." 

Dr.  de  los  Reyes  told  Art  and  the  mil- 
lions in  the  House  Party  audience  that  a 
known  $100,000,000  a  year  has  been  wasted 
by  unsuspecting  patients  on  such  "cures." 
The  A.M.A.  believes  that  five  to  ten  times 
that  amount  is  a  more  realistic  figure. 
And  that's  computed  in  dollars  only.  The 
number  of  deaths  and  the  amount  of  suf- 
fering caused  by  these  fake  cures  can 
never  be  computed. 

"We're  all  human,"  said  Dr.  de  los  Reyes. 
"If  a  disease  is  not  curable,  we  grasp  at 
any  straw.  We  try  quacks  and  are  anxious 
to  believe  them.  To  combat  this,  we  should 
use  common  sense  .  .  .  Remember,  if  it 
really  could  benefit  mankind,  it  would 
not  be  some  one  man's  patented  product. 
A  little  common  sense  can  save  $100,000,000. 
More  important,  it  can  break  up  the 
quack's  traffic  in  human  misery." 

If  common  sense  were  a  marketable  pro- 
duct,   you    can    be    sure    Art    Linkletter 


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ing it  free.  When  his  foster  father  left  him 
and  his  foster  mother  to  fend  for  them- 
selves while  he  went  off  to  preach  to  his 
evangelistic  followers,  it  was  common 
sense — and  the  smattering  of  good  will 
which  he  absorbed  from  his  over-zealous 
foster  parents — that  kept  Art  from  floun- 
dering. In  Art's  younger  days,  to  get  along 
was  to  have  common  sense — period. 

So,  today,  when  he  hears  that  $100,000,- 
000  is  senselessly  squandered  each  year  on 
quack  machines,  he  finds  this  appalling 
loss  beyond  reason.  Art  therefore  offered 
to  do  everything  in  his  power  to  help 
educate  the  public  about  "quack  cures." 
Dr.  de  los  Reyes  told  Art  that  the  A.M.A., 
the  Los  Angeles  County  and  California 
Medical  Associations  were  grateful  to  him 
for  the  way  he  helped  present  the  prob- 
lem, and  they  were  delighted  that  Art  had 
offered  his  TV  audience — estimated  at  12,- 
000,000 — to  the  medical  profession  so  they 
could  keep  the  people  informed. 

Above  all  others,  Lois  Linkletter  knows 
how  important  the  new  House  Party 
format  has  been  to  Art.  "I've  always  been 
a  sounding  board  for  Art's  ideas,"  she  says, 
"But  I've  never  seen  him  more  enthusiastic 
than  now.  I  can  measure  his  enthusiasm 
by  the  disappointment  he  shows  when- 
ever he  comes  home  to  find  I've  missed 
the  show!  Because  I  know  that  Art  is 
trying  to  help  others,  the  show  has  grown 


more  exciting  for  me,  too,"  Lois  explains. 

Art  himself  says,  "We're  not  trying  to 
preach.  And  our  new  feature  is  broader 
in  scope  than  just  a  'helping  hand.'  In  part, 
we  are  trying  to  give  recognition  to  people 
who  deserve  it,  to  give  meaning — as  in  the 
case  of  Missionary  Dorothy  Middleton — to 
the  suffering  they  have  gone  through  in 
preserving  their  faith  and  in  overcoming 
their  problems." 

Art  Linkletter  sees  television  as  a  me- 
dium that  can  offer  more  than  just  laughs. 
It  can  teach.  But  it  doesn't  have  to  stop 
entertaining  to  do  so.  One  moment,  the 
heart  of  the  audience  can  go  out  to  House 
Party  guests  like  Dorothy  Middleton  and 
Danny  and  Una  Schmidt — and,  the  next 
moment,  after  hearing  an  inspiring  story 
of  faith,  they  may  be  amused  by  Art's  line, 
"Why,  you  look  as  natural  up  here  as 
somebody  waiting  to  win  a  refrigerator!" 

Without  being  made  uncomfortably 
aware  of  it,  Art's  audiences  are  being  en- 
tertained and  taught  at  the  same  time. 
Perhaps  this  isn't  so  novel  for  a  man  who 
started  out  in  life  to  be  an  English 
teacher — or  for  a  father  who  is  successfully 
bringing  up  five  children — but  it  may  be 
a  new  slant  on  the  hearty  House  Party 
Linkletter,  his  viewers  and  listeners  have 
come  to  know.  Yes,  there  is  more  to  Art 
Linkletter  than  giving  away  refrigerators. 
He  gives  away  his  heart — and  the  heart 
keeps  growing  bigger  all  the  time! 


The  Fabulous  Crosbys 


(Continued  from  page  60) 
remember,  I  had  one  solo — 'Rose  O'Day.' " 

The  smash  record,  "Play  a  Simple 
Melody,"  credited  to  "Gary  Crosby  and 
friend,"  and  16-year-old  Gary's  reception 
on  his  dad's  radio  show,  later  on,  made  it 
well  apparent  that  show  business  was  going 
to  Gary's  heart — and  the  public  was  taking 
him  to  theirs.  His  father  would  admit,  "He 
turned  in  a  pretty  darned  good  perform- 
ance," and  Bing  would  also  joke  about 
cementing  his  own  future:  "It's  not  that 
I'm  looking  ahead  to  old  age.  I'll  keep  going 
for  a  while,  but  I  hope  Gary's  successful — 
I  could  even  be  his  agent."  But  Bing 
turned  down  all  offers  with  a  firm  and 
fatherly  "Gary's  going  to  finish  school 
first." 

"You've  got  to  be  good  for  that — really 
good,"  Gary  would  worry,  whenever  any- 
body asked  him  if  he  planned  making  show 
business  his  life.  Although  he  didn't  say 
it,  he  knew  "Bing's  boy"  would  really  have 
to  be  good.  He  took  quite  a  razzing  from 
his  schoolmates  at  Bellarmine  Prep — who'd 
give  him  the  "O-oh,  Gary!"  routine  and 
make  like  they  were  swooning  all  over  the 
juke-box.  And  he  took  a  pretty  good  ride 
from  his  Zeta  Psi  fraternity  brothers  at 
Stanford  University,  later  on. 

"That  was  a  great  outfit  we  had,"  he  says 
fondly  now.  "I  didn't  dare  open  my  mouth. 
We  had  some  great  jockeys  there.  Tad  De- 
vine  took  a  beautiful  ride,  too — particularly 
after  he  worked  in  his  dad's  television 
show.  Anytime  I  knew  I  was  due  to  be 
on  the  radio  (pre-recorded) ,  I'd  go  up  in 
the  hills  and  park  and  listen  in  on  my  car 
radio.  I  wouldn't  dare  tune  in  around  the 
Zeta  Psi  house.  I  knew  I  was  really  in 
trouble  if  I  did."  His  fraternity  brothers 
nicknamed  him  "the  Golden  Buddha"  be- 
cause— as  he  says — he'd  "blimped  up."  But, 
watching  him  on  television  later  on,  Tad 
Devine  says  they're  all  agreed.  "No  more 
'Buddha.' " 

Bing's  hope  for  Gary  and  all  his  boys 
was  for  them  to  always  have  "class,  sports- 
manship, good  taste  and  humility,"  as  he 
used  to  say.  He  wanted  them  to  have  a 
goal  and  do  something  on  their  own — "not 
as  Bing  Crosby's  kids,  but  as  themselves." 


But  nobody  knew  better  than  Gary's  dad 
how  tough  the  category  would  be,  when 
Gary  chose  show  business  as  his  own  goal. 
Typically,  without  making  much  ado  about 
it,  Bing  went  fishing — and  turned  over  his 
summer  radio  time  on  CBS  Radio  and  his 
whole  production  staff  to  Gary,  to  help  him 
over  the  first  hump.  As  for  Gary,  the  call 
to  show  business  was  stronger  than  the 
awesome  challenge  of  following  his  father 
on  the  big  show.  .  .  . 

That  same  year,  the  applause  she  re- 
ceived at  a  big  benefit  in  Houston,  Texas, 
helped  give  assurance  to  a  pretty  teen- 
ager who'd  grown  up  convinced  show 
business  was  too  rough  to  try  .  .  .  and  that 
you  had  to  be  too  good — "extra  good,  if 
your  name  is  Crosby." 

Cathy  Crosby's  first  "professional"  ap- 
pearance was  on  her  Uncle  Bing's  radio 
show  when  she  was  ten  years  old.  "I  did 
'Hair  of  Gold,  Eyes  of  Blue,' "  Cathy  re- 
calls now.  "And  scared?  I  was  petrified!  I 
was  so  scared  my  mouth  and  my  knees 
were  the  only  parts  of  me  moving.  When 
I'm  nervous,  I  have  a  habit  I  can't  control. 
My  mouth  'twinces'  and,  no  matter  how 
I  try  to  hold  it  still,  I  can't.  It  just  keeps 
on  twincing." 

Cathy  had  never  sung  except  at  church 
and  around  the  house.  In  her  mother's 
opinion,  "This  is  something  you've  got  to 
want  the  hardest  way" — and  there  were 
no  kiddie  singing  lessons  for  Cathy.  She 
had  to  learn  a  song  for  the  show  and  her 
mother  just  hoped  she'd  remember  it.  They 
stayed  over  on  one  side  of  the  stage,  care- 
ful to  keep  out  of  the  way,  until  the  time 
neared  for  Cathy  to  go  on.  "I  watched  the 
lines — and  I  wanted  to  move  us  forward  a 
little  so  I  could  give  her  a  little  shove," 
June  Crosby  remembers  laughingly.  She 
put  her  arm  on  her  daughter's  shoulder 
and  said  nervously,  "Cathy — it's  just  about 
time."  Whereupon,  with  some  degree  of 
dignity,  Cathy  removed  her  mother's  hand, 
said,  "Mother — I  know,"  walked  to  the 
mike,  said  her  lines  and  sang  her  song 
and  walked  away. 

If  he  knew  her  mouth  "twinced,"  her 
Uncle  Bing's  bland  blue  eyes  didn't  give 
it  away.  And,  noting  the  way  she  handled 


herself,  he  commented  to  her  father's 
manager,  "She  belongs,  all  right." 

Despite  further  appearances  on  her  dad's 
Pet  Milk  Show,  Cathy  wasn't  at  all  sure 
she  belonged.  Her  father  went  on  record 
with:  "I'm  not  going  to  do  anything  about 
Cathy  unless  she  shows  a  real  desire." 
Personally,  he  wouldn't  wish  the  business 
on  anybody — otherwise.  .  .  . 

Then,  a  year  ago  last  summer,  Cathy  de- 
cided: "More  than  anything  else,  I  wanted 
to  be  in  show  business.  We  were  in  Hous- 
ton, Texas,  and  Daddy  and  the  band  were 
appearing  at  a  big  benefit  horse  show  there. 
One  night,"  Cathy  says,  "Daddy  called 
me  out  of  the  audience  to  sing.  The  way 
the  stage  was  constructed,  as  I  looked  out, 
there  were  thousands  of  people  in  a  circle 
around  us.  I  sang  'The  Man  Upstairs.'  And 
the  way  they  received  me,  I  was  so  thrilled. 
After  that  night,  I  came  on  stage  on  my 
own  for  every  show,  and  I  knew  this  was 
what  I  wanted  to  do." 

Her  father  was  sold,  he  says,  "when  she 
wrote  me  a  letter  from  school  and  said, 
T  want  it.' "  Harry  Ackerman,  of  CBS, 
had  talked  to  her  before  she  left,  told 
her  they  wanted  her  and  the  plans  they 
had  in  mind  for  her.  Gil  Rodin,  her  father's 
manager  for  twenty  years — he  also  man- 
ages Cathy  today  and  produces  Bob 
Crosby's  CBS-TV  show— wanted  CBS  to 
talk  to  her  direct,  "so  she  would  real- 
ize they  wanted  her  for  herself." 

Her  father  was  convinced  she  was  really 
serious  about  show  business  "when  we  took 
the  show  to  Milwaukee — and  she  proved 
she  could  really  take  it.  We  did  our  show, 
flew  out  that  night,  made  a  parade  the 
next  day,  rehearsed  the  show,  did  inter- 
views for  newspapers  and  television,  did 
two  shows  a  day  and  two  extra  shows  for 
the  General  Mills  people.  We  flew  back  in 
to  Hollywood  at  6:00  A.M.,  and  were  on 
camera  for  TV  rehearsals  for  our  show  at 
9: 15.  It  was  very  hot  and  it  was  real 
tough  duty,  even  for  the  Modernaires  and 
me.  Cathy's  feet  got  so  swollen  she  couldn't 
put  her  shoes  on.  'Daddy,  I  never  knew  it 
was  this  hard,'  she  said  once.  But  she  never 
beefed  any  more." 

While  Joanie  O'Brien  was  away  from  the 
TV  show,  Bob  decided  to  have  Gary  and 
Cathy  on,  if  this  could  be  worked  out.  His 
producer  ran  into  Gary  one  day  at  Decca 
and  approached  him  on  it.  "I'd  love  it," 
said  Gary,  "but  would  Uncle  Bob  want 
me?"  The  producer  said,  "It  was  your 
Uncle  Bob's  idea."  There  was  a  problem 
of  meeting  the  show's  budget,  in  view  of 
the  money  Gary  gets  for  spectaculars  and 
night-time  TV  shots,  but  Gary  and  his 
uncle  worked  out  a  family  rate. 

Realizing  that,  while  doors  may  open 
faster  and  easier  for  their  children,  the 
road  ahead  is  even  tougher  for  the  second 
generation  of  Crosbys — who  will  always 
inevitably  be  compared  with  the  first — 
and  that  they  face  far  tougher  criticism 
than  other  newcomers  breaking  in,  Bob 
and  Bing  keep  a  warm  and  fatherly  eye 
on  them. 

Although  it's  true,  as  Gary  says,  that  his 
dad  "leaves  it  pretty  much  to  me,"  now 
and  then  Bing  throws  in  a  family  tip  in  his 
casual  way. 

His  father  makes  no  secret  of  his  pride 
at  the  way  Gary's  really  leveled  on  his 
career,  and  he  was  far  more  concerned 
about  Gary's  first  personal-appearance 
tour  than  if  it  had  been  Bing's  own. 

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When  he  gets  there,  doing  five  or  six 
shows  a  day  in  that  air-conditioned  thea- 
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can  do  to  your  voice.  Particularly  a  kid 


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who  sings  like  he  does — socking  over 
those  rhythm-and-blues  specialities.  I'm 
afraid  he  may  have  a  loss  of  voice  if  he 
overdoes  it." 

As  for  Cathy,  nobody  was  more  upset 
than  her  Uncle  Bing  (for  her  family's 
sake)  when  a  national  magazine  story 
identified  her  as  his  niece  instead  of  as 
Bob  Crosby's  daughter.  And  Cathy's  Irish 
grandmother  was  really  indignant.  She 
called  CBS  Television  City  and  talked  to 
Bob  and  his  producer  on  the  rehearsal 
stage.  "Why  do  you  stand  for  this?"  she 
asked.  Bob  explained  he  had  no  control 
over  the  magazine.  "Well — Bing  would 
never  have  allowed  it,"  she  said.  Bing  was 
at  Hayden  Lake,  Idaho,  when  the  issue 
came  out.  "Bob  doesn't  need  me — "  he 
said.  "Why  didn't  they  say  'Bob  Crosby's 
daughter'?  Why  don't  they  give  him  his 
due?  I  think  Bob  should  be  furious."  And 
he  wrote  his  brother  to  the  same  effect. 

On  his  own  CBS  television  show,  his 
Uncle  Bob  was  determined  to  give  Gary 
every  break  and  all  the  valuable  experi- 
ence possible.  "We've  done  that  with 
Cathy,  too,"  he  says.  "And  we're  going  to 
have  my  niece,  Caroline  Miller,  on  our 
show  soon — and  we'll  do  it  with  her.  .  .  . 

"I'd  worked  Gary's  first  TV  show  with 
him.  They  put  him  in  an  Hawaiian  shirt, 
which  wasn't  too  good  on  him  then.  On 
his  next  TV  show,  they  gave  him  a  pipe 
and  hat  a  la  Bing.  I  didn't  think  that  was 
right,  either.  I  told  Bing  we  were  going  to 
do  everything  we  could  on  my  show  to 
present  him  properly  and  give  him  every 
advantage.  And  we  did.  On  the  first  show, 
we  closed  him  away  completely  from  the 
audience,  until  he  got  more  at  ease  work- 
ing in  front  of  a  camera.  The  second  show, 
we  had  him  do  a  number  with  Alan  Cope- 
land.  Gradually,  we  moved  him  on  out." 

Gary  had  an  interested  audience  on 
every  appearance — in  the  family's  Hayden 
Lake  living  room,  where  12:30  P.M.  found 
his  father  cemented  smack  down  in  front 
of  the  TV  set,  observing  with  a  proud  and 
analytical  eye. » And  both  Bob  and  his  TV 
producer  are  all  admiration  for  the  profes- 
sional way  Gary  works  a  show:  "He's 
very  ambitious,  he's  punctual,  cooperative, 
and  he  has  a  real  desire  to  make  it  on 
his  own." 

"Uncle  Bob's  helped  me  a  lot."  Gary 
says  now  appreciatively.  "He's  given  me 
a  lot  of  good  advice  about  many  things, 
and  he's  helped  me  become  more  at  ease 
and  more  relaxed  on  TV.  Having  my  own 
CBS  Radio  show  last  summer  helped,  too. 
I  had  a  lot  of  good  backing-up.  A  good 
band,  good  vocal  troupe,  a  great  producer 
and  writer — the  works.  You  learn  some- 
thing new  in  show  business  every   day." 

During  the  winter,  Gary's  been  sched- 
uled as  vocalist  on  Edgar  Bergen's  CBS 
Radio  show  and  also  for  some  of  the 
network's  biggest  TV  shows,  including  the 
Shower  Of  Stars.  But  he's  doubtful 
whether  he  could  handle  a  television  show 
of  his  own  now.  "I  don't  know  about  that 
— that  would  be  taking  a  big  chance,"  he 
says. 

He  wouldn't  even  watch  his  first  big 
TV  show  with  his  own  family.  He  watched 
it  alone  in  the  recreation  room  at  home. 
Later,  a  little  shaken  by  the  experience  of 
seeing  himself  on  television  for  the  first 
time,  he  told  his  best  friend,  Jack  Haley, 
Jr.,  "If  they  ever  do  a  remake  of  'King 
Kong,'  I've  got  that  part  cool." 

He  still  doesn't  think  he  can  sing  a  bal- 
lad. "I've  got  a  good  picture  of  that,"  he 
says.  But  he  has  no  hesitancy  about  really 
getting  off  the  ground  with  rhythm-and- 
blues.  As  for  his  ambitions  for  the 
future:  "I'd  like  to  act  and  sing,  do  radio, 
television,  movies — everything.  There've 
been  a  couple  of  movies  mentioned,  in- 
cluding   one    with    Sammy     Davis,    Jr. — 


something  about  a  kid  who  leaves  a  farm 
and  joins  up  with  a  river  boat.  But  there's 
nothing  definite  about  it.  There's  no  fin- 
ished script  yet.  I'd  like  to  start  in  small 
good  parts  and  work  on  up.  I  wouldn't 
want  to  start  out  as  the  star." 

All  in  all,  Gary's  getting  pretty  well  in- 
oculated for  show  business.  All  aspects  of 
it.  Even  unto  reading  romantic  items  about 
himself  in  the  gossip  columns — and  being 
reported  three  places  at  once:  "I  just  got 
a  big  box  of  clippings  from  the  clipping 
service.  It's  a  laugh  riot.  Some  of  the  girls 
I'm  supposed  to  have  taken  out,  I  haven't 
even  met." 

Gary's  the  first  of  the  younger  Crosbys 
to  experience  that  axiom  of  show  business 
— the  show  must  go  on.  He  was  rehearsing 
at  CBS  when  he  got  the  news  that  his 
brother,  Phil,  had  been  seriously  injured 
in  an  automobile  accident. 

"That  was  pretty  brutal,"  Gary  says 
now,  of  Phil's  near-miss.  And  so  was  doing 
the  show.  "I  found  out  about  it  just  an 
hour  before  I  had  to  go  on."  That  broad- 
cast is  a  haze  to  him.  Jack  Haley,  Sr., 
phoned  Buddy  Bregman,  Gary's  musical 
director  (and  Haley's  son-in-law),  who 
was  to  break  it  to  him.  "I  walked  in  the 
office  while  Buddy  was  talking.  .  .  ." 

Gary  rushed  to  the  news  room  to  confirm 
it,  and  got  the  radio  report  that  his  dad 
had  chartered  a  plane  at  Hayden  Lake 
and  was  flying  to  Phil  in  Raymond,  Wash- 
ington. Gary's  next  thought  was  to  call 
home  and  soften  the  shock  for  "Georgie" — 
Georgia  Hardwick,  the  Crosbys'  house- 
keeper, who  was  the  boys'  nurse  until 
they  were  grown.  She  had  been  Phil's 
nurse  from  the  time  he  was  five. 

Across  the  nation,  their  shock  was 
shared  by  all  those  who've  followed  the 
Crosby  boys  with  so  much  affection  from 
the  time  they  were  born.  As  for  Bing — 
when  Bing  saw  the  scene  of  the  accident, 
he  shook  for  an  hour.  As  he  says  now. 
"The  good  Lord  really  had  his  arms  around 
Phil." 

Phil's  accident,  though  serious,  wasn't 
fatal.  But  the  Crosbys  have  had  to  say  an 
earthly  farewell  to  two  of  their  own  whose 
memories  will  always  linger.  "Pop"  Crosby 
— beloved  head  of  the  whole  fabulous 
clan  is  gone.  And  so  is  Bing's  wife,  the  late 
Dixie  Lee  Crosby,  though  her  wit  and 
warmth  will  be   ever-remembered. 

Her  niece  Cathy  glows,  just  talking 
about  her  now.  "There  will  never  be  any- 
body else  like  Aunt  Dixie.  She  had  her 
own  personality,  her  own  kind  of  differ- 
ence. It's  sort  of  hard  to  explain — but 
everything  about  her  was  her  very  own." 

There  are  some  small  despairs  in  Cathy's 
life,  too,  right  now.  Like  any  teenager,  her 
moods  and  emotions  go  from  tip-toe  to 
way-down.  "I  stunk  on  the  show  yester- 
day," she'll  say.  "I  know  when  I'm  bad. 
I  held  my  head  down  and  I  was  so  nervous 
— and  my  lips  started  moving  back  and 
forth.  I  was  dying  to  get  the  number  over 
with.  I  want  to  do  a  good  job,  and  I  know 
inside  of  me  what  I  want  to  do,  how  I 
want  to  sing.  Of  course,  I  can't  do  the 
'heart  songs'  yet.  I'm  not  good  enough  for 
those.  You  have  to  be  real  good  to  sing 
those  songs.  .  .  ." 

There  are  times  when  the  challenge 
of  singing  up  to  the  family  name  hangs 
heavy  heavy  over  her  head  and  hopes: 
"People  expect  so  much  of  you  because 
you're  a  Crosby.  Other  kids  resent  you, 
too.  I  think  it's  partly  jealousy.  They  think 
it's  easier  for  you  and  that  you  have  an 
opportunity  other  boys  and  girls  don't 
have.  It  is  an  advantage  and  I'm  grateful 
for  every  opportunity,  but  it's  sort  of  a  dis- 
advantage, too,  in  a  way.  They  expect  you 
to  be  twice  as  good.  Another  newcomer 
can  make  a  mistake  and  nobody  notices  it. 
And  no  matter  what  I  do — the  same  with 


Gary — I'll  always  be  known  as  Bob 
Crosby's  daughter  and  Gary  will  always 
be  known  as  Bing  Crosby's  son.  Of  course, 
I'm  the  only  girl-Crosby  now  in  TV,  and 
that  helps.  .  .  ." 

On  the  other  hand,  there's  the  warm 
thrill  of  being  recognized  wherever  you 
go:  "People  seem  to  have  the  same  warm 
feeling  for  me  they  have  towards  Dad.  I 
walk  down  the  street  and  kids,  from  four 
years  old  on  up,  come  up  to  me.  They  say, 
'Hi,  Cathy,'  and  they  feel  like  they  know 
me — and  it's  wonderful.  .  .  ." 

It's  phenomonal  how  many  feel  they 
know  Bob's  Cathy  in  the  few  months  she's 
been  in  show  business.  She's  under  con- 
tract to  CBS,  who  are  sponsoring  her  edu- 
cation and  grooming  her  for  stardom.  And, 
out  of  the  2,000  fan  letters  that  pour  into 
her  father's  office  in  Television  City  week- 
ly, some  700  of  them  are  for  her. 

She's  a  starry-eyed  movie  fan,  and  noth- 
ing pleases  her  more  than  for  fans  to 
remark  about  her  resemblance  to  Eliza- 
beth Taylor:  "She's  my  favorite.  She's  so 
perfect.  I'm  overwhelmed  when  people 
think  I  look  like  her."  When  she  made  the 
cover  of  a  famous  national  news  magazine, 
Cathy's  reaction  was,  "I'd  rather  be  on 
Photoplay."  As  she  adds  now,  "That  would 
be  a  dream  come  true.  You  can  be  a  model 
or  anything  and  be  on  the  covers  of  other 
magazines.  But,  when  you  make  the  cover 
of  Photoplay — you  know  you're  a  movie 
star.  You've  really  made  it  in  movies." 

She's  "making  it"  in  TV  now,  as  one  of 
the  cast  of  her  dad's  tremendously  popular 
daytime  television  show.  Concerning  her 
future,  Bob  says.  "As  a  father,  I  want  her 
to  be  happy.  If  Cathy's  going  to  do  this, 
I'm  going  to  do  all  in  my  power  to  help." 

His  is  a  vast  audience  and,  when  a  friend 
remarked  recently  about  how  "happy  and 
wholesome"  the  show  is,  he  agreed.  "It's 
wholesome  all  right.  It's  got  to  be  whole- 
some for  my  mother  and  her  girl  friends — 
or  I'll  hear  from  them." 

lheir  all-Irish  mother,  Kate — a  hand- 
some woman — takes  a  loving  and  spirited 
interest  in  her  family's  activities.  And  hers 
is  a  respected  opinion  with  all  of  them. 
When  a  columnist  quizzed  Bob  about 
whether  or  not  his  brother  Bing  was  going 
to  marry,  as  was  rumored,  he  said  he 
didn't  know — "I  haven't  heard  from  any- 
body that  he  isn't,  but  I  haven't  heard  from 
Mother  that  he  is."  And,  as  he  adds  serious- 
ly now,  "Not  one  of  the  Crosbys  ever  made 
an  important  decision  without  talking  to 
Mother  first — and  she's  never  once  given 
us  a  wrong  answer.  I  know  Bing's  often 
told  her  to  pay  no  attention  to  anything 
she  may  read  about  him — including  the 
exaggerated  accounts  of  his  death.  'If  any- 
thing serious  ever  comes,'  he  said,  'you'll 
be  the  first  to  find  out.'  " 

Both  Bob  and  Bing  are  understandably 
proud  of  the  progress  their  two  offspring 
have  made  in  show  business  thus  far,  and 
in  their  serious  application  to  their  careers. 

Thinking  towards  the  future,  Bob  says, 
"I  don't  think  Cathy  has  it  as  tough  as 
Gary  and  I — being  compared  with  Bing.  At 
least  they'll  never  see  her  with  a  pipe — or 
expect  her  to  sing  like  Bing.  I  don't  think 
anybody  is  as  adored  throughout  the  world 
as  Bing.  It's  like  climbing  Mt.  Everest  to 
ever  even  hope  to  approach  his  height." 

On  the  other  hand,  the  famous  fellow 
who  threw  his  baby  brother's  name  in  the 
ring,  watches  Bob's  television  show  with 
large  admiration.  "I  don't  know  how  Bob 
does  it,"  Bing  has  said  admiringly.  "Five 
days  a  week — live  TV!" 

Bing  goes  five  nights  weekly  over  CBS 
Radio  with  his  commentary-and-song 
show.  As  a  friend  says,  "Bing  will  be  doing 
radio  until  they  tear  the  transmitters 
down."  But  he's  moving  into  night-time 
television,  too,  with  two  big  shows  sched- 


uled this  season,  starting  with  Maxwell 
Anderson's  "High  Tor." 

With  Gary  singing  on  Edgar  Bergen's 
CBS  Radio  show  and  also  appearing  on 
such  great  TV  programs  as  Shower  Of 
Stars,  Bing's  present — and  pleasant — con- 
cern is  that  his  boy's  working  too  hard.  "It's 
certainly  a  revelation  to  me  how  hard  this 
kid  can  work  when  he  finds  out  that  he's 
doing  what  he  likes  to  do,"  his  father  says. 

Any  prospective  sponsors  who  query  a 
Crosby  now — "Any  more  at  home  like 
you?" — can  well  count  on  an  affirmative 
answer. 

There's  Caroline  Miller,  talented  daugh- 
ter of  Bing's  sister,  Mary  Rose  Poole.  A 
major  in  drama  and  speech  from  San  Jose 
State  College,  Caroline,  21,  is  now  being 
groomed  for  a  future  in  motion  pictures  at 
Paramount.  And  she  also  sings.  "I  was  a 
voice  in  'The  Girl  Rush,' "  she  laughs.  Her 
cousin  Cathy  says,  "She  phrases — I  heard 
her  practicing."  And  she'll  be  introduced 
to  TV  audiences  on  her  Uncle  Bob's  show. 

Larry  Crosby's  son,  Jack,  it  very  active 
in  the  technical  end  of  the  trade  at  Tele- 
vision City.  There's  another  potential  sing- 
ing star  in  Bob  Crosby's  household.  "My 
son,  Chris,  has  a  beautiful  voice — but  he 
doesn't  want  any  part  of  show  business.  I 
can't  even  get  him  to  sing  around  the  house 
any  more." 

Uing  has  three  sons  unaccounted  for  as 
yet  in  show  business.  The  Army  is  keeping 
the  twins  busy  these  days.  Phil,  fully  re- 
covered from  his  accident,  is  a  private  at 
Fort  Lewis,  Washington.  Dennis  is  even 
further  out  of  earshot  of  the  greasepaint 
siren.  He's  now  a  GI  in  Germany. 

And  there's  Linny,  just  turning  18,  dark- 
eyed  and  very  talented.  The  youngest  in 
Bing's  brood,  and  already  somewhat  ex- 
perienced in  show  business,  he  specializes 
in  rhythm-and-blues  and  frequently  guests 
on  his  dad's  radio  show.  "We  taped  three 
shows  at  Hayden  last  summer,"  he  says.  "I 
sang  one  duet  with  Dad,  'Rock  Around  the 
Clock.'  It  was  a  lot  of  fun.  I  don't  know 
how  much  talent — but  a  lot  of  fun  ..." 

Lin's  a  senior  at  Loyola  parochial  high 
school  in  Los  Angeles  and  presently  board- 
ing there  and  going  home  weekends — "due 
to  a  social  summer,"  he  explains.  "You  al- 
ways get  paid  off  for  the  good  things.  Just 
say  I  had  a  ball." 

For  Lin,  show  business,  if  ever,  is  still 
far  away.  "I'm  at  the  social  stage  right 
now,"  he  says.  "Social — and  educational. 
Dad  wants  me  to  go  to  college,  and  I've  got 
four  years  of  college  ahead  of  me.  I'm 
going  to  take  up  business  administration — 
and  then  see  what  happens.  I've  got  a  lot 
of  time."  As  to  how  his  dad  feels  about  his 
being  in  show  business,  Lin  says  he  doesn't 
know.  "Dad's  just  thinking  towards  that 
diploma  now." 

As  to  whether  Lin  really  wants  to  be 
in  show  business,  there  is  for  him  the 
same  sobering  thought  of  other  Crosbys 
before  him.  The  thought,  the  fear — of 
whether  or  not  he's  good  enough. 

"I  like  show  business,"  he  says.  "And  it's 
real  great  being  on  Dad's  show.  But  I  don't 
know  whether  I  like  it  that  much  or  not.  I 
don't  know  if  I've  got  any  talent.  I  haven't 
convinced  myself  I  have.  Sure,  I  get  up  and 
sing  a  song.  But  I  have  a  name  too — and  I 
wouldn't  want  to  go  into  it  just  because  of 
a  name.   .   .  ." 

Familiar  words,  these.  The  doubt 
whether  or  not  one  is  good  enough  to  fol- 
low the  fellow  who  pioneered  it  to  Holly- 
wood from  that  house  of  music  on  Sharp 
Street,  back  in  Spokane.  The  fellow  whose 
voice  found  a  home  in  every  family  in  the 
land,  and  who  planted  the  family  flag  in 
show  business  for  all  the  Crosbys  who 
were  born  to  sing. 

Theirs  has  been  challenge  beyond  the 
call  of  duty — but  not  of  destiny. 


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(Continued   from   page   48) 
man  and  wife,   and  the  move  was  being 
made  for  the  purpose  of  increasing  that 
happiness. 

The  Armses  moved  that  day,  into  an 
apartment  which  no  other  living  soul  had 
ever  called  "home."  Only  the  day  before, 
the  painters  had  done  the  walls  of  the  four- 
room  apartment,  and  many  of  the  finish- 
ing touches  had  not  been  made. 

This  was  the  largest  apartment  Russ  and 
Liza  had  ever  lived  in.  Both  of  them  re- 
membered the  first  flat  they  occupied  after 
the  storybook  courtship  had  resulted  in 
their  marriage.  .  .  .  "It  was  in  the  Village, 
too,"  Russ  recalled.  "It  was  small  and 
dark.  The  two  rooms  we  had  would  have 
fitted  into  the  living  room  we  have  here, 
and  it  wasn't  anything  near  as  pleasant." 

As  Russell  Arms  spoke  of  the  old  apart- 
ment, Liza  smiled  ruefully,  then  looked 
around  the  new  one  and  smiled  happily. 
"It  was  sheer  luck  that  led  us  to  this 
place,"  she  said.  "We  were  looking  for  a 
place  here  in  Manhattan  so  that  it  would 
be  easier  on  Russ.  You  see,  during  the 
week,  Russ  has  a  lot  of  time  between  re- 
hearsals of  one  sort  or  another,  and  where 
we  lived  before — out  in  Flushing,  on  Long 
Island — it  wasn't  possible  for  Russ  to  get 
home  in  that  spare  time  between  the  re- 
hearsals. He'd  just  have  to  waste  the  time 
around  the  city.  So  we  decided  we  wanted 
some  place  closer,  where  he  could  come 
home  and  rest  during  those  times. 

"Well,  we  started  looking  around,  and 
couldn't  find  anything  that  we  liked.  We 
looked,  I  remember,  at  an  apartment  in  a 
building  close  by  here  but  we  didn't  like 
it.  Then  we  saw  this  building.  It  looked 
as  though  it  was  almost  finished  and  ready 
to  be  occupied.  So  we  stopped  and  asked 
about  an  apartment.  We  got  the  last 
available  one  in  the  building.  Just  like 
that.  That  was  sheer  luck,  because  we 
didn't  have  any  idea  we  could  get  in 
here.  .  .  .  You  know,  luck  has  played  an 
awfully  important  part  in  our  lives.  This 
is  just  one  of  a  series  of  lucky  breaks." 

Both  Russ  and  Liza  feel  that  it  was  cer- 
tainly luck  which  led  them  to  find  each 
other.  It  happened  on  Christmas  Eve  in 
1948,  when  both  of  them  were  appearing 
on  the  same  show.  It  was  the  NBC  pro- 
duction of  "The  Nativity,"  held  at  the  base 
of  the  giant,  lighted  Christmas  tree  in 
Rockefeller  Plaza.  There  it  was  that  Russ 
first  saw  Liza,  fell  in  love  with  her  and 
determined  to  marry  her. 

The  courtship  was  not  an  easy  one. 
Neither  of  them  was  working  steadily  at 
the  moment,  so  they  had  to  find  ways  and 
means  of  being  with  each  other  that  didn't 
cost  much  money.  The  old  saying  goes 
that  love  will  find  a  way  and,  in  this  case, 
love  did  just  that — because,  six  and  a  half 
months  after  they  first  met,  when  Russ 
had  started  a  radio  program  and  things 
were  going  a  little  better,  they  were  mar- 
ried on  the  lawn  of  a  church  in  Green- 
wich Village.  Since  then,  they  have  often 
worked  together  professionally  and,  at  one 
time,  had  their  own  television  program 
before  Russ  joined  Your  Hit  Parade. 

Luck  had  also  entered  into  Russ's  ca- 
reer. Before  moving  to  New  York  from 
his  native  California,  Russ  had  attended 
the  famous  Pasadena  Playhouse  and  had 
had  a  contract  with  Warner  Bros.,  appear- 
ing in  such  pictures  as  "The  Man  Who 
Came  to  Dinner"  and  "Wings  for  the 
Eagle."  After  that,  he  served  in  the  Army 
and  won  a  commission.  Then  came  more 
picture  work — until,  in  the  fall  of  1948, 
Russ  moved  to  New  York  in  the  hope  of 
going  on  the  stage.  .  .  .  Russ  had  traveled 
all  the  way  across  the  continent  to  be  in 


the  right  place  at  the  right  time  to  meet 
the  right  girl — who,  coincidentally,  also 
turned  out  to  be  a  Californian. 

And  now,  once  again,  luck  had  played  a 
part  in  their  lives,  making  it  possible  for 
them  to  move  into  this  new  apartment 
they  both  liked  so  much.  A  week  after 
they  moved  in,  Russ  and  Liza  were  far 
from  settled.  Pieces  of  furniture,  modern 
in  style,  were  still  being  delivered.  There 
was  still  no  telephone.  The  carpet  men 
had  put  down  the  wrong  color  of  carpet 
in  the  bedroom.  But  both  felt  that  it 
would  not  be  long  before  they  were  really 
at  home. 

The  Armses  had  not  yet  decided  on  a 
number  of  things.  There  was  the  problem 
of  where  they  would  install  the  tanks  for 
the  tropical  fish  which  they  both  love 
raising  and  caring  for. 

They  had  decided,  of  course,  when  they 
bought  it,  where  the  new  furniture  would 
go.  But  there  was  still  the  question  of 
where  they  would  hang  the  various  pic- 
tures and  framed  memorabilia  of  their 
lives,  reminders  of  Russ's  movie  career 
and  Liza's  days  as  an  ingenue  in  such 
stage  hits  as  "Inside  U.  S.  A.,"  with  Bea- 
trice Lillie.  And  there  was  still  the  prob- 
lem of  where  to  put  the  large  collection 
of  music  they  have,  music  which  they  had 
sung  professionally  and  which  they  keep 
as  reference  material. 

1  hese  were  things  about  the  apartment 
which  were  still  to  be  settled  in  the  future, 
but  their  hopes  were  high  that  this  same 
future  held  good  things  in  store  for  them — 
both  so  far  as  the  apartment  was  con- 
cerned and  in  their  lives.  .  .  .  After  all. 
they  had  taken  this  apartment  so  they 
could  be  together  more  often  than  when 
Russ  commuted  to  work  from  across  the 
East  River.  They  wanted  to  continue  that 
"togetherness"  as  much  as  possible,  and 
the  apartment  made  it  easy  in  still  another 
way.  In  the  basement  of  the  building  is  a 
garage  where  the  Armses  can  keep  their 
car,  which  has  meant  so  much  to  them: 
"Lots  of  times,"  as  Liza  says  happily, 
"after  the  show  is  over  on  Saturday  night, 
we'll  get  into  the  car  and  get  out  of  town 
for  the  weekend,  just  to  get  away  from 
everything  and  be  by  ourselves.  You  see, 
Russ  is  off  on  Sundays  and  Mondays,  and 
we  like  to  consider  those  two  days  our 
very  own."  With  the  new  arrangement, 
they  can  now  get  an  earlier  start  for  those 
precious  weekends. 

One  of  the  most  precious  things  Russ 
and  Liza  hope  for,  in  the  new  apartment, 
is  children.  So  far,  they  have  none,  but 
they  both  want  very  much  to  become  par- 
ents, and  that  is  something  they  hope  the 
new  home  will  bring,  along  with  its  other 
blessings. 

Meanwhile,  there  is  the  future  in  then- 
professional  lives.  As  things  stand  now, 
Russ  is  more  than  happy  with  his  work  on 
Your  Hit  Parade.  But  the  two  can't  help 
dreaming  of  the  day  when  Russ  will  ap- 
pear in  a  musical  show  on  Broadway,  as 
well  as  on  television.  And,  when  that 
great  day  comes,  they  both  hope  there  will 
be  a  good  part  in  that  musical  for  Liza, 
too.  That  would  be  "togetherness"  in- 
deed! 

For  the  immediate  future,  they  are  mak- 
ing the  most  of  that  new  apartment  and 
all  that  it  means  to  them,  the  promise  it 
holds  for  them.  For  that  apartment  holds 
the  "something  old  and  something  new" 
of  the  famous  wedding  rhyme.  The  "old" 
is  the  love  that  Russell  Arms  has  had  for 
Liza  Palmer  and  she  has  had  for  him, 
from  the  start.  The  "new"  is  a  greater 
companionship  than  they  have  ever  had 
before. 


The  Meaning  of  Love 


(Continued  from  page  43) 
didn't  come  first  and  foremost,  would  I? 
That's  my  full-time  'job'  now.  My  career 
is  secondary,  as  it  always  is  to  a  girl.  Pupi 
doesn't  mind  if  I  go  on  doing  television 
and  recordings,  and  anything  else  I  want 
to  do,  so  long  as  none  of  it  keeps  me  away 
from  him.  I  don't  want  to  be  away  from 
him.  This  doesn't  mean  I  am  giving  up  my 
work — only  the  part  of  it  that  might  get  in 
the  way  of  a  happy  family  life.  It  makes 
sense,  when  you're  as  much  in  love  as  we 
are,  doesn't  it? 

"We  want  a  large  family,"  she  adds, 
aglow  with  the  news  that  the  first  junior 
member  will  arrive  early  this  summer. 
"We  want  to  be  together  for  the  rest  of 
our  lives.  We  both  believe  that  being  to- 
gether all  the  time,  if  that  is  possible,  is 
the  way  to  make  a  marriage  last  for  a  life- 
time." 

They  met  on  CBS -TV's  The  Morning 
Show  last  year,  where  they  were  both 
regular  featured  performers.  At  first,  there 
was  mutual  admiration  for  each  other's 
work.  Then  they  were  attracted  by  more 
personal  qualities. 

"Pupi  impressed  me  as  the  kindest,  gen- 
tlest man  I  had  ever  met,"  Betty  explains. 
"As  I  got  to  know  him  better,  I  learned 
how  honest  he  is,  how  completely  sincere. 
I  adored  his  humorous  approach  to  every- 
thing, humor  that  was  always  ready  to 
bubble  over  and  break  the  tension  of  re- 
hearsals or  of  the  difficult  situations  which 
come  up  occasionally  on  any  program. 
Gradually,  I  began  to  admit  to  myself  that 
he  had  every  quality  I  had  ever  admired 
in  a  man." 

As  for  Pupi,  he  had  fallen  head  over 
heels  in  love  with  Betty  long  before  he 
had  any  idea  that  she  might  reciprocate 
the  feeling.  "But  I  never  thought  I  had  a 
chancfe,"  he  says  frankly.  "When  I  got  up 
the  courage  to  propose  one  evening — be- 
cause I  had  to  know  how  Betty  felt  about 
me — and  she  told  me  she  loved  me  as  I 
loved  her,  I  thought  I  must  be  dreaming.  I 
loved  everything  about  her.  Her  big,  dark 
eyes  were  the  most  beautiful  I  had  ever 
seen.  Thinking  of  them — how  they  shone 
and  danced  with  delight,  how  tender  and 
sweet  they  were  when  she  was  quiet  and 
thoughtful — drove  me  almost  crazy.  I 
wanted  her  to  look  at  me  like  that  for  the 

I  rest  of  my  life. 

"I  love  many,  many  other  things  about 

{  Betty,"  Pupi  adds.  "I  love  her  way  of  al- 
ways being  a  lady.  Her  intelligence,  and 
the  way  she  is  simple  and  straightfor- 
ward." 

Working  on  the  same  show  with  Pupi, 
even  before  they  knew  they  were  attracted 
to  each  other,  had  been  a  happy  experi- 
ence for  Betty,  although  they  seldom  ac- 

j  tually  appeared  together.  Betty  was  the 
singer,  exchanging  banter  with  Jack  Paar 
on  the  program,  and  Pupi  the  comedian. 
"Pupi  was  sensational  to  be  around,"  she 
recalls  "because  he  was  always  so  gay  and 
such  fun." 
After  a  while,  he  began  to  visit  at  the 

i  little  apartment  Betty  shared  with  her 
mother — who  would  always  cook  the 
things  he  liked  best — and  then  they  would 
sit  around  and  talk  and  listen  to  records 
and  watch  TV,  or  go  out  to  dance,  or  to  a 
movie  or  the  theater.  It  never  seemed  very 
important  whether  they  went  out  for  a  big 
evening  or  stayed  quietly  at  home,  because 
they  were  beginning  to  feel  a  sense  of  "to- 
getherness" wherever  they  were. 

For  Betty,  who  had  started  on  radio  at 
thirteen,  singing  with  her  sister,  and  had 
traveled   with   Rosemary    and   with   Tony 

.  Pastor's  band  from  the  time  she  was  fif- 
teen  until   she    was    eighteen — after    that, 


doing  professional  work  on  radio  and  in 
television,  and  in  clubs  scattered  all 
through  the  East  and  Midwest — being  at 
home  so  much  was  a  new  experience.  The 
Morning  Show  and,  when  she  left  that 
program,  The  Robert  Q.  Lewis  Show  pro- 
vided a  new  kind  of  life. 

"We  got  a  chance  really  to  know  each 
other,"  she  smiles,  "to  meet  each  other's 
friends  and  family,  to  understand  each 
other's  thoughts  and  moods.  Most  impor- 
tant of  all,  perhaps,  to  learn  how  each  felt 
about  the  basic  things  that  are  so  impor- 
tant. And  to  find  that  we  both  felt  the 
same  way  about  things  that  really  matter." 

1  hey  were  married  last  September  7,  in 
Our  Lady's  Chapel  of  St.  Patrick's  Cathe- 
dral in  New  York.  The  bride's  dark  beauty 
was  set  off  by  a  dream  of  a  dress  in  white 
organdy  and  she  came  in  on  the  arm  of 
her  Uncle  William,  who  gave  her  away.  It 
was  a  small  wedding,  with  only  family 
members  and  a  very  few  close  friends 
present.  A  reception,  for  forty,  was  held 
later  at  the  apartment  of  a  friend,  Al  Ros- 
enberg. "Robert  Q.  sent  the  most  beautiful 
flowers  I  have  ever  seen,"  Betty  says. 

The  wedding  was  at  two  in  the  after- 
noon and,  three  hours  later,  they  were  off 
to  Havana,  where  they  spent  three  days, 
then  the  Internacional  Hotel  in  Varadero 
Beach,  Cuba,  where  they  had  a  glorious 
week,  going  on  to  Miami  Beach,  Florida, 
for  another  week. 

Because  Pupi  planned  to  do  some  work 
in  Florida  this  winter,  at  one  of  the  lead- 
ing resort  hotels,  Betty  has  made  few  com- 
mitments that  would  take  her  away  even 
briefly  from  her  husband.  Possibly  by  the 
time  you  read  this  she  will  have  done  a 
dramatic  musical  on  television  from  New 
York,  a  one-nighter  for  which  she  has 
been  paged,  and  some  guest  spots  on  sev- 
eral other  shows.  There  have  been  bids  for 
Mr.  and  Mrs.  Pupi  Campo  to  appear  to- 
gether and  they  would  like  that  very 
much,  Pupi's  schedule  permitting.  In  addi- 
tion there  are  her  new  recordings — "Ki 
Ki,"  made  not  long  ago  with  Gordon  Jen- 
kins, and  "Just  to  Belong  to  You."  Natu- 
rally, she  confesses,  "I  want  to  record  with 
my  husband,  too." 

While  they  are  dividing  their  time  be- 
tween New  York  and  Florida — they  hope 
to  have  a  permanent  home  in  southern 
Florida  someday — they  are  living  in  Man- 
hattan in  the  aparment  Betty  has  had  for 
some  time.  Betty's  mother  is  now  in  Bev- 
erly Hills,  California,  with  her  youngest 
daughter,  ten-year-old  Gail  Ann — and,  of 
course,  that's  Rosemary's  home  now,  too. 

"What  we  look  forward  to"  Betty  says, 
"is  when  whatever  home  we  live  in  will 
be  littered  with  toys.  Where,  if  you  don't 
watch  your  step  carefully,  you'll  trip  over 
some  blocks  or  a  doll  or  a  baseball  bat.  As 
a  matter  of  fact,  my  little  sister  Gail  Ann 
can  hardly  wait  until  summer  to  have  an- 
other nephew,  or  a  niece,  she's  so  in  love 
with  Rosie's  little  boy! 

"We  hope  the  home  will  be  somewhere 
outside  a  city,  set  in  grass  and  trees  and 
flowers.  But,  as  I  said  months  ago — beforfe 
I  realized  how  much  in  love  I  was  and 
how  soon  I  was  going  to  be  a  married 
woman — I  want  to  live  wherever  my  hus- 
band can  work  and  be  happy.  That's  the 
most  important  thing  in  my  life  now.  Even 
my  own  career,  for  which  I  worked  so 
hard  and  which  used  to  seem  so  terribly 
important,  is  strictly  secondary  now. 

"Isn't  that  the  way  every  woman  feels 
when  she  is  really  in  love?"  she  asks. 
"Don't  you  think  it  makes  sense?" 

It  certainly  does — especially  when  a  girl 
can  radiate  as  much  happiness  as  Betty 
Clooney  when  she  says  it! 


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Truly  a  "Honeymooner" 


{Continued  from  page  69) 
the  brokerage  business.  And  Joyce  mar- 
ried him  for  any  number  of  good  reasons, 
for  he's  a  good-looking,  outgoing,  generous 
kind  of  guy.  Dick  stands  six  inches  taller 
than  Joyce,  he  was  born  on  Lincoln's 
Birthday,  and  they  were  married  just  last 
October — though  there's  positively  no  sim- 
ilarity between  The  Honeymooners  and 
these   newlyweds! 

It's  the  same  size-ten  body  which  is  both 
Trixie  and  Joyce,  but  that's  all.  Joyce  is 
only  about  two-thirds  the  age  of  Trixie. 
She  is  twenty-six,  an  ash  blonde  with 
smoky-blue  eyes.  On  straight  dramatic 
shows,  she's  usually  cast  as  the  irresistible 
siren  who  must  be  shot  in  the  last  two 
minutes  of  the  plot  so  the  sweet  ingenue 
can  have  the  hero.  That's  how  Joyce 
looks. 

Actually,  by  nature,  Joyce  is  reserved, 
serious — and  moody.  "I'm  a  pessimist," 
she  admits.  "I  see  a  cloud  in  the  sky  and 
I  worry  about  how  fat  it's  got  to  get  be- 
fore it  rains.  I  can  even  worry  about  go- 
ing out  in  a  raincoat  and  not  getting  it 
wet." 

otir  Dick  and  Joyce  well  and  the  result 
is  kind  of  a  weather  forecast:  Cloudy  with 
scattered  sun — but  Joyce  considers  this 
an  improvement  over  her  pre-marital  days. 
She  owns  up  to  once  being  as  skeptical 
about  marriage  as  she  is  about  an  inno- 
cent little  cloud  in  the  sky.  Joyce  was  in 
no  hurry  about  marriage. 

"Some  girls  get  pressure  at  home,"  she 
observes.  "But  my  mother  always  argued 
against   early   or  very   young   marriages." 

Prior  to  meeting  Dick  Charles,  Joyce  had 
been  going  steady  with  an  older  man — not 
ancient,  just  a  decade  or  so  older  than 
Joyce.  But  suddenly  she  stopped  going 
steady  and  discovered  a  whole  new  world 
around  her — the  Gleason  gang,  in  partic- 
ular. She  learned,  for  one  thing,  that  the 
bunch  had  been  gathering  after  the  show 
at  the  Cordial  Bar  and  Grill. 

So,  on  the  night  of  April  twenty-third, 
destiny  brought  Joyce — wearing  a  lemon- 
yellow  suit  and  leopard  stole — into  the 
Cordial,  where  she  joined  a  table  of 
friends.  Then  Peggy  Morrison,  who  is 
costume  designer  for  Gleason  Enterprises, 
came  over  to  the  table  with  two  men.  One 
of  them  was  Peggy's  husband.  The  other 
was  destiny  again — a  new  young  man. 
And  then  the  nice,  new  young  man  was 
sitting  beside  Joyce  and  saying  to  her, 
"No,  Charles  is  my  last  name.  My  first 
name  is  Dick." 

Then  Joyce  looked  up  and  around  and 
there  was  no  one  at  the  table  but  herself 
and  Dick  and  Peggy  and  her  husband.  And 
they  began  talking  again  and,  the  next 
time  Joyce  looked  up,  there  was  no  one 
at  the  table  but  herself  and  Dick.  So 
they  went  on  talking — and,  the  next  time 
she  looked  up,  the  owner  was  standing  by 
the  door,  key  in  hand,  waiting  for  them 
to  leave  so  he  could  lock  up  for  the  night. 

Joyce  had  learned  that  Dick  was  from 
Rochester,  New  York.  He  had  been  a 
Navy  pilot  in  World  War  II,  a  commer- 
cial airlines  pilot  for  a  year  afterwards, 
studied  at  the  University  of  Alabama  to 
escape  Yankee  snow,  served  as  business 
manager  on  a  couple  of  newspapers  and 
several  years  ago,  had  come  down  to  New 
York  to  act.  He  had  done  some  tele- 
vision shows  and  some  commercials.  He 
once  participated  in  a  razor  commercial 
on  the  Gleason  show,  but  Joyce  didn't  re- 
member him.  ("Well,  his  beard  was  famil- 
iar," she  says,  "but  I  couldn't  place  his 
face.") 

Anyway,  Dick  established  a  secure 
beachhead   that   first   Saturday.    The   fol- 


lowing Monday  evening,  he  began  a  siege 
that  continued  almost  nightly  until  they 
were  married.  The  courtship  devel- 
oped along  classical  lines — an  eager  male 
and  a  reluctant  female.  It  was  a  case  of 
hurry  up  and  take  your  time.  Dick  fig- 
ured that  he  proposed  between  thirty  and 
forty  times — his  voice  collapsed  from  ner- 
vous exhaustion  at  least  twice. 

Dick  had  been  making  an  adjustment 
of  his  own  at  the  time  he  met  Joyce.  He 
had  decided  that  he  was  drifting  in  the 
acting  business  and  he  decided  to  get  a 
solid  kind  of  job.  He  was  at  work  with 
an  advertising  firm.  Joyce  was  impressed 
but  kept  saying  no. 

"We'd  known  each  other  such  a  short 
time,"  she  comments.  "Finally,  I  agreed 
that  I  wouldn't  postpone  our  marriage 
more  than  six  months." 

At  five  and  a  half  months,  they  com- 
promised because  a  good  friend  was  sail- 
ing for  Europe  and  didn't  want  to  miss 
the  nuptials.  On  Saturday  evening  of 
October  first,  Joyce  and  Dick  called  their 
parents  and  notified  them  that  they  were 
"eloping".  They  had  hoped  to  be  mar- 
ried quietly  by  a  justice  of  the  peace,  but 
an  old  friend  who  lived  in  Freeport,  Long 
Island,  suggested  that  they  be  married  in 
his  minister's  library  in  the  Baptist  Church. 
This  was  logical — for  Dick  is  a  Presbyter- 
ian and  Joyce  is  a  Lutheran. 

Then  a  dear  friend  leaked  the  news  to 
the  papers  and,  when  Joyce  and  Dick  got 
to  the  church,  it  looked  as  though  CBS 
had  sent  out  tickets — and  so,  by  popular 
demand,  the  ceremony  was  performed  in 
the  church  proper.  The  groom  wore  a 
dark  suit  and  a  smile  of  triumph.  The 
bride  wore  a  white  lace  dress — snug  to 
the  hips,  where  it  flared  out  in  white 
chiffon — and  plastic  gold  pumps,  and  a 
five -orchid  corsage. 

Because  Dick  had  to  be  at  work  the  next 
morning,  the  wedding  party  drove  back 
to  Manhattan  for  a  celebration  in  their 
honor  and,  at  two  in  the  morning,  the 
newlyweds  retired  with  two  corned-beef 
sandwiches. 

You  have  gathered,  perhaps,  that  Joyce 
Randolph  is  not  ordinary,  usual,  run  of 
the  mill.  That's  true.  She  is  quite  the 
exception  and  she  is  quite  exceptional. 
She  is  kind  of  an  Horatio  Alger  heroine- 
type.  With  little  encouragement  from  her 
family  and  with  no  special  schooling, 
Joyce  began  to  make  an  acting  career  for 
herself  when  she  was  barely  out  of  high 
school.  But  up  to  that  time  she  kept  her 
ambitions    mostly    to   herself. 

"My  parents  didn't  approve  of  acting  as 
a  career,"  she  says,  "so  I  just  never  talked 
much  about  it." 

Her  family  lives  in  Detroit  and  she  has 
one  brother,  eighteen,  at  the  University 
of  Michigan.  Joyce  remembers  her  child- 
hood as  very  nice  and  very  normal,  with 
no  great  problems,  but  she  thinks  that  she 
must  have  been  born  with  the  desire  to 
act.  She  was  always  in  school  shows  and 
plays.  She  went  to  work  with  little-the- 
ater groups  while  she  was  in  high  school. 

In  high  school,  Joyce  took  a  special 
course  in  retailing  and,  on  graduation,  as 
one  of  the  better  students,  she  landed  a 
job  with  Saks  Fifth  Avenue  in  Detroit. 
She  took  the  job  with  the  idea  of  saving 
enough  money  so  that  she  might  try  for 
an  apprentice  job  at  a  theater.  But  her 
retailing  career  was  cut  short  for,  within 
ten  months  after  she  got  out  of  high  school, 
Joyce  had  her  first  legitimate  role. 

She  had  been  doing  amateur  theater 
work  for  years,  notably  with  the  Wayne 
University  Workshop.  She  got  fine  notices 
from  local  reviewers  and  as  a  teen-aged 


kid  had  gained  a  reputation  for  her  ability. 

When,  in  1944,  the  touring  company  of 
"Stage  Door" — under  the  management  of 
the  late  Frank  McCoy — played  Detroit, 
they  got  in  touch  with  the  Catholic 
Theater  to  audition  young  actors  for  minor 
roles.  Although  Joyce  had  never  worked 
with  the  Catholic  Theater,  the  director 
knew  of  her  and  phoned  and  suggested 
she  audition.  She  did.  She  got  the  part 
of  the  Boston  society  girl  and  joined  the 
cast  for  the  remainder  of  the  tour. 

"It  was  like  the  local  boy  joining  the 
circus  and  coming  home  a  full-fledged  lion 
tamer,"  she  says.  "At  the  end  of  the  tour 
I  came  back  to  Detroit  with  an  Equity 
card,  a  hundred  and  fifty  dollars  in  sav- 
ings, and  friends  in  show  business." 

She  paused  long  enough  to  say  good- 
bye, and  went  on  to  New  York.  Two  and 
a  half  weeks  after  she  got  to  New  York, 
she  bumped  into  Frank  McCoy  again,  this 
time  at  Forty-fifth  and  Broadway. 

"How'd  you  like  to  go  back  to  Detroit 
for  the  summer?"  he  asked.  And  she  was 
signed  on  as  an  understudy  to  "Abie's  Irish 
Rose"  and  spent  two  weeks  in  Buffalo,  a 
couple  in  Pittsburgh,  then  settled  down 
in  Detroit  for  fourteen  weeks  more. 

After  that  stint,  she  returned  to  New 
York  and  began  seeking  a  theatrical  career 
in  earnest.  At  one  time  she  took  on  a 
sales  job  during  evening  hours,  so  that 
she  could  make  the  usual  round  of  casting 
offices  during  the  day.  She  landed  a  small 
part  in  a  short-lived  production,  "Goose 
for  the  Gander."  She  went  on  the  road 
with  "Good  Night,  Ladies."  In  1947,  she 
went  to  Hollywood — but  not  to  star  in 
pictures. 

"I  joined  a  workshop  and  did  eight  dif- 
ferent plays,"  she  says.  "There  was  no 
pay,  but  again  it  was  good  training." 

She  got  back  to  New  York  in  1948,  when 
television  was  being  watched  on  "giant" 
ten-inch  screens.  She  just  squeezed  into 
the  small  tube  and,  as  it  grew,  so  did  her 
work.  Between  1950  and  1953,  she  was 
employed  frequently  in  "whodunits."  She 
was  killed  so  often  that  a  publicity  man 
billed  her  as  "the  most  beautiful  corpse  of_ 
the  year."  She  had  a  singing  part  in  a 
Louisville  production  of  "No,  No,  Nanette" 
and  for  the  first  time  met  Audrey  Mead- 
ows, who  was  also  in  the  cast. 

Joyce  began  to  appear  regularly  on 
comedy  shows  in  sketches  with  Cantor, 
Danny  Thomas,  Martin  and  Lewis  and 
other  famous  clowns,  but  she  got  to  meet 
Jackie  Gleason  indirectly  through  a  com- 
mercial— the  kind  that  takes  your  breath 
away. 

Joe  Cates,  now  producer  of  The  $64,000 
Question,  was  producing  Jackie's  Caval- 
cade Of  Stars  on  Du  Mont,  and  one  day 
Joe  phoned  Joyce. 

"Do  you  want  to  do  a  commercial  for 
us?"  he  asked. 

"Sure." 

"Well,  bring  short  shoes,"  he  said. 

She  got  there  and  discovered  the  shoes 
were  incidental.  She  was  to  be  a  gal  in  a 
commercial  who  is  unhappy  about  a  man's 
breath  and  therefore  refuses  to  kiss  him. 
She  played  it  for  laughs  and  it  was  so 
successful  that  she  was  asked  to  come 
back  and  do  it  on  film. 

It  followed  that  Joe  Cates  would  keep 
her  in  mind,  and  so  a  few  weeks  later  he 
phoned  again — this  time  to  ask  Joyce  to 
audition  for  a  serious  sketch  Jackie  had 
written.  He  suggested  that  she  dress  about 
fifteen  years  older.  She  did  and  found 
that  her  competition  looked  as  if  they 
had  that  much  more  experience  on  her. 
But  Jackie  chose  Joyce  for  the  sketch  and 
very  shortly  asked  for  her  again— this 
time  for  the  part  of  Trixie,  wife  to  Art 
Carney's  Ed  Norton. 

That  was  four  years  ago  and,  although 
Joyce  has  had  occasional  time  to  work  on 


other  TV  shows  and  in  summer  theaters, 
she  has  had  to  pass  up  opportunities  on 
Broadway.  Joyce  is  almost  completely 
dominated  by  television,  actually  never 
out  of  its  sight:  Everyone  is  familiar  with 
the  eye  that  CBS-TV  uses  for  a  "station 
break"  and  as  a  trademark.  Well,  on  the 
side  of  Studio  50  there  is  a  "CBS  eye" 
that  measures  at  least  forty  feet  high. 
This  "eye"  is  the  vista  from  Joyce's  apart- 
ment. It's  like  a  conscience  or  a  peeping 
Tom.  It  is  smack  up  against  her  windows, 
practically  a  part  of  the  decorating  scheme. 

Besides  being  convenient  to  CBS  studios, 
Joyce's  apartment  is  handsome  and  com- 
fortable. The  living  room  is  long,  with  a 
medium-gray  carpet.  Joyce  herself  lac- 
quered most  of  the  furniture  black  and 
white.  There  is  a  large  desk  against  one 
wall  where  Dick  (now  taking  special 
courses  in  finance)  does  his  studying  and 
typing  with  a  brand  new  portable,  a  wed- 
ding gift  from  Joyce.  There  is  a  handsome, 
ninety-pound  slab  of  marble  that  consti- 
tutes a  coffee  table.  The  sofa  runs  thirteen 
feet  and  behind  it  is  an  open  black  cabinet 
that  pyramids  two-thirds  of  the  way  up 
the  wall.  Joyce  has  lined  this  with  a  fabric 
matching  some  of  the  sofa  pillows.  In  two 
of  the  open  shelves  are  rather  exotic, 
white  Chinese  figures.  The  walls  are  pearl 
gray  and  this  color  continues  into  the 
dining  and  kitchen  area. 

"I  do  all  my  cooking  in  the  rotisserie," 
Joyce  says.  "I  can  make  chops,  steaks 
and  chicken — period.  I'm  not  much  of  a 
cook.  In  fact,  I've  been  frightened  about 
inviting  anyone  in  for  dinner." 

Dick  isn't  much  help.  He  can't  cook  or 
bake.  He  doesn't  chop  vegetables  or  make 
a  salad  dressing,  but  he's  very  good  at 
defrosting  frozen  vegetables!  Along  with 
this  specialty,  he  majors  in  dish- washing. 
But  he  did  paint  a  couple  of  closets  in  the 
bedroom. 

The  bedroom  is  on  the  feminine  side, 
with  pink  walls  and  a  pink  and  white 
vanity  that  is  another  homemade  job. 
Joyce  ingeniously  cut  down  the  legs  on 
an  old  desk  and  refinished  it  in  pink  and 
white.  She  has  made  herself  a  grand 
combination  of  a  dresser  and  vanity.  She 
is  loaded  with  perfume.  Dick  says,  "I 
think  Joyce  buys  perfume  the  way  she 
buys  soft  drinks — by  the  carton." 

Joyce  likes  clothes  as  much  as  she  likes 
perfume.  Being  an  actress,  she  has  an  ex- 
cuse to  keep  up  a  fairly  generous-sized 
wardrobe.  She  prefers  dramatic  colors, 
simply  cut,  and  her  favorite  outfits  are  in 
turquoise  or  emerald  or  purple.  She  is  a 
thrifty  shopper. 

"I  learned  to  shop  for  bargains,"  she 
says,  "and  the  funny  thing  now  is  that, 
though  I  can  afford  to  buy  myself  an 
$89.95  dress,  I  still  get  more  satisfaction 
out  of  hunting  till  I  find  what  I  want  at 
$18.95." 

Her  closets  are  filled,  especially  since 
Dick  moved  in.  She  generously  gave  him 
one  full  closet  and  two  big  and  two  little 
drawers.  Actually,  they  have  had  very 
little  adjustment  to  make — they  enjoy  the 
same  friends,  have  similar  tastes  in  books, 
movies  and  food.  Sunday  mornings  they 
even  work  the  same  crossword  puzzle  irl 
bed.    They  agree  on  the  future. 

"Most  people  talk  about  moving  into  the 
country,"  Joyce  says,  "but  we  love  the 
island  of  Manhattan.  I  could  live  right  in 
the  city  for  the  rest  of  my  life.  Of  course, 
if  there  were  children,  you  would  have  to 
consider   what  would   be  best  for   them." 

Dick  grins  and  says,  "Jackie  told  us  that 
we  can't  start  that  for  a  couple  of  years — 
not  until  the  contract  is  up,  anyway." 

Gleason  was  kidding,  of  course.  But 
Joyce  and  Dick  aren't,  as  they  play  their 
gay  but  serious  real-life  roles  as  honey- 
mooners. 


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103 


While  We  Are  Young 


(Continued  from  page  41) 
has  made  him  the  head  of  a  household 
which  includes — at  latest  count — an  eight- 
year-old  daughter,  a  white  French  poodle, 
a  Siamese  cat,  a  monkey,  a  parakeet,  a 
pigeon,  and  one  big  bowl  of  goldfish. 

As  for  how  it  all  came  about — that's  an 
amazing  story  which  could  only  have  hap- 
pened in  the  twentieth  century,  and  it 
could  only  have  happened  to  Biff  McGuire. 
It  begins,  quietly  enough,  in  a  house  on 
the  outskirts  of  New  Haven,  Connecticut. 
Biff's  father,  William  J.  McGuire,  is  a  con- 
tractor. His  mother,  Mildred  McGuire, 
runs  the  Corner  House — a  home  for  un- 
derprivileged children  and  the  aged.  As 
for  Biff's  brothers  and  sister,  one  is  in 
government  service,  one  teaches  school, 
and  one  "was  written  up  in  all  the  news- 
papers." (The  newsworthy  event  hap- 
pened during  the  Korean  War,  when 
James  McGuire  found  a  two-days-old 
baby  in  a  rice  field.  The  Marine  Corps 
gave  him  permission  to  keep  the  child, 
but  suggested  that  he  also  find  himself  a 
bride.  James  obliged  as  soon  as  he  re- 
turned to  the  states.) 

As  for  Biff,  the  eldest — born  October  25, 
1926— all  he  wanted  was  to  be  a  farmer. 
"Every  summer,  during  vacation,"  he  re- 
calls, "I  would  work  on  a  farm.  I'd  help 
bring  in  the  crops,  trim  pear  trees,  cut  off 
dead  limbs."  And  then  he  smiles  nostal- 
gically. "I  used  to  like  walking  along  be- 
hind a  team  of  horses  and  talking  to  all 
the  farmers." 

In  1944,  when  he  went  to  college,  it  was 
to  Massachusetts  State,  where  he  could 
study  agriculture.  In  his  sophomore  year, 
however,  the  twentieth  century  caught 
Biff  up  in  its  wake.  He  quit  school  to  en- 
list in  the  Engineer  Corps.  At  war's  end, 
he  was  in  Germany  without  enough  points 
to  be  shipped  home,  so  he  took  advantage 
of  the  Army's  plan  to  attend  an  overseas 
school.  It  was  at  Shrivenham  University 
in  England  that  Biff  discovered  he  enjoyed 
acting  and  started  to  study  dramatics 
seriously. 

1  hat's  how  it  happened  that  a  young 
man  from  Connecticut,  who  only  wanted 
to  be  a  farmer,  suddenly  found  himself 
acting  on  the  London  stage,  touring  Eu- 
rope with  a  theatrical  troupe,  and  marry- 
ing a  beautiful  Broadway  actress  in  Dus- 
seldorf,  Germany.  The  play  in  London 
was  Saroyan's  "The  Time  of  Your  Life." 
The  European  tour,  under  Special  Services, 
was  in  "Here  Comes  Mr.  Jordan."  And 
the  beautiful  Broadway  actress  was  GiGi 
Gilpin,  who  appeared  in  the  same  pro- 
duction as  a  CAT  (Civilian  Actress  Tech- 
nician). By  the  time  Biff  had  enough 
points  to  come  home,  he  and  GiGi  had  de- 
cided to  make  the  trip  together. 

To  most  soldiers,  the  trip  home  meant  a 
return  to  the  life  they  had  known  before 
the  war.  To  Biff,  however,  it  meant  re- 
turning to  a  life  he  had  never  even 
dreamed  of — and  setting  up  a  home  in  New 
York,  the  biggest  city  in  the  world.  The 
sensitive  young  man  who  liked  nature  and 
the  simple  life  had  a  family  to  support, 
and  he  meant  to  do  it  by  acting — the  craz- 
iest, most  competitive  business  in  the 
world.  It  was  like  throwing  Daniel  into 
the  lion's  den,  and  yet  .... 

While  GiGi  retired  from  acting  to  have 
a  child,  Biff's  career — as  he  says — "sort  of 
snowballed    along."    Discovering    that    he 
could  sing  and  dance  as  well  as  act,  he  ap- 
T     peared    in   the    Broadway   productions    of 
v     "Dance  Me  a  Song,"  "Make  Mine  Manhat- 
R     tan,"    and    "South    Pacific."    He    replaced 
Barry  Nelson  in  "The  Moon  Is  Blue,"  re- 
ceiving his  first  star  billing  on  St.  Patrick's 
Day,    1953.     After    a    six    months'    run    on 
104 


Broadway,  he  appeared  in  the  Chicago  pro- 
duction, then  went  to  London,  where  he 
co-starred  with  Diana  Lynn.  It  was  here, 
where  he  had  first  made  his  professional 
debut,  that  his  performance  earned  him 
the  coveted  Plays  and  Players  Award. 
Back  in  the  United  States,  he  appeared  in 
the  national  company  of  "King  of  Hearts," 
in  a  New  York  City  Center  revival  of  "The 
Time  of  Your  Life,"  and  in  more  than 
one  hundred  and  fifty  TV  dramatic  shows. 

Biff  is  not  only  a  regular  in  The  Secret 
Storm,  but  has  been  appearing  nightly  in 
"A  View  From  the  Bridge,"  the  Arthur 
Miller  hit  which  brought  Van  Heflin  back 
to  Broadway.  On  his  Sunday  nights  off, 
he  usually  can  be  seen  in  a  dramatic  show 
for  television.  And  his  first  movie,  "The 
Phenix  City  Story,"  is  now  on  view. 

It's  a  schedule  which  could  throw  an 
old  pro,  but  Biff  seems  to  be  taking  it  in 
his  good-natured  stride.  Yet  .  .  .  seeing 
him,  talking  to  him,  one  can't  help  wonder- 
ing: How  does  he  do  it?  Onstage,  he  can 
be  dynamic,  poetic — anything  the  part 
calls  for.  But,  offstage,  he  seems  more  the 
easygoing  gentleman  farmer  than  the 
temperamental  dramatic  actor.  He'll  sit 
you  down,  as  though  he  has  all  the  time 
in  the  world,  offer  you  an  apple,  and  start 
munching  one  himself.  You'll  find  your- 
self doing  most  of  the  talking,  for  Biff  is  a 
quiet  man  and,  when  he  does  speak,  it's 
strictly  to  the  point.  His  voice  is  so  low, 
you  can  scarcely  hear  it.  And  what's  this, 
you  wonder — shyness  in  an  actor?  But 
then,  because  you  find  yourself  expanding 
and  warming  to  the  conversation,  you  sud- 
denly realize  that  it  isn't  shyness,  at  all. 
It's  gentleness.  Here  is  a  man  so  simple, 
so  natural,  that  he  sees  you  as — not  just 
another  busy  human  being — but  a  part  of 
nature,  too.  If  he  speaks  softly,  gently, 
and  offers  you  an  apple — how  else  is  he 
to  make  one  of  God's  creatures  feel  at 
home? 

The  notion  may  be  startling,  particularly 
in  the  twentieth  century,  but  the  reason 
for  Biff's  success  is  not  just  looks,  not  just 
talent — it's  spiritual.  He  has  the  grace  of 
quiet,  a  serenity  "within"  which  can  bring 
even  the  outside  world  into  harmony. 
Above  all,  he  has  the  strength  of  simplic- 
ity. 

"Show  business,"  they  say,  "is  no  busi- 
ness." It's  crazy,  it's  nerve-wracking,  it's 
tough.  But  Biff  doesn't  know  what  they 
are  talking  about.  "I  love  acting,"  he  says 
and,  somehow,  that  takes  care  of  the  whole 
problem  for  him.  In  his  dressing  room  at 
the  Morosco  Theater,  while  waiting  to  go 
on  in  the  Arthur  Miller  play,  he  usually 
studies  the  script  for  next  day's  episode  of 
The  Secret  Storm  or  for  next  Sunday 
night's  dramatic  show  on  TV.  He  can  take 
on  any  number  of  assignments  because,  as 
he  explains:  "I  enjoy  doing  them.  There 
are  no  blocks,  so  I'm  a  fast  study." 

Living  in  New  York  also  represents  no 
problems,  because  he  loves  the  place.  Un- 
like so  many  city  folk  who  have  fled  to  the 


Steve   Allen    and   Jayne    Meadows 

Peggy   King     •     Betty   Ann   Grove 

Lawrence  Welk     •     Tony  Marvin 

All    on    the    cover,    in   full    color    .   .    . 
all   covered   in  exclusive  stories  in 

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suburbs  in  a  mad  quest  for  the  simple  fife, 
Biff  manages  to  live  it  right  in  the  heart 
of  Manhattan. 

"I  have  woods  in  Central  Park,"  he 
points  out.  Every  day  the  weather's  fine, 
he  and  his  eight-year-old  daughter,  Gigi 
(Biff  actually  spells  her  name  with  two 
small  "g's,"  to  distinguish  her  from  her 
mother),  go  walking  there.  "There's  so 
much  here — libraries  and  museums.  It's 
a  wonderful  opportunity  for  the  child.  As 
for  fresh  air,  you  can  get  that  anywhere. 
In  the  country,  many  children  spend  much 
of  their  time  indoors,  anyway." 

When  Biff  walks  down  the  busy  streets 
of  Manhattan,  strangers  stop  him — as 
friendly  as  neighbors  back  home  in  Con- 
necticut. Only  now  they  don't  ask  about 
Biff's  family,  they  ask  about  The  Secret 
Storm.  They  want  to  know:  "Why  did  you 
do  that  today?"  Or:  "What's  going  to 
happen  next  week?" 

Biff  even  manages  to  have  the  animals 
that  mean  so  much  to  him — thanks  to  a 
spacious  six-room  apartment.  It's  a  reg- 
ular Noah's  Ark,  but  the  population  is 
constantly  changing.  That's  because  Gigi 
attends  the  Ethical  Culture  School,  where 
children  are  permitted  to  borrow  pets  on 
a  "lending-library"  basis.  She  keeps 
bringing  home  owls,  rabbits,  snakes. 

"I'm  waiting  for  the  doorbell  to  ring," 
Biff  says,  "and  have  my  daughter  walk 
in  with  an  elephant  one  day." 

At  one  time  or  another — and  sometimes, 
all  at  once — the  McGuires  have  lived  with 
turtles,  polliwogs,  white  mice,  a  marmoset, 
a  monkey,  a  parakeet,  a  pigeon  which  fell 
out  of  a  nest,  and  goldfish.  Two  perma- 
nent members  of  the  household,  however, 
are  Ballerina,  a  white  French  poodle  who 
recently  had  three  puppies,  and  Teek-ki,  a 
Siamese   cat. 

Luckily,  the  two  young  ladies  in  Biff's 
household — GiGi  and  Gigi — share  his  en- 
thusiasm for  pets  and  help  take  care  of 
them.  Little  Gigi,  in  fact,  is  torn  between 
wanting  to  be  a  veterinarian  or  a  ballerina 
when  she  grows  up.  But  then,  if  she 
grows  up  to  be  anything  like  mother  GiGi, 
she'll  probably  manage  both.  Mrs.  Mc- 
Guire— in  addition  to  being  a  wife,  mother, 
and  part-time  caretaker  of  the  zoo — is  still 
part  of  the  theater.  She  coaches  actors, 
concentrating  on  those  who  are  preparing 
for  roles  in  television. 

"She  has  a  wonderful  feeling  for  actors," 
Biff  explains  proudly.  "She  can  help  them 
get  to  the  heart  of  a  situation." 

Then,  as  he  tells  how  much  GiGi  has 
helped  him,  it  becomes  obvious  that  this  is 
one  of  the  happiest  marriages  in  show 
business.  When  you  ask  him  about  it,  he 
tells  you — as  simply  as  ever — "I'm  in  love. 
And  she's  in  love  with  me." 

Love,  it  seems,  is  not  only  the  secret  for 
a  successful  marriage,  but  for  a  successful 
life,  as  well.  For  Biff,  it's  the  answer  to 
everything.  He  loves  acting,  he  loves  the 
city  he  lives  in,  he  loves  his  home.  It 
keeps  him  happy,  and  it  keeps  him  free  of 
the  disease  of  ambition.  An  excellent  car- 
toonist, he  doesn't  sell  his  drawings — he 
just  sends  them  to  his  friends  as  gifts. 
"To  cheer  them  up,"  he  says.  And,  though 
he  speaks  of  getting  a  bigger  apartment 
one  day,  it's  only  so  he  can  have  more 
room  for  his  pets. 

"Some  day,  I'd  like  to  get  a  little  farm," 
he  admits,   "but  I  won't  give  up  acting." 

One  can't  imagine  him  ever  giving  it 
up — not  only  because  he  loves  it,  but  be- 
cause he  has  no  need  to  retire.  Unlike  so 
many  who  have  to  wait  till  their  sixties  to 
take  it  easy  and  live  the  simple  life,  Biff 
is  doing  it  right  now,  while  he's  still 
young — and  very  much  in  love. 


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Fashion  Frocks.  If  you  look  closely,  your  own 
good  style  sense  should  tell  you  that  one  wears  a 
style  featuring  the  new  "overblouse  look."  Can 
you  tell  which  dress  it  is?  Here's  one  little  clue 
. . .  "overblouse  look"  means  2-piece  look.  Now 
you're  on  your  own.  When  you  have  picked 
out  the  RIGHT  DRESS  (and  there's  NO  hidden 
trick  to  the  answer),  enter  Style  Number  in 
coupon  below  and  mail  it  for  your  FREE  GIFT 
-a  valuable  TEA  APRON! 

Your  Chance  to  Earn  up  to  $100.00  In  a  Month 

—  Plus  Lovely  Dresses  for  Yourself! 
We're  running  this  Style  Test  to  find  women  quali- 
fied for  big  sparetime  money-making  opportunities 
as  Fashion  Counselors.  We  offer  you  the  chance  to 
take  in  $20-$25-$30  and  more  in  a  week— plus  the 
chance  to  obtain  latest,  exclusive  styles  . . .  for  your 
own  use,  and  to  use  as  samples.  We  want  to  prove 
how  YOU  can  do  this  easily,  quickly  in  your  free 
time  simply  by  showing  our  lovely  dresses  — and 
taking  orders  for  them  from  friends  and  neighbors. 
No  experience  needed!  We  furnish  everything. 

Send  For  Your  FREE  Gift  Now! 

In  the  coupon,  write  the  number  of  the  only  dress 
in  our  picture  with  the  popular  new  "overblouse 
look,"  and  mail  at  once.  By  return  mail,  we'll  send 
you  ABSOLUTELY  FREE  a  stunning,  smartly 
styled  Tea  Apron.  We'll  also  send  you  FREE  our 
Full-Color  Presentation   Portfolio  of  gorgeous 


styles  and  actual   fabric  samples,  along  with  full 
details  about  our  easy  earning  plan. 

Women— Act  Quickly! 
Send  Answer  Today! 

You  must  hurry  to  win  your 
FREE  PRIZE  of  a  Tea  Apron. 
Do  the  test  right  away  and 
get   your   answer   off   to  us 
today.  Your  FREE  PRIZE- 
plus  Style  Folio,  fabric  sam- 
ples, and  full  instructions, 
will  go  out  when  we  re- 
ceive your  entry.  Only  one 
entry  accepted  from  each 
household.    Offer    not 
open  to  present  Fashion 
Frocks  salespeople. 

STYLE  TEST  MANAGER 

FASHION  FROCKS,  inc. 

Dept.  U-2053 
Cincinnati  25.  Ohio 

In  Canada,  North  American  Fashion 
Frocks,  lid.,  2163  Parf.'ienois, 
Dept.  U-2053,  Monireil,  P.  Q. 


WIN 

THIS  PRIZE! 

t'Z"-"*'""-!-"'*-* 

TEA  APRON 


PASTE  COUPON  ON  POSTCARD- Mail  Today! 


THE  DRESS  WITH  THE  NEW 
■OVERBLOUSE  LOOK"  IS  STYLE  N(K_ 


Style  Test  Manager 
FASHION    FROCKS.    INC. 
Dept.  U-2053,  Cincinnati  25,  O. 

Here's  my  answer.  Please  rush  my  PRIZE  of  the  "Bib"  Type  Tea 
Apron  .  also  Style  Folio  with  fabric  samples  and  full  particulars 
without  obligation. 

Name Age 

A  ddress 


City  &  Zone- 


State- 


If  you  live  in  Canada,  mail  this  coupon  to 
North  American  Fashion  Frocks,  Ltd.,  2163  Parthenais,  Montreal,  P.  Q. 


Let  the  Miracle  of/JCOt/fay 

Put  a  SMILE  in  your  Smoking ! 

Its  as  simple  as  ABC 


ALWAYS  MILDER  because 
.Accu-Ray  "sees"  into  the 
heart  of  your  Chesterfield 
while  it  is  being  made,  per- 
fecting the  even  distribution 
of  its  fine  tobaccos.  So  your 
Chesterfield  burns  more 
evenly,  smokes  much  milder. 


BETTER  TASTING  because 
Accu-Ray  electronically 
scans  the  entire  length  of  every 
Chesterfield  toinsure  an  open, 
easy  draw  that  lets  all  the 
wonderful  flavor  of  the  world's 
best  tobaccos  come  through 
for  your  enjoyment. 


COOLER  SMOKING  because 
Chesterfields  are  14%  more 
perfectly  packed  than  ciga- 
rettes made  without  Accu-Ray. 
No  hot  spots.  No  hard  draw. 
Just  cooler,  fresher  smoking 
pleasure  from  first  puff  to  last. 
Enjoy  Chesterfield — today! 


James  Arness,  star  of 

"GUNSMOKE" 

1  TV's  new  hit-CBS,  Sat. 


Chesterfield 


c 


klNG-S 


©  Liggett  &  Myers  Tobacco  Co. 


I'M/  M%t/m.MJJ-  WJ  The  Truth  About 

I      M#    ~m  m~~w  m^*  -w*  ^h.  m^*   THIS IS  Y0UR  UFE 

JL  ¥  M1HHOH  j^z^ 

IDIO  MIRROR'S  N.  Y.,  N.  J.,  Conn.  Edition  Dm>CDT  A   ICUIIC 

KUdcKI  U.  LtjrVI) 


4RCH 


JULIE  STEVENS 
VALIANT  LADY 


Steve  Allen 
nd  Jayne  Meadows 


BETTY  ANN   GROVE 


THAT 
IVORY 
LOOK 

YOUNG  AMERICA  HAS  IT... 
YOU  CAN  HAVE  IT  IN  7  DAYS! 

Fresher-than-Springtime  . . .  That  Ivory  Look 

is  freshness  itself!  This  enchanting 

young  one  has  it  .  .  .  don't  you  want  it  too? 

Then,  just  remember:  the  milder  your  beauty  soap, 

the  prettier  your  skin!  Moreover,  more 

doctors  advise  pure,  mild  Ivory  for  baby's  skin 

and  yours  than  any  other  soap. 


% 


Fairer-than-Springtime  . . .  That  Ivory  Look 

is  so  fair  and  clear!  And  so  easy  for  you  to  have. 

Simply  change  to  regular  care  with  pure, 

mild  Ivory  Soap.  In  7  days  your  skin  perks  up 

so  prettily!  You'll  love  its  clear,  radiant  freshness. 

You'll  have  That  Ivory  Look! 


99  ,%%%    PURE...  IT   FLOATS 


=  4 


It's  like  getting  one  FREE!  4  cakes  of  Personal  Size  Ivory 
cost  about  the  same  as  3  cakes  of  other 

leading  toilet  soaps.  It  all  adds  up  .  .  . 


PERSONAL  SIZE  IVORY  IS  YOUR  BEST  BEAUTY  BUY! 


MUM 


® 


PHOTOGRAPH     BY    RICHARD     AVEDON 


ffl.  Ill  ,A 


The  doctor's  deodorant  discovery 
that  now  safely  stops  odor  24  hours  a  day 


Underarm  comparison  tests  made 
by  doctors  proved  a  deodorant  without 
M-3  stopped  odor  only  a  few  hours— 
while  New  Mum  with  M-3  stopped 
odor  a  full  24  hours! 


You're  serene.  You're  sure  of  yourself.  You're  bandbox  perfect  from  the  skin  out. 

And  you  stay  that  way  night  and  day  with  New  Mum  Cream. 

Because  New  Mum  now  contains  M-3  (hexachlorophene)  which  clings  to 

your  skin  — keeps  on  stopping  perspiration  odor  24  hours  a  day. 

So  safe  you  can  use  it  daily— won't  irritate  normal  skin  or  damage  fabrics. 


- 


■MHMMMMMi 


■MM 


LOOK.. 


whafi  new 
in  eye  beauty ! 

Look  prettier — through 
curly  lashes  in  just 
seconds — with  the  new 
soft-cush-ion 

'  PROFESSIONAL 
EYELASH    CURLER 
.     naturally, 
i|     it's  the  best . . 
•     gold  plated 
Molded  Cushion  refill,  only  \0* 

You  must  try  the  wonderful  new 
'  AUTOMATIC 

EYEBROW   PENCIL 

never  needs  sharpening 
— spring-locked  crayon 
can't  fall  out .  .  . 
Velvet  Black,  Dark  or 
Light  Brown,  and  now  in 
Dove  Grey  or  Auburn  .  .  . 
39£  for  two  long-last  ing  refills 

Tweeze  with  ease- with  the  new  silvery 

EYEBROW  TWEEZERS 

designed  with  a  grip  that 

can't  slip — straight 

or  slant  edge  .  .  .     29^ 

Last  but  not  least— the  world-famous 

'MASCARA 

for  long,  dark,  velvety 
lashes— Solid  Form  in 
gorgeous  gold-plated 
vanity  case  — or  Cream 
Form  in  smart  kit 

SPECIALISTS    IN    EYE    BEAUTY 


TV, 


RADIO 
MIRROR 


MARCH,  1956 


N.Y.,  N.J.,  CONN.  EDITION 


VOL.  45,  NO.  4 


Ann  Higginbotham,  Editor 


Ann  Mosher,  Executive  Editor 
Teresa  Buxton,  Managing  Editor 
Claire  Safran,  Associate  Editor 
Sonia  Gould,  Assistant  Editor 


Jack  Zasorin,  Art  Director 
Frances  Maly,  Associate  Art  Director 
Joan  Clarke,  Art  Assistant 
Bud  Goode,  West  Coast  Editor 


PEOPLE  ON  THE  AIR 

What's  New  from  Coast  to  Coast by  Jill  Warren  4 

The  Ten  Best  Dressed  Men  on  TV  (results  of  our  exciting  poll) 22 

Together  is  the  Key  Word  (Steve  Allen  and  Jayne  Meadows) 

by  Betty  Freedman  25 
A  Song  of  Faith  (Estella  Juenemann  and  Name  That  Tune) 

by  Mary  Temple  28 

Lucky  Lawrence  Welk by  Ernst  Jacobi  30 

Cinderella  Story  (Bonnie  Bartlett) by  Lilla  Anderson  32 

Valiant  Lady  (picture  story  from  the  beloved  daytime  drama) 34 

Marriage  Is  The  Big  Payoff  (Betty  Ann  Grove) by  Frances  Kish  52 

What  Makes  a  Person  Interesting? by  Ralph  Edwards  54 

The  Turning  Point  (Alice  Frost) by  Francesca  Williams  56 

The  Man  on  Medic  (Richard  Boone) 58 

Little  Singing  Bee  (Molly  Bee) by  Bud  Goode  60 

True  Happiness  for  Helen  Trent  (Julie  Stevens) by  Alice  Francis  62 

FEATURES  IN  FULL  COLOR 

Tony  Marvin  at  Home by  Martin  Cohen  38 

Peggy's  in  the  Pink  (Peggy  King) by  Fredda  Balling  42 

Robert  Q.'s  Hideaway  (Robert  Q.  Lewis) by  Gregory  Merwin  46 

All  for  the  Family  (Johnny  Carson) by  Helen  Bolstad  48 

YOUR  LOCAL  STATION 

Top  of  the  Morning   (WINS) 6 

Beeline  to  .a  Byline  (WICH) 10 

Limelight  A  La  Mode  (WOR) 12 

Two  for  Fun   (WPEN) 14 

YOUR  SPECIAL  SERVICES 

Steve  Allen's  Turntable 8 

Information  Booth 16 

Daytime  Diary 18 

New  Designs  for  Living  (needlework  and  transfer  patterns) 20 

What's  New 24B 

New  Patterns  for  You  (smart  wardrobe  suggestions) 66 

Inside  Radio   (program  listings) 74 

TV  Program  Highlights 76 

Cover  portrait  of  Steve  Allen  and  Jayne  Meadows  by  David  Workman 


BUY  YOUR  APRIL  ISSUE  EARLY   •   ON  SALE  MARCH  8 


.*■»  PUBLISHED  MONTHLY  by  Macfadden  Pub- 

»x *-     lications.    Inc.,   New  York.  N.    Y. 

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Write  to  TV  Radio  Mirror,  205  East  42nd  Street.  New 
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MANUSCRIPTS:  All  manuscripts  will  be  carefully  con- 


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FOREIGN  editions  handled  through  Macfadden  Publi- 
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las Lockhart,   Vice   President.  .„-j 

RE-ENTERED  as  Second  Class  Matter,  June  28,  1954, 
at  the  Post  Office  at  New  York.  N.  Y..  under  the  Act  of 
March  3,  1879.  Authorized  as  Second  Class  mall,  P.  O. 
Dept.  Ottawa,  Ont..  Canada.  Copyright  1956  by  Mac- 
fadden Publications,  Inc.  All  rights  reserved  under  In- 
ternational Copyright  Convention.  All  rights  reserved 
under  Pan-American  Copyright  Convention.  Todos  de- 
rechos  rcservadoe;  segun  la  Convcnclon  Pan-Americana 
de  Prooiedad  Literaria  y  Artistica.  Title  trademark 
registered  In  U.  S.  Patent  Office.  Printed  In  U.  S.  A. 
by  Art  Color  PrlntingCompany. 
Member  of  the 


TRUE  STORY  Women's  Group 


Often  a  bridesmaid . . 

never 
a  bride! 


q  Most  of  the  girls  of  her  set  were  married 
kCt&  •  •  •  but  not  Eleanor.  It  was  beginning  to 
look,  too,  as  if  she  never  would  be.  True, 
men  were  attracted  to  her,  but  their  interest 
quickly  turned  to  indifference.  Poor  girl!  She 
hadn't  the  remotest  idea  why  they  dropped  her  so 
quickly  .  .  .  and  even  her  best  friend  wouldn't 
tell  her. 

No  tooth  paste  kills  germs 
like  this  . . .  instantly 

Listerine  Antiseptic  does  for  you  what  no  tooth 
paste  does.  Listerine  instantly  kills  germs,  by 
millions— stops  bad  breath  (halitosis)  instantly, 
and  usually  for  hours  on  end. 

Far  and  away  the  most  common  cause  of  bad 
breath  is  germs.  You  see,  germs  cause  fermenta- 
tion of  proteins,  which  are  always  present  in  the 
mouth.  And  research  shows  that  your  breath  stays 
sweeter  longer,  the  more  you  reduce  germs  in 
the  mouth. 

Tooth  paste  with  the  aid  of  a  tooth  brush  is  an 
effective  method  of  oral  hygiene.  But  no  tooth 
paste  gives  you  the  proven  Listerine  Antiseptic 
method— banishing  bad  breath  with  super-efficient 
germ-killing  action. 

Listerine  Antiseptic  clinically  proved 
four  times  better  than  tooth  paste 

Is  it  any  wonder  Listerine  Antiseptic  in  recent 
clinical  tests  averaged  at  least  four  times  more 
effective  in  stopping  bad  breath  odors  than  the 
chlorophyll  products  or  tooth  pastes  it  was  tested 
against?  Every  night . . .  before  every  date,  make 
it  a  habit  to  use  Listerine,  the  most  widely  used 
antiseptic  in  the  world. 


LISTERINE     ANTISEPTIC     STOPS     BAD     BREATH 


...4   TIMES    BETTER   THAN    ANY   TOOTH    PASTE 


Twins  Jennafer  and  Jeffrey  bring  the  Joneses — Dick,  alias 
Buffalo  Bill,  Jr.;  Ricky;  Betty;  Melody — to  a  half-dozen. 


Lucy  loves  them,  but  she  can't  tell  Mike  and  Joe  Mayer 
apart.   The  twins   alternate   as    Lucille    Ball's   TV   son. 


By  JILL  WARREN 


Frontiers  change.  Fess  Parker,  who  fights  bears  and  Indians  as 
Davy  Crockett,  flew  to  New  York  to  help  fight  muscular  dystrophy. 


Honest  Abe  will  come  in  for  a 
well-deserved  share  of  TV 
salutes. 

Ford  Star  Jubilee  will  present  a 
special  Paul  Gregory  Theater  pro- 
duction of  "The  Day  Lincoln  Was 
Shot"  on  Saturday  night,  February 
11,  over  CBS-TV.  The  hour-and-a- 
half  presentation  is  an  adaptation  of 
the  Jim  Bishop  best-selling  book  of 
the  same  name. 

Wide,  Wide  World  is  also  doing  a 
special  Lincoln's  Birthday  tribute  on 
the  Sunday  afternoon,  February  12 
telecast  on  NBC.  And,  in  addition, 
the  cameras  will  switch  around  the 
country  to  show  actual  "live"  scenes 
of  the  current  carnivals  and  winter 
festivals,  including  the  famous  Mardi 
Gras  from  New  Orleans. 

Curt  Massey  has  taken  over  the 
radio  time  formerly  occupied  by 
Tennessee  Ernie  Ford,  who  is  giv- 
ing up  his  CBS  air  show.  Ernie 
asked  for,  and  was  granted,  a  sus- 
pension of  his  contract  with  CBS 
Radio,  and  from  now  on  will  prob- 
ably be  seen  much  more  on  televi- 
sion than  he  has  been  in  the  past. 
Since  his  record  of  "Sixteen  Tons," 
which  sold  well  over  a  million,  the 
"pea-pickin'  "  Mr.  Ford  is  very  much 
in  demand.   As  for  Curt  Massey,  he 


Host  Jack  Bailey  of  Queen  For  A  Day,  radio  favorite 
now  on  NBC-TV,  is  crowned  by  Misses  Coats  and  Burtis. 


Slightly  lighter  than   "Sixteen  Tons,"    Brion  gets  a   lift 
from  father  Tennessee  Ernie  Ford  for  a  look  at  a  trophy. 


is  very  glad  to  return  to  the  air- 
waves from  his  semi-retirement  and, 
for  the  time  being,  at  least,  will  re- 
tain most  of  Tennessee's  talent 
lineup. 

Saturday  night,  February  18,  is  the 
date  for  the  Oscar  Nominations 
from  Hollywood,  and  NBC-TV  will 
carry  the  preliminaries  on  the  yearly 
Academy  Award  contenders.  NBC 
also  will  telecast  the  actual  Award 
ceremonies  in  March,  as  they  did 
last  year,  with  the  date  to  be  an- 
nounced later. 

Imogene  Coca  is  back,  and  Max 
Liebman  has  got  her,  at  least  for 
one  show,  Sunday  night,  February 
26.  The  pert  comedienne  and  her 
former  mentor  from  Show  Of  Shows 
will  reunite  their  talents  to  do  an 
hour-and-a-half  program  on  NBC- 
TV.  The  team  will  do  a  satire  on 
the  entire  television  industry,  com- 
plete with  music,  production  and  the 
works. 

Edgar  Bergen  is  back  on  TV  with 
a  new  quiz-type  program,  Do  You 
Trust  Your  Wife?  It  is  seen  Tuesday 
nights,  on  CBS,  immediately  follow- 
ing The  $64,000  Question.  The  con- 
testants on  the  show  are  husband- 
and-wife  teams  and  Bergen's  not-so- 
dumb  dummies,  Charlie  McCarthy 


and  Mortimer  Snerd,  assist  the 
ventriloquist-comic  in  asking  the 
questions. 

Biography  In  Sound,  the  NBC 
Tuesday-night  radio  show,  is  doing 
an  interesting  program  on  February 
21.  The  subject  will  be  Anne  Mor- 
row Lindbergh,  the  authoress  and 
wife  of  the  aviation  ace.  This  is  one 
of  the  finest  programs  on  the  air, 
and  is  always  filled  with  true-life 
anecdotes  and  factual  happenings 
about  the  world's  famous  personali- 
ties. 

Filming  has  been  completed  in 
Hollywood  on  the  musical  adapta- 
tion of  "High  Tor,"  from  the  famous 
Maxwell  Anderson  play,  and  it  will 
be  seen  as  a  Ford  Star  Jubilee  show 
on  March  10,  over  CBS.  The  pro- 
duction was  shot  in  twelve  days  at 
a  cost  of  about  $400,000.  Bing' 
Crosby,  who  stars,  winds  up  as 
owner  of  the  film  after  two  showings 
on  the  network.  Eventually  Crosby 
intends  to  release  it  as  a  movie  fea- 
ture to  theaters  outside  the  United 
States.  Bing  held  out  so  long  on 
doing  any  television,  but  when  he 
finally  did — wow,  what  a  deal  he 
made. 

Judy  Garland  has  herself  a  nice 
television   deal   also.     She   has   just 


signed  with  CBS  on  a  three-year  ex- 
clusive contract.  Judy  is  supposed  to 
do  one  show  a  year,  the  first  one  to 
be  in  the  fall  of  this  year,  and  they 
say  the  deal  totals  up  to  $300,000  as 
Miss  G.'s  salary.  Who  said  Judy  was 
"washed  up"? 

Long-time  listeners  to  Aunt  Jenny 
will  be  happy  that  the  program  is 
back  on  the  CBS  Radio  daytime 
schedule.  Agnes  Young  is  once 
again  portraying  "Jenny"  and  Peter 
Thomas  has  resumed  as  the  an- 
nouncer. When  the  program  went 
off  the  air  in  March  of  1955,  CBS 
and  the  sponsor,  Lever  Brothers,  re- 
ceived literally  thousands  of  letters 
of  protest. 

Not  such  good  news  to  daytime 
radio  listeners  is  that  Perry  Mason 
has  gone  off  the  air,  after  several 
years  of  continuous  broadcasting. 
Stella  Dallas  and  First  Love  are  also 
out  of  the  daytime  lineup. 

This  'n'  That: 

TV  and  film  actor  Jerome  Court- 
land  took  himself  a  new  bride  re- 
cently in  Newark,  New  Jersey.  She 
is  Janet  Gumprecht,  daughter  of  the 
head  man  of  the  Nettie  Rosenstein 
fashion  enterprises.  Jerome  was 
formerly    (Continued   on   page    15) 


TOP  OF  THE  MORNING 


From  dawn  to  noon,  Peter  Roberts 

offers  neivs  and  then  music 
as  WINS's  man  about  the  morning 


Peter  fills  the  morning  hours  with  news  and  music. 
Off-hours  are  filled  with  his  new  home,  Tarralong 
Rough   Diamond  and  Glory  Hill  Girl — and  golf. 


Hate  to  get  up?  Suffer  from  mid-morning  slump? 
Want  something  to  perk  up  your  appetite  when 
it  gets  near  lunch  time?  The  cure  for  what  ails  you 
may  very  well  be  a  two-word  prescription — Peter 
Roberts — who  is  by  no  means  hard  to  take.  .  .  .  Peter 
is  on  hand  from  dawn  to  noontime  on  New  York's 
Station  WINS.  Starting  at  6:45  A.M.,  he  interrupts  the 
Bob  And  Ray  show  every  half-hour  on  the  quarter-hour 
to  present  Peter  Roberts  And  The  News.  To  retaliate, 
Bob  and  Ray  do  their  best  to  "break  up"  Peter  during 
his  five-minute  news  reports.  .  .  .  Peter  is  stoic  about 
these  shenanigans  and  delivers  the  news  informatively, 
authoritatively  and  informally.  Theoretically,  this 
should  be  the  end  of  his  day.  Peter  came  to  WINS 
somewhat  over  a  year  ago  as  Director  of  News  and 
Special  Events.  But  it  didn't  take  the  upper  echelons 
long  to  recognize  that  this  is  a  man  of  many  talents. 
So  now  Peter's  day  stretches  to  include  The  Peter 
Roberts  Show,  a  ten-to-noon  program  of  recorded 
music,  news  oddities  and  good  will.  .  .  .  Born  in  Mont- 
real, Peter  studied  at  London  University  for  two  years, 
tripping  about  Europe  on  holidays  and  spending  his 
tutoring  money  on  a  Budapest  spree  that  is  still  "mem- 
orable." He  returned  to  Canada  to  graduate  from 
McGill  University,  still  planning  to  become  a  lawyer. 


But  about  this  time  someone  told  Peter  he  had  a  nice 
voice.  Peter  mulled  this  over  and  decided  to  try 
broadcasting  in  the  United  States.  He  went  to  work  at 
WHAM  in  Rochester  and  then,  in  1942,  moved  to  KYW 
in  Philadelphia.  From  there  he  went  to  the  NBC  net- 
work, doing  both  radio  and  TV  announcing.  Peter  is 
also  well-known  for  his  narrations  on  the  movie  news- 
reel,  "News  of  the  Day,"  and  the  syndicated  "TV 
Review  of  the  Week."  .  .  .  While  at  NBC,  he  also  met 
his  wife  Joann,  who  was  then  head  of  the  make-up 
department.  When  the  regular  man  was  out,  Jo  came 
down  to  make-up  Peter  for  a  TV  show.  It  happened 
again  a  few  months  later  and  Peter  found  his  beautifier 
really  beautiful.  They  started  dating  and  have  been 
married  now  for  two  years.  .  .  .  The  Roberts'  recently 
moved  to  "a  funny  little  house"  in  Rutherford,  New 
Jersey.  English  Tudor  in  style,  it  also  houses  a  cham- 
pionship pug  dog,  Tarralong  Rough  Diamond,  and  a 
black  cocker  spaniel,  Glory  Hill  Girl.  Peter  and  Jo 
have  furnished  their  home  in  colonial  style,  with  a 
couple  of  good  antiques,  Jo's  collection  of  Lodestock 
and  early  American  glass.  Peter's  hobby  is  railroads, 
"not  models  but  full-size."  He  treasures  his  collection 
of  railroad  memorabilia,  but  New  Yorkers  need  only  a 
radio  timetable  to  get  on  Peter  Roberts'  track.   Aboard! 


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Greetings,  good  people,  and  welcome  to 
our  monthly  turn  around  the  turn- 
table. We're  here  for  the  usual  reason,  of 
course,  to  give  a  listen  to  the  newest  record 
releases.  So  shall  we? 

This  seems  to  be  the  era  for  hi-fi,  so 
let's  lead  off  with  "The  Hi-Fi  Nightingale," 
a  new  album  by  Caterina  Valente.  She  is 
the  multi-lingual  European  girl  who  be- 
came an  overnight  success  with  her  first 
American  release  of  "Malaguena"  last  year. 
In  her  new  album,  which  was  recorded  in 
Germany,  Caterina  gives  full  vent  to  her 
fabulous  vocal  range  on  such  standard 
songs  as  "Breeze  and  I,"  "Begin  the  Be- 
guine,"  "Siboney,"  "Temptation."    (Decca) 

Gordon  Jenkins,  with  his  orchestra  and 
chorus,  can  always  be  counted  on  for  top 
musical  quality  on  record.  His  newest 
couples  two  ballads,  "You're  Not  Alone," 
with  a  Bob  London  vocal,  and  "How  Do 
I  Love  You?"  with  Stuart  Foster  asking 
the    romantic    question.    ("X") 

The  big  musical  movie,  "Carousel,"  is 
being  released  any  time  now  all  over  the 
country,  and  about  the  same  time  Capitol 
is  bringing  out  a  special  sound-track  al- 
bum of  the  great  Rodgers  and  Hammer- 
stein  score.  The  film  cast  is  all  present 
and  accounted  for  —  Gordon  MacRae, 
Shirley  Jones,  Cameron  Mitchell,  Barbara 
Ruick,  Clara  Mae  Turner  and  Robert 
Rounseville.  Of  course  you  know  the  songs, 
which  by  now  have  become  practically 
standards — "If  I  Loved  You,"  "June  Is 
Bustin'  Out  All  Over,"  "What's  the  Use  of 
Wonderin'?"  "Soliloquy,"  etc.  The  album 
music  is  done  by  Alfred  Newman,  Ken 
Darby  and  the  20th  Century -Fox  Studio 
orchestra. 

Cadence  Records  nabbed  Kay  Thomp- 
son, the  talented  night-club  commedienne- 
singer,  and  now  author,  for  a  wax  version 


The  Mariners  harmonize  on  a  new 
album   of  spirituals   for   Cadence. 


of  "Eloise,"  her  amusing  "child's  book  for 
adults."  Kay's  tale  about  the  little  girl 
who  lives  in  the  Plaza  Hotel  in  New  York 
makes  for  very  humorous  listening. 

Urbie  Green,  the  fine  trombonist,  and 
his  musical  group  have  done  up  a  good 
jazz  album  for  the  new  ABC-Paramount 
label.  It's  called  "Blues  and  Other  Shades 
of  Green,"  an  unusual  title  if  I  ever  heard 
one.  Urbie  and  the  lads  play  mostly  stand- 
ards, such  as  "It's  Too  Late  Now," 
"Paradise,"  "Am  I  Blue,"  "Thou  Swell" 
and  "You  Are  Too  Beautiful."  They  give 
these  tunes  the  soft,  mellow  jazz  treat- 
ment, with  melody  always  prominent.  By 
the  way,  at  the  recording  session  the 
powers-that-be  were  so  impressed  with 
the  talent  of  Urbie's  pianist,  Dave  Mc- 
Kenna,   that   they   signed   him   as   a   solo. 

Coral  released  a  Steve  Allen  effort  a  few 
weeks  back  called  "What  Is  a  Wife?"  And 
what  happens?  The  "wife,"  otherwise 
known  as  Jayne  Meadows,  answered  back 
with  "What  Is  a  Husband?"  and  Coral  put 
the  two  sides  back  to  back.  (Please,  Mrs. 
Allen,  let  us  not  argue  about  royalties, 
hmmmm?) 

"Here  Come  the  Girls"  is  a  new  album 
of  old  records,  each  one  done  by  a  differ- 
ent feminine  singer,  and  each  song  closely 
identified  with  the  vocal  career  of  each 
gal.  Martha  Raye  sings  "Once  in  A  While." 
Irene  Dunne  sopranos  "Lovely  To  Look 
At"  and  Gertrude  Niesen  does  "Where  Are 
You?"  Ethel  Merman's  "I  Get  a  Kick  Out 
of  You";  "Tonight  We  Love,"  by  Jane 
Froman;  Connee  Boswell's  "I  Cover  the 
Waterfront";  Mary  Martin  singing  "My 
Heart  Belongs  to  Daddy";  "Wake  Up  and 
Live,"  sung  by  Alice  Faye;  Ella  Logan's 
"Something  I  Dreamed  Last  Night";  and 
Bebe  Daniels'  "Dream  Shadows"  are  all 
in  the  album.  Also  included  are  two  sides 
by  the  late  Helen  Morgan  and  Grace 
Moore.  The  immortal  Morgan  style  is 
heard  on  "Sand  in  My  Shoes,"  and  Miss 
Moore's  great  voice  is  still  alive  with  her 
famous  "One  Night  of  Love."  (Epic) 

Decca  is  very  excited  about  the  Conley 
Graves  Trio,  whom  they  have  just  signed 
to  a  contract.  This  new  group,  consisting 
of  piano,  bass  and  drums,  plays  every- 
thing from  classical  stuff  to  jazz,  and  they 
do  just  that  on  their  first  release,  an  album 
called  "Genius  at  Work."  They  have 
chosen  interesting  musical  material,  such 
as  "Love  for  Sale,"  "St.  Louis  Blues," 
"Laura,"  "The  Man  I  Love,"  "Humoresque" 
and  "Slaughter  on  Tenth  Avenue." 

February  is  Benny  Goodman's  big 
month,  what  with  the  release  of  the 
Universal-International  movie,  "The  Benny 
Goodman  Story,"  and  all  the  platter  com- 
panies saluting  the  great  clarinetist  by  re- 
leasing many  of  the  records  he  has  made 
during  the  last  two  decades  or  so.  Whether 
you  like  Benny  swinging  with  his  fabulous 
band,  or  playing  it  soft  and  sweet  with  his 
trio,  or  even  singing  a  vocal  chorus,  you're 
bound  to  find  it  in  this  month's  releases. 


Victor  has  an  album  called  "The  Benny 
Goodman  Story,"  which  includes  the  orig- 
inal recordings  of  "Down  South  Camp 
Meetin',"  "Sing,  Sing,  Sing,"  "King  Por- 
ter's Stomp,"  "One  O'clock  Jump,"  "And 
the  Angels  Sing,"  "Don't  Be  That  Way," 
and  others. 

On  the  Columbia  label  you'll  find  three 
volumes  of  Benny's  famous  1938  Carnegie 
Hall  Jazz  Concert:  "The  King  of  Swing," 
"The  Vintage  Goodman"  and  "The  Benny 
Goodman  Story."  Columbia  is  also  issuing 
a  new  set,  recently  waxed,  titled  "A  Date 
With  The  King,"  and  on  this  album  Benny 
has  the  vocal  assistance  of  Rosemary 
Clooney,  who  does  three  songs:  "Memories 
of  You,"  the  Goodman  theme,  "Goodbye," 
and  a  novelty  duet  with  B.G.,  "It's  Bad 
for  Me." 

Decca  has  the  actual  sound  track  from 
the  movie,  and  it,  too,  is  called  "The  Benny 
Goodman  Story,"  natch.  You'll  hear  the 
Goodman  clarinet,  Lionel  Hampton,  Gene 
Krupa,  and  others  of  the  featured  musical 
performers  who  did  the  actual  movie  music. 

On  Coral  there's  "Let's  Dance,"  with 
Steve  Allen  and  his  Orchestra,  an  album 
of  eleven  sides  of  some  of  my  favorite 
Goodman  tunes — and  I  hope  some  of  yours 
— including  "Sometimes  I'm  Happy,"  "Mem- 
ories of  You"  and  "Moonglow." 

And,  lastly,  there's  a  real  collectors'  nug- 
get on  the  Brunswick  label— "B.G.— 1927 
to  1934."  In  this  set  are  some  of  Benny's 
earliest  commercial  recordings — "Blue," 
"Muskrat  Ramble,"  "That's  A-Plenty," 
"Indiana,"  "Farewell  Blues,"  and  others. 
The  soloists  include  such  all-time  greats  as 
Red  Nichols,  Eddie  Lang  and  Joe  Venuti. 

The  pretty  singing  lass  from  the  Hit 
Parade  TV  show,  Gisele  MacKenzie,  is 
becoming  more  important  in  the  record 
sweepstakes  with  each  new  release,  and 
her  latest  should  give  her  stock  an  extra 
boost.  Gisele  sings  a  slow  ballad,  "Re- 
served," and  "The  Little  Child,"  accom- 
panied by  Sid  Bass'  orchestra.  The  lat- 
ter side  is  a  touching  question-and-answer 
song,  adapted  from  an  old  French  tune, 
with  10-year-old  Billy  Quinn  doing  the 
asking.  This  is  the  little  boy  who  often 
appears  on  Your  Hit  Parade.  ("X") 

"The  Mariners  Sing  Spirituals"  is  a  fine 
album  by  The  Mariners  Quartet  on  the 
Cadence  label.  There  are  sixteen  selec- 
tions in  all,  including  the  familiar  "Get 
on  Board,"  "Swing  Low,  Sweet  Chariot," 
"Nobody  Knows  the  Trouble  I  Seen,"  and 
"Ezekiel  Saw  the  Wheel." 

Marion  Marlowe,  also  on  Cadence,  sings 
a  pretty  coupling  of  "Ave  Maria"  and  "The 
Lord's  Prayer,"  with  Archie  Bleyer's  or- 
chestra. Marion  chose  these  two  sides, 
rather  than  a  pair  of  pop  tunes,  because 
these  were  the  two  songs  she  had  the  most 
requests  for  during  her  years  with  Godfrey. 

Oops,  there  goes  my  space  again,  and  I 
have  to  get  off  the  page.  But  I'll  be  meet- 
ing you  back  around  here  next  month. 
So  long  for  now. 


-tfrfo 


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Beeline 
to  a 

Byline 


Ed    interviews    Ethel    V.    McWilliams,    who 
was  recently  elected  to  the  City  Council. 


News  is  where  you  find  it — 
and  that's  just  ivhere  you  11 
find  Ed  Leonard  of  WICH 


Colleagues  say  Ed  "can  practically  smell  news," 
is  on  the  scene  at  the  first  whiff  of  excitement. 


10 


Thk^e  years  ago,  Station  WICH  gathered  its  news  via 
a  teletype  machine  and  a  not-too-frequent  check 
with  the  local  fire  and  police  departments.  There  was 
one  part-time  newsman  on  duty.  .  .  .  Then  a  young  man 
named  Ed  Leonard  rolled  up  his  sleeves  and  went  to 
work  to  give  news  a  definite  emphasis  and  importance 
at  the  Norwich,  Connecticut  station.  With  Ed  as  News 
Editor,  the  department  has  grown  to  three  full-time 
newsmen,  plus  a  staff  of  other  nimble  employees  who 
have  suddenly  become  news  conscious.  Phone  calls  from 
listeners  light  up  the  WICH  switchboard  at  the  first 
howl  of  a  police  or  fire  siren — or  at  the  faintest  whisper 
of  anything  that  might  prove  newsworthy.  .  .  .  On  the 
scene,  tape-recorded  reports  of  accidents,  fires  and 
special  events;  recorded  phone  conversations  with 
people  who  make  the  news;  the  human  side  of  the  story 
— all  these  features  are  now  incorporated  in  WICH 
newscasts.  ...  Ed  directs  eighteen  newscasts  a  day. 
Aside  from  special  events,  he's  on  himself  with  a  daily 
fifteen -minute  newscast  at  1  P.M.;  a  daily  editorial 
program,  Byline  WICH,  at  6:30  P.M.;  and  an  interview 
program,  Here's  The  Story,  Wednesday  at  6:15  P.M.  .  .  . 
"We  have  both  the  right  and  obligation  to  present  at 
least  one  editorial  show  nightly,"  Ed  says.  On  his  edi- 


torial report,  he  has  had  the  courage  and  conviction  to 
call  attention  to  current  issues  in  city  government,  to 
openly  criticize  and  praise,  and  to  honestly  review 
entertainment.  .  .  .  Born  in  Northfield,  Vermont,  Ed 
first  started  sniffing  after  the  news  when  he  was  a 
sportswriter  for  the  school  paper  at  Fitch  High  School 
in  Groton.  Then  he  went  on  to  take  a  B.A.  at  the  Uni- 
versity of  Connecticut.  "They  had  a  student  station 
where  we  used  to  hang  around  and  eat  our  lunch  every 
day.  It  looked  so  easy,"  Ed  recalls,  "I  decided  to  try  it 
and  got  the  Norwich  job  after  graduation."  .  .  .  Ed,  now 
25,  courted  his  lovely  wife  Norma  at  civic  and  sporting 
events.  "Some  girls  were  wooed  with  plain  passes,"  she 
laughs,  "I  was  wooed  with  press  passes."  As  we  go  to 
press,  the  stork  is  racing  a  deadline  on  his  visit  to  the 
Leonards.  "Our  special  interest  as  of  this  moment,"  Ed 
says,  "is  trying  to  pick  a  name  for  our  first  offspring.  At 
the  rate  we're  going,  he'll  probably  grow  up  with  a 
number  instead  of  a  name."  .  .  .  The  Leonards'  home 
life  is  closely  bound  up  with  Ed's  working  life.  A  tele- 
phone call  may  interrupt  them  at  their  apartment  or  at 
any  social  event  they  are  attending.  The  ring  means 
that  Ed  Leonard  is  once  again  off  to  report  the  news 
— as   it  happens — for   WICH   listeners   in   Connecticut. 


\bu  can't  see  what's  happening 
underneath  your  make-up! 


But  you  can  be  sure  invisible 

skin  bacteria  won't  spoil  your 

complexion  —  if  you  wash 

with  Dial  Soap! 


Ordinary  good  soaps  wash  away  dirt  and  make-up.  But 
they  leave  thousands  of  skin  bacteria.  You  can't  see  or  feel 
them.  But  when  you  put  on  fresh  make-up,  these  bacteria  are 
free  to  spread  surface  blemishes  underneath. 

But  daily  washing  with  Dial  Soap  not  only  removes  dirt 
and  make-up— but  clears  away  up  to  95%  of  blemish-spreading 
bacteria!  Then  Dial  keeps  on  working  —  underneath  your 
make-up!   So  your  complexion  is  protected  all  day! 

What's  Dial's  secret?  It's  AT-7  —  the  most  effective  bac- 
teria remover  known !  So  before  you  make-up  —  wash  up 
with  mild,  gentle  Dial  Soap. 


Dial  Soap  protects  your 

complexion — even  under  make-up! 


P. S.  Dial  Shampoo  gives  you  that  diamond  sparkle  look! 


11 


■■^^■W^H 


Opera  star  Patrice  Munsei,  a  talented  morsel,  joins  Ray,  a 
"high  baritone,"  for  a  luncheon-interview  at  famed  Sardi's. 


Jazzman  Duke  Ellington  reminds  Ray  of  his  own  career 
as  a  bandleader  in  the  nation's  plushest  hotels  and  clubs. 


t    Actor  Fredric  March  joins  Ray  at  a  premiere  in  the  heart 
of  Times  Square,  where  marquees  often  featured  Ray's  name. 


Really,  it  all  adds  up.  From  billing  as  the 
"Ipana  Troubadour"  to  singing  in  Broad- 
way musicals  to  bandleading — it  figured 
that  Ray  Heatherton  would  then  go  on  to  the 
multiple  activities  of  Luncheon  At  Sardi's, 
Supper  At  Sardi's,  Ray  Heatherton  Theater 
and  Merry  Mailman.  .  .  .  Vincent  Lopez,  band- 
leader and  numerologist,  foresaw  it  all.  "With- 
in the  next  few  years,"  he  told  Ray,  "you're 
going  to  make  a  complete  turnabout  in  your 
career,  and  you'll  be  more  popular  than 
you've  ever  dreamed."  Ray's  own  explanation 
is  more  succinct.  "It  all  just  happened,"  he 
says.  .  .  .  But  his  schedule  equals  undivided 
enjoyment  for  New  Yorkers  of  all  ages.  Week- 
days at  12:45,  he  presides  over  Luncheon  At 
Sardi's,  on  Station  WOR.  Wednesday  and 
Friday  at  9:30  P.M.,  he  offers  second  helpings 
on  Supper  At  Sardi's.  Then,  having  been  one 
of  Broadway's  "Babes  in  Arms,"  and  being  the 
father  of  two,  Ray  enchants  the  younger  set 
on  Merry  Mailman  Cartoon  Theater,  weekdays 
at  noon  on  WOR-TV,  and  Merry  Mailman, 
heard  Sunday  at  1:15  P.M.  on  Mutual  Radio. 
And  he's  just  added  The  Ray  Heatherton  Thea- 
ter, weekdays  at  6  P.M.  on  WOR-TV.  .  .  .  The 
limelight  brigade  interviewed  by  Ray  at  Sardi's 
needs  must  shine  brightly  to  out-glitter  their 
host's  many-faceted  career.  Born  in  Jersey 
City,  Ray  grew  up  in  Floral  Park,  Long 
Island,  and,  while  at  Hempstead  High,  began 
singing  with  Father  Finn's  Paulist  Choristers. 
His  discoverer,  Paul  Whiteman,  heard  Ray  sing 
at  a  junior  prom  and  hired  him  for  an  engage- 
ment. .  .  .   One  touch  of  the  spotlight's  glare 


12 


Himself  a  star,  many  times  over, 

Ray  Heatherton  serves 

New  Yorkers  a  firmament  of  fun 


Ray  may  lunch  and  sup  at  Sardi's,  but  breakfast  means 
get-togethers  with  Richard,  wife  Davenie  and  Davy  Jo. 


Singing  was  the  first  note  in  Ray's  varied  career  and,  even 
with  radio,  TV,  appearances  and  benefits,  he  still  records. 


was  enough.  After  high  school,  when  Ray 
went  to  work  for  the  telephone  company,  he 
continued  to  dream  of  show  business.  He 
haunted  the  NBC  studio  during  lunch  hours, 
hoping  for  an  audition.  Finally,  he  met  James 
Melton  in  an  elevator  and,  through  him,  won 
an  audition  and  a  contract.  .  .  .  Ray  became  a 
regular,  singing  on  all  the  top  network  shows. 
His  voice  was  also  heard'  in  such  Broadway 
hits  as  "Garrick  Gaieties,"  "The  Desert  Song," 
and  "The  Chocolate  Soldier."  .  .  .  Ray  had 
studied  for  years  for  his  singing  success,  but 
his  career  as  a  bandleader  was  impromptu. 
The  manager  of  the  chic  Rainbow  Room  of- 
fered Ray  an  engagement  as  a  singer,  together 
with  his  band.  What  the  manager  didn't  know 
was  that  Ray  had  no  band.  Overnight,  Ray 
gathered  together  sixteen  musicians  to  form  a 
dance  band  that  shattered  all  previous  records 
at  the  Rainbow  Room — and  elsewhere.  .  .  .  Ray 
met  his  wife,  the  former  Davenie  Watson, 
when  both  were  playing  in  "Babes  in  Arms." 
They've  fostered  two  "babes"  of  their  own, 
Richard,  12,  and  Davenie  Joanna,  11  and  better 
known  as  Davy  Jo.  .  .  .  Ray  is  back  on  Long 
Island,  in  a  Rockville  Centre  home  where  his 
hobbies  are  antique  collecting,  golf,  tennis 
and  "riding  to  hounds."  Davy  Jo  is  "a  good 
hoofer,"  Ray  smiles.  Richard  is  interested  in 
the  technical  end  of  show  business  and  turns 
every  box  that  comes  into  the  house  into  a 
camera.  The  focus  of  his  attention  is  Ray 
Heatherton,  who  lives  a  glamorous  life  with 
understatement,  warmth  and  simplicity — and 
turns  out  to  be  an  exciting  attention-getter. 


Puppets  such  as  Mr.  Humperdink  and  The  King  are  part 
of  the  enchantment  Ray  spins  as  The  Merry  Mailman. 


13 


Two  For  Fun 


Cal  and  Larry  run  a  dance  and  disc  party  six  days  a  week. 
They  often  have  such  show-business  guests  as  Mindy  Carson. 


Records  mean  music  at  home  as  well  as  on-the-air  for 
Larry,  with  Alma  and  Gary  programming  the  concert. 


14 


Cal,  the  low-pressure  member  of  the  firm,   enjoys  dawdling 
over  breakfast  with  wife  Jean  and  four-year-old  daughter  Pat. 


Larry  Brown  and  Cal  Milner 
prance  through  a  daily  WPEN  party 
of  discs,  dance  and  dialogue 


Like  Topsy,  the  950  Club  just  growed  and  growed. 
Twenty  years  ago,  music  and  news  progi'ams 
were  a  sometime  thing.  Station  WPEN  decided 
to  set  sail  on  new  and  uncharted  radio  waters  and 
launched  a  one-hour  daily  record  show.  .  .  .  One 
day,  a  bright  young  lad  had  a  suggestion:  Why  not 
invite  the  audience  into  the  studio?   When 
older  heads  urged  caution,  the  adventurers  at  the 
station  countered  with  a  suggestion  to  invite  the 
studio  audience  to  dance  while  the  records  twirl. 
The  original  radio  studio  dancing  party  was  born 
and,  feeding  on  top  ratings,  the  950  Club  grew  to 
its  present  1  to  7  P.M.  size.  .  .  .  Presiding  over  the 
Monday  through  Saturday  festivities  of  pop  records, 
dancing,  interviews,  refreshments  and  fun  for  all 
are  Larry  Brown  and  Cal  Milner.  This  team  finds  it 
an  easy  task  to  keep  the  show's  ratings  frolicking 
on  high.   "Just  work,  work  and  then  more  of  the 
same,"  they  chorus.  But  it's  work  both  these  young 
men  love  and  they  supplement  it  with  almost 
daily  appearances  telling  stories,  making  speeches 
and  emceeing  benefits  at  schools,  churches, 
synagogues  and  civic  gatherings.  .  .  .  The  boys 
complement  each  other.    Larry  Brown  is  the 
rambunctious,  dynamic,  "bopster"  partner,  while 
Cal  Milner  plays  the  easygoing,  low-pressure, 
chuckling  member  of  the  firm.  .  .  .  Cal  hails  from 
Spencer,  Nebraska,  but  moved  to  California  to 
major  in  music  at  Long  Beach  State  College.   He 
inherits  a  love  of  sports  from  his  uncle,  Frank 
Leahy,  the  famed  former  Notre  Dame  football  coach. 
Cal  is  27,  has  a  lovely  wife  Jean,  and  is  the  proud 
father  of  four-year-old  Pat.  ...  A  native  New 
Yorker,  Larry  attended  Columbia  University  and 
first  came  to  Philadelphia  and  WPEN  in  1946. 
Later,  he  returned  to  New  York  to  work  as  a 
network  actor  and  announcer.    But  he  liked 
Philadelphia,  fell  in  love  with  a  local  lass  named 
Alma  and  returned  to  team  up  with  Cal.  Larry  tips 
the  calendar  at  32,  and  his  son  Gary  is  the  same 
age  as  Cal's  Pat.  .  .  .  Cal  and  Larry  like  to  point 
out  that,  though  the  show  has  a  natural  appeal  for 
the  younger  set,  research  has  shown  that  more 
than  65  percent  of  the  listening  audience  are  adults. 
They  like  to  think  of  the  show  as  one  for  the  truly 
"young  in  heart,"  regardless  of  age.   "Cal  and 
I  feel  like  crown  princes  of  radio  as  co-hosts  of 
the  950  Club,"  Larry  sums  up.    "We  hope  to  stay 
for  a  long,  long  time — if  the  fans  want  us." 
No  "ifs"  about  it,  say  applauding  Philadelphians. 


WHAT'S   NEW 
FROM  COAST  TO  COAST 

(Continued  from  page  5) 

married   to   songstress   Polly    Bergen. 

Don  McNeill,  the  Breakfast  Club  mae- 
stro, has  started  a  nation-wide  talent  hunt 
for  emcees  through  the  ABC  affiliated 
radio  stations  throughout  the  country.  Don 
plans  to  give  the  newcomers  a  chance  to 
appear  on  his  show  this  coming  summer. 

Actor  Gene  Raymond  has  taken  over 
the  host-narrator  post  on  the  TV  Reader's 
Digest  show. 

The  Adventures  Of  Ozzie  And  Harriet, 
the  popular  ABC-TV  show,  has  received 
the  First  Annual  Delia  Robbia  Wreath 
Award  for  Television,  from  the  Boys  Re- 
public of  California,  one  of  the  nation's 
outstanding  youth  rehabilitation  centers. 
The  award  recognizes  notable  contribu- 
tions toward  a  better  understanding  of 
juvenile  delinquency  and  teen  problems. 

Pretty  Dorothy  McGuire,  of  the  singing 
sisters,  and  her  husband,  Sgt.  John  H. 
Brown,  decided  to  permanently  end  it  all, 
their  recent  reconciliation  having  blown 
up.  Dorothy  and  the  sergeant  each  filed 
countersuits  for  divorce  in  Bunnell,  Flor- 
ida, both  charging  cruelty.  Julius  La  Rosa, 
whose  name  was  once  romantically  linked 
with  Dorothy's,  has  a  new  object  for  his 
matrimonial  intentions  in  Rory  Meyer, 
secretary  to  Perry  Como.  Julie  and  Rory 
became  engaged  on  New  Year's  Eve. 

Andy  Williams,  the  singer  on  Steve 
Allen's  Tonight  TV  show,  has  signed  a 
contract  to  record  for  Cadence. 

TV  actress  Joanne  Jordan,  one  of  the 
prettiest  gals  doing  the  cosmetic  commer- 
cials, is  romancing  off  camera  with  Milton 
Rackmill,  Decca  Records  president. 

Also  hand -holding  these  days  are  Nan- 
ette Fabray,  of  Caesar's  Hour,  and  Bill 
Tishman,  young  New  York  real-estate 
man. 

Frank  Parker  is  about  set  to  make  per- 
sonal appearances  and  do  some  night-club 
dates,  as  some  of  the  other  Godfrey-ites 
have  been  doing.  He  is  penciled  in  to  play 
Las  Vegas  around  the  middle  of  this 
month,  for  a  three-week  date,  and  at  one 
of  those  whopping  salaries. 

Mulling  The   Mail: 

Mrs.  J.F.K.,  Crown  Point,  Ind.:  Arlene 
Francis  has  no  children  from  her  first 
marriage,  but  she  and  her  husband,  Martin 
Gabel,  have  a  son,  Peter,  who  is  nine  years 
old.  .  .  .  Miss  L.R.,  Detroit,  Mich.:  Con- 
stance Ford  is  the  name  of  the  actress 
who  recently  joined  the  cast  of  Search  For 
Tomorrow.  She  is  well  known  on  the 
Broadway  stage.  .  .  .  Miss  J.M.F.,  Arling- 
ton, Va.:  At  the  present  time  there  are  no 
plans  to  bring  The  Railroad  Hour  back  to 
radio,  though  I  agree  with  you  it  was  a 
wonderful  musical  program.  .  .  .  Mrs.  K.S., 
Muncie,  Ind.:  The  book  you  ask  about  is 
called  "The  Life  Story  of  Jackie  Gleason," 
by  Jim  Bishop,  and  it  is  being  published 
late  next  month,  though  parts  of  it  may 
appear  in  some  magazines  before  then.  .  .  . 
Mrs.  R.J.,  Chicago,  111.,  and  others  who 
wrote  about  Jeff  Donnell:  When  Jeff  re- 
turned to  the  George  Gobel  show  to  play 
his  wife,  "Alice,"  she  was  guaranteed  she 
would  appear  on  a  minimum  of  fourteen 
shows  this  season.  She  was  added  to  the 
cast  after  Gobel  fans  set  up  a  howl  and 
bombarded  NBC  with  letters  demanding 
"Alice"  be  put  back  in  the  format.  .  .  . 
Miss  H.D.,  Dallas,  Tex.:  The  Miss  Pepper- 
dine  shows,  which  Marie  Wilson  was  to 
have  done  on  television  this  season,  never 
came  off,  though  she  remained  under  con- 
tract to  CBS.  Meanwhile,  tired  of  sitting 
around,  she  will  do  some  night-club  work 
(Continued  on  page  21) 


When  friends  call,  does  a  good  hostess — 

I    I  Turn  on  TV  D  Consult  them  Q  Start  a  scrabble  game 


Do  you  muzzle  your  guests — or  make  them 
outshout  your  favorite  program?  For  in- 
stance, say  they've  just  settled  down  to  a 
lively  debate  on  some  fascinating  topic  when 
— click! — that  Un-silent  Screen  takes  over. 
Why  risk  your  chat-happy  visitors'  resent- 
ment? Why  not  consult  them  before  turning 


on  the  video?  Good  hostessing  means  keep- 
ing guests  at  ease.  And  to  keep  yourself  at 
ease  (at  certain  times)  choose  Kotex,  the 
sanitary  napkin  that  gives  the  complete  ab- 
sorbency  you  need — the  sure,  unfailing  kind. 
Remember,  too,  to  get  a  new  Kotex  belt;  it 
goes  with  Kotex*  for  perfect  comfort. 


Should  you  expect  your  date  to — 

f~l  Play  Sir  Walter  Raleigh  Q  Carry  the  umbrella 

Don't  expect  him  to  carpet  your  storm-lashed 
path  with  his  best  tweed  jacket.  (Wear  your 
galoshes!)  But  it  is  his  job  to  hold  the  um- 
brella—no matter  how  frilly  the  item  may  be. 
Incidentally,  on  "those"  days  you'll  want  to 
keep  your  tootsies  dry;  avoid  getting  chilled. 
And  you'll  want  the  chafe-free  comfort  of 
Kotex — this  softness  holds  its  shape.  What's 
more,  you  can't  make  a  mistake,  for  Kotex 
can  be  worn  on  either  side  safely. 


Can  a  hefty  lass  look  slimmer — 

I    I  In  minutes  fj  Via  calorie  counting 

Turning  a  plumpkin  into  a  lean  queen  takes 
doing;  and  if  that's  your  problem,  here's 
how  to  start  paring  down — in  minutes!  Get 
yourself  a  girdle.  A  good,  carefully  fitted  one 
that's  right  for  your  own  figure  needs.  Then 
note  the  difference!  As  for  calendar  time 
needs,  you  can  find  the  sanitary  napkin  just 
right  for  you  by  trying  all  3  sizes  of  Kotex. 
Regular,  Junior,  Super  have  flat  pressed  ends; 
prevent  telltale  outlines. 


More  women  choose  KOTEX  than  all  other  sanitary  napkins 


P.  S.  To  stay  dainty  at  "that"  time,  choose  Quest* 
deodorant  powder.  Best  for  napkin  use,  Quest  has  no 
moisture-resistant  base;  doesn't  slow  up  absorption. 
Safe.    Unscented.   Positively  destroys  odors. 

*T.   H.  RES.   U.  S.   PAT.  OFF.     K-C  CORP. 


15 


PERIODIC    PAIN 

Don't  let  the  calendar  make  a 
slave  of  you,  Betty!  Just  take  a 
Midol  tablet  with  a  glass  of  water 
. . .  that's  all.  Midol  brings  faster 
and  more  complete  relief  from 
menstrual  pain— it  relieves 
cramps,  eases  headache  and 
chases  the  "blues." 

I     "WHAT  WOMEN   WANT  TO   KNOW" 

a  24-page  book  explaining  menstruation 
is  yours,  FREE.  Write  Dep't  B-36,   Box  280, 


New  York  18,  N.  Y.  (Sent  in  plain  wrapper) 


16 


Everybody's  Gramps 

/  am  interested  in  knowing  something 
about  George  Cleveland,  who  plays  Gramps 
on  CBS-TV's  Lassie.  W .  D.,  Agincourt,  Ont. 

George  Cleveland  is  a  performer  extra- 
ordinary, not  only  by  virtue  of  56  years  in 
show  business  but  because  his  range  of 
abilities  is  so  very  great.  The  long  career 
began  as  a  juvenile  actor  in  1899.  "But 
nothing  in  those  years  can  approach  the 
thrill  I  have  received  since  my  role  in  the 
Lassie  series.  At  every  personal  appearance 
in  the  United  States  and  Canada,  I'm 
greeted  with  'Hi,  Gramps,'  and  it's  a  most 
wonderful  treat  for  these  tired  old  ears." 
.  .  .  George  Cleveland  was  born  69  years 
ago  in  Sydney,  Nova  Scotia.  By  1904,  he 
was  living  in  Vancouver,  British  Columbia, 
but  left  that  city  for  a  round-the-world  tour 
with  a  repertory  company.  He  returned  in 
1906,  in  time  to  experience  the  great  fire 
of  San  Francisco.  He  has  toured  with  stock 
companies  from  the  Gulf  of  Mexico 
throughout  the  entire  United  States  to 
Montreal,  Canada.  With  the  Louis  L. 
James  group,  he  visited  the  major  metro- 
politan cities  with  a  repertoire  of  seven 
Shakespearean  productions.  .  .  .  Motion 
pictures  attracted  him  in  1936  and  he's 
been  in  400  of  them.  .  .  .  Among  the  count- 
less stage  hits  in  which  he  took  part  are 
"Lilly  Sue,"  "The  Hypocrites,"  and  "Hon- 
or Be  Damned."  As  a  stage  director  he 
worked  with  such  stars  as  May  Robson. 
In  1942,  George  became  a  free-lance  actor. 
His  leisure  time  is  spent  at  his  home  in 
Mission  Bay,  San  Diego,  where  he  indulges 
in  his  chief  hobby,  preparing  Chinese 
food.  An  ardent  devotee  of  the  sport  of 
kings,  George  follows  the  horses'  records 
from  track  to  track.  "Bet  only  once, 
though,"  he  remarks.  "Lost,  too,  when  a 
Hanover  trotter  failed  me  in  the  Hamble- 
tonian."  .  .  .  But  it's  a  sure  bet  that  there 
are  few  performers  who  can  boast  the  ex- 
perience of  George  "Gramps"  Cleveland. 


Billy  Gray 


Actor  By  Accident 

/  would  like  to  know  a  little  about  Billy 
Gray,  who  portrays  Bud,  on  Father  Knows 
Best,  on  NBC-TV.  C.  W .,  Cleveland,  Ohio. 

Here's  one  actor  who  doesn't  mind  ad- 
mitting that  he  wasn't  wild  about  the  idea. 
Billy  Gray  sort  of  drifted  into  acting  when 
he  went  to  see  his  brother  performing  in 
a  play.  An  agent  saw  Billy  and  asked  if 
he'd  like  to  work  in  the  movies.  He  said, 
sure,  he  wouldn't  mind.  Billy  promptly 
went  to  work  in  a  film  called  "Odd  Car 
Out"  and  made  such  a  favorable  impres- 
sion in  his  small  role  that  he  was  put  to 
work  in  a  bigger  one  in  "On  Moonlight 
Bay."  This  work  wasn't  bad,  Billy  thought, 
so,  without  much  ado,  he  Droce°ded  to  do 
important  parts  in  "The  Man  Who  Came 
Back,"  "The  Girl  Next  Door,"  "By  the 
Light  of  the  Silvery  Moon"  and  his  more 
recent  "All  I  Desire."  .  .  .  Billy  was  born 
of  Irish  stock  in  Los  Angeles,  on  January 
13,  1938,  and  attended  a  variety  of  schools 
there,  including  Brendon's  Parish  School, 
Emerson  Junior  High,  Fox  Studio  School 
and  Universal  High.  .  .  .  Like  most  of  the 
other  actors  on  Father  Knows  Best,  Billy's 
home  life  provides  him  with  firsthand  ex- 
perience in  family  relations.  His  TV  older 
sister  is  Betty.  His  real-life  older  sister  is 
Gloria,  a  model.  On  TV,  he  has  a  younger 
sister.  Off  camera,  he  has  a  younger  broth- 
er, Freddy,  who  is  an  actor.  And  for  good 
measure,  just  so  Billy  won't  get  confused 
on  and  off  camera,  he  really  has  an  older 
brother,  Frank,  who  is  an  artist.  .  .  .  When 
he  isn't  studying  or  acting,  Billy  likes  to 
overhaul  bicycles,  go  deep-sea  fishing, 
swimming  and  water  skiing.  .  .  .  And,  by 
the  way,  Billy's  passivity  about  acting  has 
passed! 

Calling  All  Fans 

The  following  clubs  invite  new  mem- 
bers. If  you  are  interested  in  joining,  write 
to  the  address  given  and  not  to  TV  Radio 
Mirror. 

Pat  Boone  Fan  Club,  c/o  Barbara 
Breeding.  658  S.  17th  Ave.,  Buffalo  25, 
N.  Y. 

Robin  Hood  Fan  Club,  c/o  Carol  Mas- 
sarelli.  39  Waltham  St.,  Maynard,  Mass. 

Johnny  Desmond  Fan  Club,  c/o  Diane 
Konopasek.  2512  Euclid  Ave!.  Berwyn, 
111. 

Distinguished  Target 

Would  you  publish  some  information 
about  George  Fenneman,  the  announcer  on 
You  Bet  Your  Life,  over  NBC  Radio  and 
NBC -TV? 

A.  M.,  Houston,  Tex. 

Groucho  Marx's  man  Friday,  who  helps 
him  on  Wednesdays  (on  radio)  and  Thurs- 
days (on  TV) ,  manages  to  get  himself  into 
the  bull's  eye  when  Groucho  starts  aiming 
well-placed  darts.  The  serious  mien  of 
Fenneman  is  thrown  completely  off  kilter 
with   a   leer   from  the   sardonic   Groucho. 


bootli 


George  Fenneman 


George  always  carefully  manage?  to  get 
thoroughly  mussed  at  his  boss's  quips, 
verbally,  at  least.  .  .  .  George  Fenneman 
began  his  radio  career  in  1942  in  San 
Francisco.  His  first  assignment  was  in  the 
role  of  the  early  California  bandit.  Joaquin 
Murrieta.  in  Golden  Days.  Two  years  later 
he  was  announcer  on  the  Parade  Of  Spot- 
light Bands.  Subsequent  acting  and  an- 
nouncing roles  led  to  winning  an  audition 
on  Groucho's  program.  He  also  handled 
announcing  chores  on  Dragnet  on  radio 
and  TV,  as  well  as  on  the  Martin  and 
Lewis  show.  .  .  .  George  was  born  in 
Peking.  China,  on  November  19.  1919.  His 
parents  brought  him  to  the  United  States 
when  he  was  an  infant.  He  received  his 
early  education  in  San  Francisco  and  was 
graduated  from  San  Francisco  State  Col- 
lege. ...  At  the  ripe  age  of  eight,  he 
produced  and  starred  in  his  own  drama 
before  a  distinguished  audience  of  neigh- 
borhood youngsters,  in  the  basement  of 
his  home.  .  .  .  Now  George  lives  on  a 
ranch  in  Sherman  Oaks,  outside  of  Holly- 
wood, with  his  wife  Peggy  and  their  three 
children.  His  hobbies  are  numerous — oil 
painting,  gardening,  photography,  and 
music.  .  .  .  Though  Fenneman's  handsome 
appearance,  perfect  diction  and  dignified 
personality  place  him  in  the  straight-man 
role.  You  Bet  Your  Life  it  provides  rib- 
tickling  results. 


FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  we  can, 
provided  your  question  is  of  general  inter- 
est. Answers  ivill  appear  in  this  column — 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


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All  programs  are  heard  Monday  through  Friday;   consult 
local  papers  for  time  and  station. 


BACKSTAGE  WIFE  For  years  Mary 
Noble  has  known  the  heartache  of  being 
married  to  a  man  so  attractive  that  other 
women  were  a  constant  threat  to  her  hap- 
piness. Has  she  taken  the  right  step  to  pro- 
tect herself?  Will  her  determination  to 
build  her  own  screen  career  under  Mal- 
colm Devereux'  guidance  be  the  salvation 
of  her  marriage — or  its  ruin?  And  how  will 
wealthy  Hilda  St.  Clair,  the  new  backer 
of  Larry's  play,  affect  things?  CBS  Radio. 

THE  BRIGHTER  DAY  Nobody  knows 
better  than  Reverend  Richard  Dennis  how 
difficult  it  is  to  persuade  a  frightened  per- 
son to  be  honest.  But  once  again  he  has 
the  satisfaction  of  seeing  love  overcome 
fear  as  Lydia  Harrick  and  Max  Canfield 
face  and  understand  the  reasons  for  the 
psychological  twist  that  has  darkened  her 
life  since  her  husband's  death.  And  her 
brother-in-law  Don's  confession  is  Lydia's 
final  key  to  happiness.  CBS-TV  and  CBS 
Radio. 

THE  DOCTOR'S  WIFE  If  Julie  Pal- 
mer had  to  fill  out  a  questionnaire,  she 
would  have  to  answer  "housewife"  to  the 
query  about  her  occupation.  But  Julie 
might  question,  with  justice,  whether  the 
wife  of  a  small-town  doctor  is  not  actually 
a  non-professional  assistant  in  his  career. 
Dan  would  be  the  first  to  admit  that,  with- 
out Julie's  alert  interest  in  everything 
around  her,  he  might  be  a  different  man — 
and  a  different  doctor.  NBC  Radio. 

THE  GUIDING  EIGHT  Staggered  by 
Joe  Roberts'  sudden  death,  Meta's  family 
is  thankful  for  the  fortitude  with  which 
she  faces  widowhood.  For  her  brother 
Bill  needs  all  his  emotional  resources  to 
fight  a  battle  of  his  own — the  near-fatal 
effect  on  his  home  life  of  his  mother-in- 
law.  And  Meta's  step-daughter,  Kathy, 
reaches  a  new  maturity  as  she  and  her 
ex-husband,  Dick  Grant,  finally  realize 
what  they  really  mean  to  each  other.  CBS- 
TV' and  CBS  Radio. 

LOVE  OF  LIFE  When  the  mute  child 
Carol  finally  regains  her  speech,  Van  and 
Paul  Raven  are  more  than  ever  deter- 
mined to  adopt  her  despite  the  attack  they 
know  this  will  provoke.  For  Carol  is 
the  child  of  Judith  Lodge,  Paul's  vicious 
ex-wife,  and  Judith  has  not  only  hatred 
of  Paul  but  a  powerful  financial  motive 
for  blocking  the  adoption.  How  far  will 
she  go— and  with  whose  help?  CBS-TV. 

MA  PERKINS  Ever  since  Tom's  career 
got  on  its  feet,  Fay  has  been  proud  and 
content  to  be  the  wife  of  a  successful, 
highly-regarded  writer,  with  never  a 
thought  that  success  might  have  its  dark- 
er side.  But  how  would  she  feel — Fay 
Perkins  of  Rushville  Center — as  the  wife 
of  a  Hollywood  writer,  coping  with  the 
pressure  and  pace  of  movietown  life?  Par- 
ticularly if  she  is,  as  her  sister  Evey  would 
say,  in  an  interesting  condition?  CBS 
Radio. 

OUR  GAL  SUNDAY  When  the  Brin- 
thropes  first  meet  Marilyn  Bennett,  neither 
Sunday  nor  Lord  Henry  suspects  what 
their  sympathy  for  the  attractive,  mysteri- 
ous girl  is  going  to  do  to  their  future  to- 
gether.   But  young  Dr.  Keith  Palmer   is 


one  friend  of  Sunday's  who  is  not  taken 
in  by  Marilyn's  story  or  her  charm.  What 
is  it  that  Keith  hopes  to  prove  about  Mari- 
lyn— and  how  is  the  strange  man  named 
Gordon  Steele  involved?     CBS  Radio. 

PEPPER  YOUNG'S  FAMILY  Pepper, 
ex-Mayor  of  Elmdale,  finds  himself  with 
a  surplus  of  time  and  energy  until  he  sud- 
denly becomes  involved  in  the  oil  busi- 
ness. As  Pepper  plunges  into  the  world 
of  big  money  and  exciting  possibilities, 
does  his  eagerness  blind  him  to  certain 
dangers  of  which  Father  Young  is  only  too 
conscious?  Will  Pepper  surmount  the 
difficulties,  or  are  Father  Young's  warn- 
ings more  than  justified?     NBC  Radio. 

THE  RIGHT  TO  HAPPINESS  Money 
— the  money  Carolyn  didn't  want  and  re- 
fuses to  use  for  herself — may  cause  even 
more  trouble  than  she  anticipated.  For 
indirectly  it  has  involved  her  son  Skip  in 
a  youthful  crisis  he  doesn't  know  how  to 
handle.  And  it  may  make  him  a  tool  in 
the  hands  of  his  mother's  enemies — the 
conspirators  who  have  every  intention  of 
seeing  to  it  that  Carolyn  is  soon  separated 
from  the  wealth  she  finds  so  distasteful. 
NBC   Radio. 

THE  ROAD  OF  LIFE  A  new  baby  al- 
ways means  a  new,  bright  view  of  the  fu- 
ture, and  the  Brent  family  is  no  exception. 
As  Jim,  Jocelyn  and  young  Janey  rear- 
range their  lives  to  include  the  delightful 
newcomer,  Aunt  Reggie — as  is  her  habit — 
makes  a  few  plans  of  her  own  which  may 
cause  trouble.  And  Hugh  Overton  tries 
to  protect  his  sister  Sibyl  from  the  shock 
of  the  reality  he  knows  she  must  face — 
the  shattering  of  the  dream  world  she  has 
built  around  Jim.    CBS  Radio. 

THE  ROMANCE  OF  HELEN  TRENT 

Hurt  and  puzzled  as  Gil  Whitney  delays 
arrangements  for  their  forthcoming  mar- 
riage, Helen  is  grateful  for  the  new  inter- 
est provided  by  Julia  and  Morgan  Clark, 
who  have  recently  become  her  neighbors. 
Why  is  the  fascinating  Morgan  so  jealous- 
ly guarded  by  his  sister?  Is  Julia  really 
protecting  Helen  against  Morgan's  dread- 
ful secret — or  protecting  herself  against 
his   desire   for   another   life?    CBS   Radio. 

SEARCH  FOR  TOMORROW  Joanne 
Tate  seldom  fails  with  basically  decent 
people,  but  she  has  cause  to  wonder  if 
Melanie's  revolting  behavior  is  really  the 
result  of  her  mother's  plotting,  as  the  con- 
fused but  stubborn  girl  suddenly  refuses 
to  withdraw  the  lie  which  will  wreck  the 
Bergmans'  marriage.  Will  Joanne's  insis- 
tence that  Melanie  is  also  a  victim  cost  her 
Marge    Bergman's    friendship?  CBS-TV. 

THE  SECOND  MRS.  BURTON  Terry 
Burton  and  her  husband  Stan  were  de- 
lighted when  Stan's  sister  Marcia  married 
wealthy  Lew  Archer,  for  Lew's  vague 
social  background  makes  the  marriage  a 
victory  for  all  of  them  against  the  artificial 
standards  that  the  head  of  the  clan,  Moth- 
er Burton,  seeks  to  enforce.  But  what 
happens  when  one  of  Lew's  financial 
transactions  involves  him  with  a  highly 
unsavory  character  in  the  public  light  of  a 
courtroom?     CBS   Radio. 


THE  SECRET  STORM  When  Ellen 
Ames  was  killed  in  an  accident,  her  sister 
Pauline  fully  expected  to  step  into  her 
place,  for  Pauline  had  never  stopped  lov- 
ing Peter  Ames  or  plotting  to  win  him. 
When  he  turned  to  Jane  Edwards,  he 
signed  his  own  passport  to  months  of  dis- 
tress, for  Pauline  does  not  know  how  to 
stop  trying  to  get  what  she  wants,  no  mat- 
ter how.  Will  Jane's  first  husband,  Bruce, 
be   Pauline's   tool — or   Nemesis?    CBS-TV. 

Tit  IS  IS  NORA  BRAKE  As  Nora  and 
David  Brown  delve  deeper  into  the  thirty- 
year-old  mystery  of  the  murder  for  which 
David's  parents  went  to  prison,  they  be- 
come increasingly  certain  that  the  true 
killer  was  never  brought  to  trial.  Why  is 
David's  sister  Lorraine  so  hysterically  un- 
willing to  believe  her  parents  might  have 
been  innocent?  How  is  Alan  Miller  con- 
nected  with  the  past?     CBS   Radio. 

VALE  ANT  LADY  Helen  Emerson  real- 
izes that  her  town  holds  critics  eager  to 
find  fault  with  her  household,  her  children, 
her  way  of  life  and  even  her  undeniable 
attractiveness.  With  the  help  of  a  sympa- 
thetic lawyer  and  a  very  new,  very  good 
friend,  she  has  weathered  the  crisis  that 
might  have  driven  her  from  her  home. 
But  has  her  daughter  Diane  upset  Helen's 
hard-won  security  once  again?     CBS-TV. 

WENDY  WARREN  AND  THE  NEWS 

Her  experiment  with  a  small-town  paper 
behind  her,  Wendy  returns  to  her  old  job 
and  anticipates  a  future  she  knows  must 
leave  no  time  or  room  for  grieving  over 
Mark.  But  she  is  hardly  prepared  for  the 
speed  with  which  new  emotions  sweep 
into  her  life,  or  for  the  impact  of  an  am- 
bitious, attractive  rival,  a  neurotic  young 
writer,  and  a  change  in  her  managing 
editor,  Don  Smith.     CBS  Radio. 

THE  WOMAN  IN  MY  HOUSE  A  new 
problem  agitates  the  Carter  family  circle— 
a  problem  involving  one  of  the  more  self- 
sufficient  junior  members.  Will  James 
and  Jessie  Carter  find  that  their  old,  un- 
conscious recipe  still  works — the  method 
by  which  James  sets  down  his  verdict  in 
no  uncertain  terms  and  Jessie  manages  to 
modify  it  so  that  it  doesn't  seem  quite  so 
stiff-necked?     NBC  Radio. 

YOUNG  DR.  MALONE  When  Jerry 
adopted  young  David,  he  fully  realized  the 
boy's  fine  qualities,  but  he  was  far  from 
suspecting  how  vital  a  role  David  was  go- 
ing to  take  in  Jerry's  own  future.  For,  as 
Jill's  adolescent  bitterness  turns  her  from 
her  father  and  her  stepmother,  David  is 
there  to  fill  not  only  a  half-brother's  role 
but  a  friend's  and  confidant's  as  well.  Will 
it  be  David  who  guards  the  Malone  fam- 
ily's happiness?     CBS  Radio. 

YOUNG  WIDDER  BROWN  Fate  deals 
Ellen  Brown  an  ironical  blow  as  it  offers 
her  the  greatest  dread  she  has  known  to- 
gether with  perhaps  the  greatest  happiness. 
For,  as  Anthony  Loring  stands  indicted  for 
the  murder  of  his  wife,  he  and  Ellen  at 
last  reach  the  complete  understanding  that 
could  make  their  future  so  wonderful — if 
they  are  ever  permitted  to  have  one.  Will 
clever  criminologist  Jason  Randall  see  to 
it  that  they  never  do?     NBC  Radio. 


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Then  sleep  tight  with  a  radiantly  clean  skin 
safe  from  "make-up  damage." 


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-STATE - 


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760 — Perfect  for  play!  Flower  em- 
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WHAT'S   NEW 
FROM  COAST  TO  COAST 

(Continued  from  page  15) 


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Chic    on    a    schoolteacher's    budget, 
Eve  Arden  has  Rhea  Schmitt's  help. 


and  is  teaming  in  an  act  with  her  old  boss, 
Ken  Murray.  They'll  debut  their  stint  in 
Las  Vegas  any  minute.  .  .  .  Mr.  D.W., 
Peoria,  111.:  The  girl  you  mean  is  Julie 
London,  and  her  record  of  "Cry  Me  a 
River"  caused  a  big  stir  in  the  music  busi- 
ness. She  has  been  appearing  in  clubs  in 
and  around  Hollywood,  and  has  done  a 
little  television.  Julie  is  the  ex-wife  of 
Jack  Webb  of  Dragnet.  .  .  .  Miss  F.  P., 
Atlanta,  Ga.:  Mel  Allen  didn't  get  married, 
but  his  brother,  Larry,  did,  and  Mel  was 
the  best  man.  The  popular  sportscaster  is 
still  regarded  as  one  of  the  most  eligible 
bachelors  in  the  broadcasting  world. 

What  Ever  Happened  To  .  .  .  ? 

Lanny  Ross,  who  was  one  of  the  most 
popular  singers  in  network  radio  a  few 
years  ago?  Lanny  is  not  heard  on  any 
regular  network  air  show  at  the  present 
time,  but  does  do  a  Monday- through-Fri- 
day local  broadcast  over  WCBS  Radio  in 
New  York,  as  a  disc  jockey-singer. 

B.  A.  Rolfe,  the  veteran  bandleader  who 
conducted  the  Hit  Parade  on  radio  for 
many  years?  Rolfe  hasn't  been  active  at 
all  lately,  as  he  has  been  ill.  He  recently 
underwent  a  series  of  operations  in  Wal- 
pole,  Massachusetts,  and  is  now  recovering. 

Kate  Smith,  whose  friends  have  been 
clamoring  for  her  return  to  work?  Public 
demand  has  coaxed  Kate  from  the  quiet 
life  at  her  home  in  the  East.  She's 
signed  for  five  appearances  on  the  Ed 
Sullivan  Show  and  may  eventually  also 
take  part  in  several  CBS  spectaculars. 


If  you  have  a  question  about  one  of  your 
favorite  people  or  programs,  or  wonder 
what  has  happened  to  someone  on  radio 
or  television,  drop  me  a  line — Miss  Jill 
Warren,  TV  Radio  Mirror,  205  E.  42nd 
Street,  New  York  17,  New  York,  and  I'll 
try  my  best  to  find  out  for  you  and  put 
the  information  in  the  column.  Unfortu- 
nately, we  don't  have  space  to  answer  all 
questions,  so  I  try  to  cover  those  person- 
alities about  whom  I  receive  the  most  in- 
quiries. Sorry,  no  personal  answers,  so 
kindly  do  not  enclose  stamped  envelopes 
or  postage,  as  they  cannot  be  returned. 


ACTS  FASTER/  HELPS 

DEVELOP  STRONG, 
HEALTHY  CHILDREN/ 


HVNk  SCOTT'S  EMULSION 

/ts  Superfiornogenizea '/ 

MOTHERS,  are  your  children  getting  the  most  out  of  the  A  &  D 
Vitamins  they  are  taking?  Make  sure  —  give  them  New  Scott's 
Emulsion  or  Scott's  Emulsion  Capsules. 

Here1  s  why— 

Vitamins  A  &  D  must  be  emulsified  either  in  your  child's  digestive 
system  or  before  the  vitamins  are  taken. 

Independent  clinical  tests  prove  that  Vitamins  A  &  D— emulsified 
as  in  New  Scott's  Emulsion— are  more  quickly  absorbed  into  the 
bloodstream  than  if  the  emulsification  is  left  completely  to  nature. 

Emulsification  takes  place  normally  in  the  human  body.  But  if 
your  child  is  rundown,  resistance  is  low,  the  emulsification  by  his 
digestive  system  may  not  be  complete.  He  may  not  get  the  vitamin 
help  you  intended! 

That's  why  you  can  rely  on  New  Scott's  Emulsion!  It's  specially 
made  for  fast  intake  of  the  needed  Vitamins  A  &  D— regardless  of 
body  condition.  The  vitamin-containing  particles  in  New  Scott's 
Emulsion  are  so  finely  emulsified  that  the  vita- 
mins are  ready  to  be  absorbed  with  a  minimum 
of  help  from  the  body. 

New  Scott's  Emulsion  tastes  better.  Easier 
to  give!  Easier  to  take!  And  higher  potency 
too— just  one  teaspoonful  at  a  time. 

lHjffil    SCOTT'S    EMULSION    CAPSULES  / 

The  benefits  of  New  Scott's  Emulsion  are 
also  available  in  easy-to-take  capsules. 
Get  New  Scott's  Emulsion  or  New  Scott's 
Emulsion  Capsules  at  any  drug  counter! 


21 


22 


Tampax 

IftCtS... 

add 

to  your  poise  when  it's  "time-of-the- 
month"  for  you.  Use  Tampax  internal 
sanitary  protection.  It's  completely  in- 
visible when  in  place ;  you  have  no  fears 
of  telltale  bulges  or  edge-lines.  And 
even  your  uncertainty  about  the  possi- 
bility of  odor  vanishes.  Tampax  posi- 
tively prevents  odor  from  forming ! 

subtract 

from  your  discomfort — Tampax  elimi- 
nates the  chafing  pad,  the  binding  belt. 
In  fact,  Tampax  is  so  comfortable  that 
you  can't  even  feel  you're  wearing  it !  \et 
though  it's  only  1/9  the  size  of  an  ex- 
ternal pad,  it's  even  more  absorbent !  \bu 
always  feel  secure  with  Tampax. 

multiply 

your  activities.  With  Tampax,  you're 
even  apt  to  forget  there's  a  difference  in 
days  of  the  month.  Unlike  any  other 
kind  of  sanitary  protection,  it  can  be 
worn  in  shower  or  tub.  Disposal  is  easy. 
\bur  choice  of  3  absorbencies  (Regular, 
Super,  Junior)  at  drug  or  notion  coun- 
ters. Month's  supply  goes  into  purse. 
Tampax  Incorporated,  Palmer,  Mass. 


Invented  by  a  doctor — 
now  used  by  millions  of  women 


Bud  Collyer  emcees 
Beat  The  Clock  and 
Feather    Your    Nest. 


Dennis  James:  ChanceOfA 
Lifetime,  On  Your  Account. 


Ed  Sullivan,  "toast  of  the 
town"   on  his   TV   show. 


Eddie  Fisher  sings  for  his 
supper  on  TV's  Coke  Time. 


The  Ten 
Best  Dressed 
Men  on  TV 

Thousands  of  readers — 
our  prize  winner  among  them 
— voted  to  name  these  stars 
as  video's  best  dressed  ten 


Here  they  are/  You,  the  viewers, 
cast  your  ballots  by  the  thou- 
sands in  TV  Radio  Mirror's  poll  to 
name  the  ten  best  dressed  men  in 
television.  And  when  the  votes  were 
tallied,  you  had  elected  the  ten  stars 
pictured  here — each  to  receive  the 
Eagle  Award  for  the  well  dressed 
figure  he  cuts  before  the  cameras. 
We  launched  this  contest  this  year 
because  we  think  it's  important  for 
every    man    to    be    well    dressed — 


Liberace    showcases   piano 
music  on  his  own  TV  show. 


Warren  Hull  looks  like 
a  hit  on  Strike  It  Rich. 


Tony  Marvin  is  the  fashion 
plate  on  the  Godfrey  shows. 


IHf 


Steve  Allen  dresses  up  to 
take   it   easy   on   Tonight. 


Art  Linkletter  hosts  People 
Are    Funny,    House    Party. 


whichever  side  of  the  television 
screen  he's  on.  You  agreed  with  us 
in  the  very  good  reasons  with  which 
you  completed  our  contest  sentence: 
J  think  a  man  should  be  well  dressed 
because.  .  .  .  The  exciting  prize — a 
suit,  topcoat,  sports  coat  and  slacks, 
all  hand-tailored  by  Eagle  Clothes, 
Inc.,  long-time  leaders  in  men's 
fashions — goes  to  Mrs.  J.  E.  Fisher 
of  New  Cumberland,  West  Virginia, 
for  the  best  dressed  man  in  her  life. 


Randy    Merriman    makes 
The    Big    Payoff   in    mink. 


The  danger  in  waiting  for 
your  child  to  outgrow  pimples 


by  MARCELLA  HOLMES 
NOTED  BEAUTY  AUTHORITY 

(former  Beauty  Editor  of  "Glamour"  magazine) 

Of  all  the  mail  that  reaches  a 
beauty  editor's  desk,  there  is  none 
so  urgent — so  heartbreaking — as 
letters  from  young  people  with 
disturbed  adolescent  skin.  That's 
why  I  feel  it  is  important  to  alert 
mothers  to  the  double  dangers  of 
this  teen-age  problem. 

Psychologists  tell  us  that  pimples 
undermine  poise  and  self-confi- 
dence, can  even  cause  permanent 
damage  to  a  child's  personality. 
Skin  specialists  warn  of  another 
danger:  acne-type  pimples,  if  neg- 
lected, can  leave  the  child's  skin 
permanently  scarred. 

Fortunately,  today  there  is  a 
modern  scientific  medication  de- 
veloped especially  for  pimples.  It 
is  called  CLEARASIL  .  .  .  and 
CLEARASIL  has  been  actually  tested 


and  proved  effective.  In  skin  spe- 
cialists' tests  on  202  patients,  9  out 
of  every  1 0  cases  were  cleared  up  or 
definitely  improved  while  using 
CLEARASIL. 

Greaseless,  fast-drying,  antisep- 
tic ..  .  CLEARASIL  may  be  said  to 
"starve"  pimples  because  it  helps 
remove  the  oils  pimples  feed  on. 
Ends  embarrassment  immediately 
because  CLEARASIL  is  skin-colored 
to  hide  pimples  as  it  works. 

So,  if  you  have  a  teen-age  girl  or 
boy,  watch  carefully  for  the  first 
sign  of  pimples  .  .  .  then  take 
action.  CLEARASIL  is  guaranteed 
to  work  for  you  as  it  did  in  doctors' 
tests  or  money  back.  69 <£  and  98  <£ 
at  all  druggists. 

SPECIAL  OFFER:  Send  name,  ad- 
dress and  15?  in  coins  or  stamps  for 
generous  trial  size  of  clearasil  to 
Eastco,Inc.,Box  12  HL,  White  Plains, 
N.  Y.   Expires  March  15,  1956. 


23 


I  dreamed  I  was 


an  International  Figure  in  my  i/CCccCCt/iC/Ui Y/C  Ufti/ 


I've  whirled  'round  the  world,  and  caused  a  sensation 
in  every  nation  !  When  I  pass  by,  ex-kings  and  sultans 
sigh  over  my  fabulous  Maidenform  lines !  Yes,  wher- 
ever I  happen  to  be  —  there's  international  agreement 
about  me!  The  dream  of  a  bra:  New  Maidenform 
Intermezzo* — the  bra  that's  designed  to  round  out  your 


lines!  Look!  It's  a  lovely,  lacy,  luxurious  confection  of 
a  bra  —  with  the  appearance  of  the  costliest  lingerie. 
Look  again  !  It's  made  of  silky-fine,  sturdy-firm  cotton 
broadcloth  panels. ..just  where  you  need  them  most... 
for  disciplined  control!  White  cotton  broadcloth  and 
nylon  lace,  A,  B  and  C  cups... 2.50,  D  cup... 3.00 


•  REG.  u.  s.  P 


ASSJERE   CO.,    INC., 


IS  SNOW  LEOPARD   COAT,    REVILLON;   I 


24 


IS  THE  KEY  WORD 


By  BETTY  FREEDMAN 

As  every  TV  viewer  will  guess  at 
'  first  sight,  this  is  a  Steve  Allen 
story — and  a  Jayne  Meadows  story.  But 
it  wouldn't  be  too  surprising,  at  this 
particular  point  in  time,  if  millions  of 
movie-goers  also  confuse  it  slightly 
with  "The  Benny  Goodman  Story."  On 
film  screens  throughout  the  world, 
Steve's  now  being  seen  as  Benny,  in  the 
Universal -International  saga  of  a  vivid 
chapter  in  modern  musical  history. 

That  Steve  Allen,  Tonights  star  on 
NBC-TV,  should  be  portraying  Benny 
Goodman,  music's  ever-beloved  King 
of  Swing,  is  more  than  a  coincidence  of 
the  moment  Benny  became  leader  of  a 
musical  trend  that  took  the  nation  by 
storm,  and  he  did  it  very  simply  with  a 
clarinet  and  a  band.  He  never  did  any 
dancing,  never  clowned.  Benny  was  the 
quietest  creator  of  some  of  the  most 
exciting  music  ever  played. 

It's  true  that  Steve  was  chosen  for  the 
current  motion  picture  primarily  be- 
cause a  New  York  columnist  suggested 
to  the  producers,  in  one  of  her  articles, 
that  he  resembled  Goodman  physically. 
But  Steve  resembles  Benny  in  more 
than  the  fact  that  he,  too,  wears  glasses 
and  has  similar  features  and  dark  hair. 
He's  also  taken  the  nation  by  storm,  in 
his  own  unorthodox  way — quietly,  sim- 
ply, as  he  has  done  everything  in  a 
rather  spectacularly  successful  career. 
Through  TV,  Steve  Allen  has  accus- 
tomed 4,000,000  normal  people  to  going 
to  bed  at  one  o'clock  in  the  morning, 
five   nights   a   week!  And   he   does   it 


Solo  stardom  is  no  novelty  to  Steve  Allen 
and  Jayne  Meadows,  but  marriage  has 
brought  new  challenges— and  achievements 

See  Next  Page  ^ 


Starring  in  "The  Benny  Goodman  Story,"  Steve  Allen  got  instructions 
from  Benny  himself.  Result:  Steve  not  only  looked  just  like  Goodman,  but 
ooked  as  though  he  could  swing  a  clarinet  in  the  same  superlative  style. 


IS  THE  KEY  WORD 

(Continued') 


without  fire  alarms,  baggy  pants,  or  million-dollar 
giveaways. 

Steve  was  sixteen  when  Benny  Goodman  was  at 
the  height  of  his  reign  as  King  of  Swing.  And,  at 
sixteen,  he  was  a  Goodman  admirer  along  with  all 
the  rest  of  his  generation.  But  the  last  thing  in  the 
world  Steve  Allen  was  thinking  about,  just  then, 
was  being  in  a  movie  of  any  kind.  He  had  to  find 
out  a  lot  of  things  before  that — things  about  him- 
self— and  about  the  world. 

Up  to  that  time,  his  world  had  consisted  of  the 
Donohue  family — aunts  and  uncles — and  Belle 
Montrose,  Steve's  vaudevillian  mother.  It  also  had 
consisted  of  Chicago,  which  he  roamed  freely,  and 
nine  or  ten  schools,  where  Steve  did  well  in  com- 
position. The  Donohues  were  an  erratic  tribe,  and 
Steve  was  in  the  unenviable  position  of  being  rath- 
er quiet  and  on  the  sensible  side.  Not  that  the 
Donohues  weren't  canny,  in  their  way,  but  they 
were  often  prey  to  whims  and  temper  and  tempera- 
ment. 

When  he  was  sixteen,  the  aunts  and  uncles 
thought  that  Steve  would  make  a  good  bookkeeper. 
"I  wanted  to  be  a  bookumter,"  Steve  remembers. 
When  he  won  a  journalism  scholarship,  his  writing 
career  seemed  assured.  It  was — but  not  until  fif- 
teen years  later.  Before  his  first  book  was  pub- 
lished, Steve  had  worked  on  radio  stations  as  an  an- 
nouncer and  disc  jockey,  had  become  a  television 
personality — and  had  even  (Continued  on  page  88) 


Back  in  New  York,  Steve  and  Skitch  Henderson,  Tonight's 
bearded  bandmaster,  play  hockey  with  the  Kips  Bay  Boys' 
Club.  (Skitch  is  a  mighty  goalkeeper,  seated  or  on  skates!) 


26 


Jayne  Meadows  is  proud  of  the  two  books  husband 
Steve  has  already  published  (above),  gives  him  hot 
coffee  and  warm  words  of  cheer  as  he  writes  (below). 


Home's  a  happy  place  to  be,  she  thinks,  as  she  ad- 
mires their  lovely  apartment  and  the  many  gifts  fans 
send  them.  But  there  are  career  plans,  too — together. 


Steve  Allen  stars  in  Tonight,  NBC-TV,  M-F,  11:30  P.M.  EST.  The  Steve  Allen  Show  is  seen   over  WRCA-TV    (New  York),  M-F,   11:20  P.M. 
Jayne  Meadows  is  a  panelist  on  Tve  Got  A  Secret,  CBS-TV,  Wed.,  9:30  P.M.  EST,  sponsored  by  R.  J.  Reynolds  Tobacco  for  Winston  Cigarettes. 


27 


4* 


*>: 


'• 


■ppte« 


$25,000  smiles:  Winners  Estella  Juenemann  and  partner  Louis  Brugnolotti  beam, 
as  quizmaster  George  de  Witt  (left)  and  Sus  Juenemann  (right)  rejoice  with  them. 


a 


Paying  her  debt  to  God,  Estella  Juenemann  could 
"Name  That  Tune" — and  repay  a  devoted  husband,  too 


By  MARY  TEMPLE 


This  is  the  Juenemann  family,  for  whom  the  cash  prize  on  Name  That  Tune 
meant  so  much:  Gus  and  Estella,  true  partners  in  life;  eldest  daughter 
Margie,  14,  a  talented  organist;  eldest  son  Jimmy,  12;  Jackie,  II;  Roy 
August,  Jr.  ("Shorty"),  8;  and  Mary  ("Putsy"),  4,  and  Gerard  ("Jerry"),  3. 


It  was  one  of  those  things  which 
the  cynics  said  could  never 
happen.  But  it  did.  Though — 
that  evening  in  New  York  when 
Mrs.  August  Juenemann  of  Rexford, 
Kansas,  told  quizmaster  George  de 
Witt  of  Name  That  Tune  that  she 
couldn't  continue  on  the  program 
the  following  week,  to  keep  trying 
for  a  possible  half -share  in  $25,000 
of  prize  money — you  could  almost 
hear  the  amazed  gasps  from  TV 
viewers  all  over  the  country!  .  .  . 
There  she  was,  right  on  their 
screens,  looking  a  little  troubled 
but  being  very  definite  about  her 
obligation  to  the  Sacred  Heart 
Church  at  Selden,  Kansas,  her 
home       (Continued   on   page  95) 

Name  That  Tune,  seen  on  CBS-TV,  Tues., 
7:30  P.M.  EST,  is  sponsored  by  Whitehall 
Pharmacal    Co.    and   Boyle-Midway,   Inc. 


28 


Gus  came  with  her  on  the  second 
trip,  and  they  phoned  the  children. 


They  saw  all  the  New  York  sights  and 
worshipped  at  St.  Patrick's  Cathedral. 


They -were  surprised  by  the  subway — 
and  by  strangers  who  recognized  them! 


In  the  Liberty  Music  Shop,  John  F.  Parks  showed  them  TV 
sets — the  ."one  big  luxury"  they  bought  with  her  winnings. 


Back   in   their   hotel,   they   listened   to   tape    recordings   of 
their  family's  voices  on  a  machine  lent  by  Mrs.  Harry  Salter. 


They  went  window  shopping,  too,  of  course.  Here,  they're        Toys  were  what  they  sought  at  F.A.O.  Schwarz,  where  Muriel 
admiring  Siamese  treasures  displayed  by  Vibul  Phanich  Co.        Di  Sennaro  helped  them  fulfill  the  young  Juenemanns'  dreams. 


29 


LUCKY  LAWRENCE  WELK 


Lawrence's  success  story  began  with  the  accordion  his  father  cherished. 
He'll  never  forget  the  thrill  of  the  first  one  he  owned,  back  on  the  farm. 


Fate  smiled  on  him  so  often — 
though  it  took  more  than 
charm  and  "champagne  music" 
to  win  the  lady  of  his  dreams 


Today,  heaven  On  earth:  Lawrence  has 
plenty  of  time — and  space — to  share  proj- 
ects with  son  Larry  and  daughter  Donna. 


30 


Settled  "happily  ever  after,"  Fern  and  the  chil- 
dren can  raise  any  pets  they  choose — and  vie  with 
each  other  in  pampering  a  very  fortunate  father. 


Everybody  helps,  when  Dad  gets  ready  to  leave  for  work.  And 
everybody's  happy,  for  they  know  Lawrence  will  be  coming  home 
the  same  day — unlike  earlier  times,  when  he  toured  the  country. 


By  ERNST  JACOBI 


The  other  day  in  a  Hollywood  restaurant,  a  lady 
stopped  at  Lawrence  Welk's  table  to  tell  him  how  much 
she  enjoyed  his  television  program.    "As  a  matter  of 
fact,"  she  added,  "we  feel  that  you're  really  an  old  friend.  You 
see,  my  husband  proposed  to  me  while  you  were  playing 
at  a  dance  in  Ames,  Iowa,  seventeen  years  ago."    She  mused 
for  a  moment.    "Now  we  have  eight  children,  and  a  ninth 
on  the  way.  ...  I  can't  help  wondering  what  would  have  hap- 
pened if  I'd  stayed  away  from  the  dance  that  night!" 

In  one  form  or  another,  this  sort  of  encounter  is  an  almost 
daily  occurrence  with  Lawrence  Welk.     Next  to  Cupid 
himself,  he's  probably  been  responsible  for  more  romances 
and  marriages  than  any  other  man  in  America.    Rarely 
a  day  goes  by  that  Lawrence  isn't  approached  by  people  tell- 
ing him  about  budding  affections  which  his  "champagne 
music"  helped  bring  to  full  bloom,  and  nostalgically  requesting 
old  tunes — "their"  songs,  over  which  they  fell  in  love.     Con- 
sidering the  melting  pot  of  residents  and  visitors  in  the 
Los  Angeles  area — where  Welk  has  been  playing  a  continuous 
engagement  for  the  past  four  years  at  the  Aragon  Ball- 
room on  Santa  Monica's  Lick  Pier —  (Continued  on  page  82) 

The  Lawrence  Welk  Show,  with  its  "Champagne  Music,"  seen  on  ABC-TV, 
Sat.,  9  to  10  P.M.  EST,  is  sponsored  by  the  Dodge  Dealers  of  America. 


31 


Once  a  wallflower,  Bonnie  Bartlett 
blooms  in  Love  Of  Life — and  has 
found  her  own  Prince  Charming,  too 


Bonnie's  TV  "prince"  is  Richard  Coogan,  who  plays 
Paul  Raven  to  her  Vanessa  Raven,  in  Love  Of  Life. 


Bonnie  Bartlett  is  Vanessa  Raven  in  Love  Of  Life,  as  seen  on 
CBS-TV,  M-F,  12:15  P.M.  EST,  sponsored  by  the  Whitehall 
Pharmacal  Company,  Boyle-Midway,  Inc.,  and  Chef  BoyArDee.. 


32 


By  LILLA  ANDERSON 


Just  like  a  storybook  princess,  at 
sixteen,  Bonnie  Bartlett  had  a  drift 
of  golden  curls,  deep  blue  eyes 
framed  by  a  dramatic  sweep  of  dark 
lashes  and  a  delicate  skin  as  fair  as 
ermine.  But,  on  that  dismal  day  in 
1946,  she  also  had  a  fervent  wish  that 
some  storybook  magic  might  whisk  her 
right  off  the  face  of  the  earth.  As  she 
opened  the  door  of  her  parents'  com- 
fortable, square  white  house  on  Forest 
Hill  Court  in  Moline,  Illinois,  she  heard 
a  neighbor,  the  mother  of  a  classmate, 
saying  to  Bonnie's  mother,  "Honestly, 
Carrie,  it's  a  shame  Bonnie's  not  going 
to  the  junior  prom.  I  should  have  in- 
sisted that  Bud  take  her." 

Mrs.  Bartlett's  pride-saving  protest 
was  quick.  "Nonsense.  You  know  Bon- 
nie doesn't  care  about  boys." 

The  neighbor  was  a  worrier.  "I've  a 
good  mind  to  make  him  break  his  date. 
I  can't  understand,  anyway,  why  he 
asked  that  girl  from  Davenport." 

That,  for  Bonnie,  was  the  absolute 
end.  She  turtled  her  head  down  into 
her  coat,  fled  to  the  secure  loneliness  of 
her  own  book-lined  room  and  glared  at 
herself  in  the  mirror.  Bonnie  knew 
very  well  why  (Continued  on  page  77) 


In  her  own  life,  Bonnie  finds  the  happy-ever-after  ending  with  Bill  Daniels,  her 
college  sweetheart.  An  "ugly  duckling"  in  her  teens,  Bonnie  has  gained  increasing 
confidence  as  she  and  Bill  achieved  success  in  both  marriage  and  acting  careers. 


33 


Once  a  wallflower,  Bonnie  Bartlett 
blooms  in  Love  Of  Life — and  has 
found  her  own  Prince  Charming,  too 


Bonnie's  TV  "prince"  is  Richard  Coogan,  who  plays 
Paul  Raven  to  her  Vanessa  Raven,  in  Love  Of  Life. 


Bonnie  Bartlett  is  Vanessa  Raven  in  Love  Of  Life,  as  seen  on 
CBS-TV,  M-F,  12:15  P.M.  EST,  sponsored  by  the  Whitehall 
Pharmacal  Company,  Boyle-Midway,  Inc.,  and  Chef  BoyArDee. , 


32 


By  LILLA  ANDERSON 

1946,  she  also  had  a  fervent  wish  thS 

right  off  the  face  of  the  earth.  As  she 
opened  the  door  of  her  parents-corn! 
5^  e'iqUare  White  house  °n  Fo^st 

fniSr  "J^' IUin0is-  she  h<S 
a  neighbor  the  mother  of  a  classmate 
saying  to  Bonnie's  mother,  "Honestly; 
Carrie,  its  a  shame  Bonnie's  not  going 
to  the  junior  prom.  I  should  have  in- 
sisted that  Bud  take  her." 

Mrs.  Bartlett's  pride-saving  protest 
was  quick.  "Nonsense.  You  know  Bon- 
nie doesn't  care  about  boys." 

The  neighbor  was  a  worrier.  "I've  a 
good  mind  to  make  him  break  his  date. 
I  can't  understand,  anyway,  why  he 
asked  that  girl  from  Davenport." 

That,  for  Bonnie,  was  the  absolute 
end.  She  turtled  her  head  down  into 
her  coat,  fled  to  the  secure  loneliness  of 
her  own  book-lined  room  and  glared  at 
herself  in  the  mirror.  Bonnie  knew 
very  well  why  (Continued  on  page  77) 


In  her  own  life,  Bonnie  finds  the  happy-ever-after  ending  with  Bill  Daniels  her 
college  sweetheart.  An  "ugly  duckling"  in  her  teens,  Bonnie  has  gained  increasing 
confidence  as  she  and  Bill  achieved  success  in  both  marriage  and  acting  careers. 


33 


I  Tuning  her  violin  for  o  duet  with  Joey  Gordon,  widowed  Helen  Emerson  forgets  false 
rumors — and  false  friends.  Her  son  Mickey,  daughters  Diane  and  little  Kim  cluster 
happily  'round  Joey  at  the  piano.  But,  as  usual,  Elliott  Norris  has  eyes  only  for  Helen. 


34 


2  Is  it  love — or  only  gratitude  tor  Joey's  devotion  at  a 
time  when  so  many  have  deserted  the  Emersons?  Diane 
can't  be  sure.  Yet  she  accepts  his  proposal  of  marriage. 


Sometimes,  it  seems  to  Helen  Emerson  that  those 
years  had  never  been — those  happy,  sheltered  days 
when  her  husband  was  still  alive  and  their  three 
children  were  so  small  that  a  stubbed  toe  was  the 
greatest  tragedy  they  knew.  Now,  they  are  learning 
there  are  heartaches  which  even  Mother  can't  "kiss  and 
make  well."  And  Mother  is  learning,  too,  under  the  pres- 
sures and  anxieties  of  widowhood.  .  .  .  Helen  smiled  a 
little,  at  the  thought,  for  she  has  never  believed  in  self- 
pity.  She  has  too  much  of  both  gallantry  and  humor, 
for  that.  But — added  to  all  the  rumors  and  suspicions 
which  seem  inevitably  to  surround  an  attractive,  still 
youthful  widow — any  sensible  courageous  woman  would 
find  legitimate  cause  for  worry  in  the  complex  situation 
which  now  confronts  the  Emersons.  ...  It  wasn't,  she 
mused,  that  she  hadn't  always  known  it  would  be  a 
gigantic  task,  being  both  father  and  mother  to  Mickey, 
Diane  and  Kim.  She  realized  how  necessary  it  is  for 
girls — as  well  as  boys — to  have  a  man  in  the  house  "to 
lean  on,"  when  they  face  first  love  or  a  budding  career. 
And,  for  them,  the  gap  in  their  lives  had  been  broad- 
ened by  financial  need.  Helen  hoped  with  all  her  heart 
that  at  least  the  problem  of  making  a  living  would  be 
solved  by  the  new  dress  shop  she's  just  opened.  In  order 
to  keep  a  roof  over  their  heads,  Helen  had  once  had  to 
take  in  a  boarder.  ...  It  was  this  pretty  "paying  guest" 
who  had  brought  heartbreak  to  Mickey  Emerson.  He 
loved  Bonnie  Withers,  despite  her  unfortunate  marriage 
to  a  man  who  had  been  sentenced  to  prison,  and  was 
desolate  when  she  died  so  suddenly.  Deeply  touched 
when  Bonnie's  "last  will  and  testament"  gave  her  baby 
into  his  keeping,  Mickey  had  faced  up  to  his  responsi- 
bilities well,   Helen   thought  proudly.    But — what  will 


Helen  Emerson  must  summon  up  all 
the  courage  and  understanding  at  her 
command,  as  she  faces  challenges 
that  threaten  the  lives  of  her  family 


3  Joey  beams  as  Diane  mothers  the  baby  so  tragically  left 
in  her  brother's  care.  But  Helen  can't  encourage  his  love 
for  Diane — and  has  reason  to  fear  for  the  baby's  fate,  too. 


See   Next  Page- 


35 


•f^^H^^^*    * 


4  Joey  has  proved  he  can  take  some  sensational  pictures 
and  Elliott  Norris — himself  a  star  reporter  on  the  local 
newspaper — helps  him  to  get  a  job  as  photographer  there. 


5  Bound  by  their  own  close  ties  as  mother  and  son,  Helen 
and  Mickey  share  their  full  hearts  in  caring  for  the  little 
daughter  of  gentle  Bonnie  Withers,  after  Bonnie's  death. 


Pictured  here,  as  seen  on  television,  are: 

Helen  Emerson Flora  Campbell 

Diane  Emerson Marion  Randall 

Mickey  Emerson James  Kirkwood,  Jr. 

Elliott  Norris Terry  O'Sullivan 

Joey  Gordon Martin  Balsam 

Kim  Emerson Bonnie  Sawyer 

Valiant  Lady,  on  CBS-TV,  M-F,  12  noon  EST,  is  sponsored  by 
General  Mills,  The  Toni  Company,  Wesson  Oil,  Scott  Paper  Co. 


^KAMJKJ^KTM:  jLADY 


(Continued) 


Mickey  do  when  Roy  Withers  is  released  from  prison 
and  sets  up  a  clamor  about  his  child — as  such  a  man  is 
sure  to  do?  .  .  .  Helen  is  also  proud  of  the  way  her 
daughter  Diane  is  trying  to  live  down  the  teen-age 
marriage  which  had  to  be  annulled.  Diane  is  a  lovable 
girl,  and  there's  no  doubt  that  Joey  Gordon — who  has 
taken  a  job  on  the  same  newspaper  with  Elliott  Norris, 
so  he  can  keep  in  close  touch  with  the  Emersons — loves 
her  very  much  indeed.  But  Helen's  own  heart  tells  her 
that  Diane  doesn't  really  love  Joey.  In  becoming  en- 
gaged to  him,  is  she  about  to  make  an  even  more  tragic 
mistake?  .  .  .  Even  Kim — who  was  just  old  enoiigh  to 
know  her  father,  and  just  young  enough  to  miss  him 
most — has  found  her  faith  in  the  world  shaken  as  false 
friends,  little  and  big,  deserted  the  family.  Will  Helen, 
alone,  be  able  to  give  Kim  all  the  warm  security  she 
needs?  ...  In  her  concern  for  her  young  ones,  Helen 
spares  scarcely  a  thought  for  herself.  She  knows  she 
can  depend  on  Lawyer  Wilcox,  her  late  husband's  good 
friend,  for  counsel  and  guidance.  She  feels  sure  of  Elliott 
Norris's  friendship  ...  or  is  it  more  than  friendship? 
She's  grateful  to  Martin  Cook,  who  lent  her  money  she 
desperately  needed— but  how  far  can  she  trust  this 
brilliant,  unpredictable  man?  And  there  is  Bill  Fraser, 
family  friend,  so  helpless  since  his  accident — so  de- 
pendent upon  the  kindness  of  such  valiant  women  as 
Helen  Emerson.  .  .  .  There  are  more  men  in  Helen's  life 
than  she  realizes.  And  one,  at  least,  may  come  to  mean 
more  to  her  than  she  dreams.  Then  Helen  Emerson 
may  need  all  her  courage  and  charm  to  meet  what  fate 
has    in    store    for   her — as    well    as    for    her    children. 


6  However,  they  both  know  that  a  threat  hangs  over  the 
baby.  Bonnie's  husband,  a  vicious  criminal,  is  due  for 
release  from  prison  soon — and  may  try  to  claim  his  child. 


36 


7  Keenly  aware  of  the  problems  which  beset  her  children — for  Kim  faces  a  little-girl 
emotional  crisis,  too — Helen  hasn't  much  time  for  her  own  dreams.  She  is  grateful  for 
Elliott's  obvious  affection,  but  will  it  be  a  bulwark  against  troubles  as  yet  unknown? 


37 


Tony  Marvin  at  Home 


Tony's  noted  as  a  well-read  man — and  a  best-dressed 
one,  too!  So  Arthur  Godfrey  gets  a  special  kick  out  of 
seeing  him  arrayed  in  outlandish  costumes  (near  right), 
along  with  gaily  garbed  Frank  Parker  and  Janette  Davis. 


To  Arthur  Godfrey,  he's  a 
fountain  of  knowledge  ...  to  Dot 
and  Lynda,  a  well-spring  of 
infinite  love  and  understanding 

By  MARTIN   COHEN 


ON  a  clear  day,  from  Tony  Marvin's  house  you  can 
see  Long  Island  Sound,  six  maples,  a  wild  cherry 
tree,  and  Perry  Como.  Add  Mrs.  Como  and  Mrs. 
Marvin  to  the  landscape  and  you've  got  something  very 
much  worth  looking  at.  .  .  .  Mrs.  Como  is  a  petite,  pretty 
blonde — but  this  isn't  her  story.  Mrs.  Marvin  is  a  pretty, 
brown-eyed  brunette,  about  five-six — and  this  is  her 
story,  as  much  as  it  is  Tony's  .  .  .  for  Dorothea  Marvin 
is  one  of  those  gals  devoted  to  her  guy,  her  family  and 
her  home.  She's  outgoing,  charming,  and  constantly 
on  the  move.  She  is  accurately  described  by  friends 
as,  "There  goes  Dot  Marvin."  ("I'm  trying  to  slow 
down,"  she  says.     "And  I'm  trying  to  improve  on  my 


worrying.  I  am  trying  to  worry  only  about  those  things 
I  can  do  something  about.") 

Since  Dot  doesn't  believe  in  mixing  into  Tony's 
business,  there's  no  chance  of  her  "dropping"  into  the 
studio  and  holding  hands  with  Tony  in  front  of  a 
camera.  But  she  does  like  to  hold  hands  with  Tony. 
And,  after  nineteen  years  of  marriage  (come  this  June), 
she  still  gets  a  whole  galaxy  of  stars  in  her  eyes  when 
she  talks  about  him.  "Tony's  clever  and  good-natured," 
she  says.  "He's  a  regular  guy,  with  consideration- 
plus." 

Arthur  Godfrey  seems  to  have  a  high  opinion  of 
Tony,  too — although,  with  all  that  ribbing  among  Tony 


Continued 


> 


38 


Ml 


His  wife  Dot  may  be  saying:  "Rise  and  shine!"  Those 
daily  morning  shows  mean  getting  up  bright — and  early. 


Tony — that  "good-natured"  man,  according  to  Dot — is 
all   smiles  and   rarin'  to   go,   when   it's  time  to   leave. 


Off  to  the  studios,  from  the  Marvin  home  out  at  Sands  Point,  Long  Island — just  "forty-five  minutes  from  Broadway. 


39 


Daughter  and  Dad  have  similar  tastes,  so  there's  no 
argument  when  Lynda  helps  Tony  pick  out  his  wardrobe. 

Tea  for  Mrs.  Perry  Como,  their  neighbor  from  across 
the  way.  (Perry  and  Tony  worked  together,  years  ago.) 


Tony  Marvin  is  heard  regularly  on  Arthur  Godfrey  Time,  CBS 
Radio,  M-F,  at  10  A.M.,  and  CBS-TV,  M-Th,  at  10:30  A.M., 
and  Arthur  Godfrey's  Digest,  Thurs.,  8:30  P.M.— all  under 
multiple  sponsorship.  He's  also  seen  on  Arthur  Godfrey  And 
His  Friends,  CBS-TV,  Wed.,  8  P.M.,  for  The  Toni  Company, 
CBS-Columbia,  Pillsbury  Mills,  and  the  Kellogg  Company — 
and  Arthur  Godfrey's  Talent  Scouts,  CBS-TV  and  CBS  Radio, 
Mon.,  8:30  P.M.,  for  Thomas  J.  Lipton,  Inc.,  and  Toni.  (EST) 


Tony  Marvin  at  Home 

(Continued) 

and  Arthur  and  Frank  Parker,  you're  never  quite  sure. 
When  the  boys  get  to  buzzing  each  other,  you  can't 
see  the  trees  for  the  bees.  And  not  one  of  the  lads  is 
an  amateur  at  teasing. 

"How  do  you  like  Tony's  jacket?"  says  Arthur.  "It 
looks  like  a  bottle  of  catsup." 

"I'd  say  chili,"  notes  Mr!  Parker. 

"It's  raspberry  red,"  says  Tony,  "and  it's  magnificent." 

Tony  plays  the  role  of  a  man  who  has  a  colossal  gall. 
When  Arthur  kids  him  about  being  so  handsome,  Tony 
returns  with:  "Well,  I'll  tell  you,  Arthur,  you  either 
have  it  or  you  don't." 

There's  no  one  else  in  show  business,  outside  of  Bing 
Crosby,  who  dresses  as  vividly  as  Tony,  but  that's  a 
small  part  of  his  role.  He  is  also  a  walking  encyclo- 
pedia. When  Arthur  wants  someone  to  explain  the 
fifth  dimension,  he  turns  to  Tony. 

But  when  the  boss  gets  to  talking  about  Tpny — and 
Tony  isn't  around  to  interrupt — there  is  no  kidding. 
Couple  of  years  back,  the  Marvins  were  taking  a  thir- 
teen-day cruise  to  South  America.  To  catch  the  boat, 
Tony  had  to  leave  in  the  middle  of  the  show.  When  he 
was  well  out  of  the  studio,  Arthur  turned  to  the  audi- 
ence and  said,  "You  know,  I  think  the  world  of  Tony. 
He's  a  great  guy.  I  don't  see  how  we're  going  to  get 
along  without  him." 

The  respect,  admiration  and  affection  is  mutual,  for 
Tony  does  not  give  his  loyalty  by  halves.  He  is  Arthur's 
friend  all  the  way.  Of  that,  there  is  no  question.  And 
he's  a  good  man  to  have  on  your  side,  for  he's  as  strong 
as  a  middle-sized  ox. 

"Just  for  a  gag,"  says  his  wife  Dot,  "I've  seen  him 
pick  up  the  front  end  of  a  car.  Once,  in  a  camp,  he 
got  his  arms  under  the  forelegs  of  a  full-sized  horse 
and  lifted  the  horse  right  off  the  ground." 

"Haven't  done  it  lately,"  Tony  says.  "They  just  don't 
make  horses  the,  way  they  used  to." 

Perhaps  being  around  Mr.  Godfrey  has  been  a  civil- 
izing influence,  for  Tony  has  switched  from  horse 
wrestling  to  golf.  But  he's  still  in  exceptionally  fine 
physical  condition.  Regardless  (Continued  on  page  93) 


Dot  says  Tony  doesn't  have  much  time  for  gardening  but 
he's  a  whiz  at  "vacuuming"  the  swimming  pool,  in  season! 


40 


Tony  has  everything  he  wants — gracious  home,  lovely  wife,  lively  daughter — all  life-size  and  in  full  color,  too! 


mm^  m  fi&e/?i/d 


George   Gobel 

and 

Peggy  King 


There  have  been  gray  skies  for  "the  little  King" 
of  George  Gobel's  show,  but  now  everything's  rosy 


By  FREDDA   BALLING 

Pretty,  perky  Peggy  King  is  a  pink 
pixie.  (If  you  can  say  that  without 
faltering,  probably  you  can  also 
say,  "George  Gobel  picked  a  peck  of 
pickled  peppers,"  but  you  won't  get  as 
much  out  of  it!)  ...  Peggy's  hair  is 
tangerine-pink,  her  cheeks  are  apple- 
blossom-pink,  her  lips  are  carnation- 
pink.  And  if  she  isn't  wearing  a  pink 
dress — or  a  pink  blouse,  or  a  pink 
sweater — there  has  been  a  momentary 
mixup  in  her  laundry  arrangements. . . . 
She  lives  in  a  sky-hung  apartment  in 
which  there  is  an  enormous  rose-pink 
sofa.  On  the  walls  are  several  Huldah 
prints  in  which  the  accent  color  is  pink, 
and  the  exquisite  Noritake  tea  set  with 
which  she  serves  visitors  is  decorated 
with  pink  roses. 

The  tea  set  has  a  history.  Peggy  had 
emerged  from  the  hotel  where  she  was 
staying  with  the  rest  of  the  Johnny 
Grant  troupe  in  Tokyo  in  December, 
1952,  when  she  spied  four  disconsolate 
soldiers.  They  were  gazing  up  and 
down  the  winter-chilled  street,  ex- 
changing fragments  of  melancholy  con- 
versation. Peggy  read  their  shoulder 
patches  and  realized  that  they  were 
freshly  in  from  Korea  on  "R  &  R" 
leave.  ("Rest  and  Relaxation,"  in  case 
you've  already  forgotten  the  lingo  of 
Korean  war  days.) 

Perky  Peggy's  eyes  were  pink- 
rimmed  from  lack  of  sleep — who  wants 
to  sleep  when  there  are  shows  to  be 
given  for  homesick  soldiers,  and  who 
can  sleep  on  the  bucket  seats  in  the 
military  planes  which  transport  enter- 
tainment troupes  from  one  sector  to 
another? — and  her  nose  was  pink  from 
cold,  but  she  put  aside  worries  about 

Continued  % 


Two  homes  has  Peggy:  California  (above,  in  her  apart- 
ment)— and  Ravenna,  Ohio,  where  she  recently  visited 
her   parents,    Mr.    and    Mrs.    Floyd    King    (below,    left). 


Reunion  in  Ravenna:  Peggy  unpacked,  ran  to  the  old  tree 
where  she'd  played  as  a  child — then  hung  clothes  out  to 
air,  before  discussing  a  new  wardrobe  with  her  mother. 


Calling  up  old  friends  was  a  pleasant 
"must,"  when  Peggy  revisited  Ravenna. 


Rising  early,   she  greeted  the   bakery 
man  who'd  had  the  King  route  for  years. 


Ravenna  has  backyard  barbecues,  too 
— hot  dogs  tasted  as  good  as  ever. 


^/mm^m  Meaitd 


(Continued) 


Breakfast  time  with  father  and  mother  was'  best  of 
a|| — or  was  it  the  long,  cosy  chats  in  the  evening? 


personal  appearance  and  trundled  up  to  the  bewildered 
quartet.    "Hi,  boys,"  she  said. 

Funny  how  suddenly  spring  comes  to  northern  lati- 
tudes. The  boys  looked  as  if  they  had  just  been  bom- 
barded with  roses  in  bloom.  "An  American  girl!"  they 
yelled.  "Gosh  all  hemlock,  where  did  you  fall  from?" 
They  crowded  around  all  one-hundred-pounds  and  five- 
feet  of  this  miracle,  and  feasted  their  eyes  upon  her. 

Peggy  gave  them  the  details  of  her  arrival  along  with 
that  of  Johnny  Grant,  Debbie  Reynolds,  Walter  Pidgeon 
and  many  other  such  luminaries,  and  added  that  she 
had  an  Army  car  at  her  disposal  and  was  going  shop- 
ping. Would  they  like  to  come  along?  She  would  help 
them  select  some  gifts  to  send  home  to  their  folks,  if 
they  thought  it  was  a  good  idea. 

It  is  likely  that  they  would  have  followed  her  to 
Siberia  if  she  had  suggested  it.  They  quizzed  her  about 
football  standings,  popular  songs,  dance  bands,  record- 
ings, and  home  towns — in  the  course  of  band  touring, 
Peggy  had  visited  practically  every  medium-to-large 
city  in  the  country  for  which  the  boys  yearned.  Between 
conversation  and  commerce,  the  happy  quintet  spent 
most  of  an  afternoon  at  the  Takashimhya  Department 
Store. 

Peggy  enjoyed  every  moment  and  she  felt  that  the 
boys  had  themselves  a  ball.  As  she  and  the  troupe  were 
leaving  the  hotel  the  next  day,  Peggy  was  given  a  hint 
as  to  how  precious  her  companionship  had  seemed  to  the 
boys.  They  had  pooled  their  resources  and  selected 
three  gifts  for  her  "to  remember  us  by." 

In  one  carton  were  six  Noritake  cups  and  saucers,  a 
matching  teapot,  sugar  bowl  and  cream  pitcher.  (Nori- 
take china  is  the  Japanese  equivalent  of  American 
Lenox  or  English  Spode.)  On  each  piece  of  china  there 
appeared  a  pink  rosebud — in  recognition  of  Peggy's 
confessed  fondness  for  pink.  In  a  second  carton  there 
was  a  linen  luncheon  cloth  and  four  napkins,  and  in  a 
third  carton  there  was  a  monkey  made  of  fur.  When 
wound,  the  monkey  solemnly  clashed  a  pair  of  brass 
cymbals.  (Continued  on  page  68) 

Peggy  King  sings  on  The  George  Gobel  Show,  as  seen  over  NBC- 
TV,  three  Saturdays  out  of  four,  10  P.M.  EST,  as  sponsored  by 
Armour  and  Co.  (for  Dial  Soap)  and  Pet  Milk  Co.  (all  products). 


44 


It   was    like    old    times    when    Peggy        Sandy  Lake  was  lovely — but  changed         Peggy  filled  in  at  a  counter  in  the 
greeted  Dad,  coming  home  from  work.         since  Peggy  sang  there  as  a  youngster.         five-and-ten,  where  she  once  worked. 


Always,  she  has  the  simplicity  of  early  days — plus  the  glamour  which  comes  with  talent  and  fame. 


Every  time  Bob  goes  to  Europe,  he  brings  back  more 
Venetian    glass   figurines   for    his    "clown    collection." 


i 


::■■/.- :.%m 


Portrait  of  Robert  Q.-r-as  a  clown — was  presented  to 
Bob  by  Ray  Bloch,  orchestra  leader  on  his  programs. 


Robert  Q.  Lewis's  terrace  apartment  has  a  view  of 
New  York's  East  River — and  ample  room  for  his  many 
"trophies,"  including  the  Indian  headdress  pictured 
below.  It  has  a  kitchen,  too,  but  Bob  admits  that 
steak — and  eggs — are  the  only  things  he  can  cook. 


ROBERT 


'S  HIDEAWAY 


Lewis's  home  is  his  castle,  where 
he  lives  and  breathes  show  business 
every  hour  he  isn't  at  the  studio 

By  GREGORY  MERWIN 


One  thing  about  Mr.  Robert  Q.  Lewis  of  CBS-TV 
and  Radio — he  never  does  anything  halfway. 
When  Mr.  Q.  sets  out  to  have  a  home,  he  has  a 
home.  Not  just  "rooms,"  or  a  place  to  hang  his  hat.  Mr. 
Q.'s  castle  is  a  beautiful  duplex  apartment,  stocked 
with  almost  (but  not  quite)  everything  which  can  make 
life  pleasant  for  a  man  who's  given  his  heart  to  show 
business.  It  has  a  piano,  a  deep-freeze,  two 
television  receivers  (including  one  for  color),  plenty  of 
blankets  and  soap,  records  and  books,  a  typewriter, 
lots  of  chairs  to  sit  on,   (Continued  on  page  70) 

The  Robert  Q.  Lewis  Show,  CBS-TV,  M-F,  2  P.M.  EST,  is  sponsored 
by  Lanolin  Plus,  Inc.,  Ralston  Purina  Company,  Brown  &  William- 
son Tobacco  Corp.  (for  Viceroy  Cigarettes),  and  others.  The  Robert 
Q.  Lewis  Show,  on  CBS  Radio,  Sat.,  11 :05  A.M.  EST,  is  sponsored 
by  Milner  Products  Co.   (Pine-Sol  and  Perma-Starch )  and  others. 


Main  show  now  going  on!  And,  on  stage,  Lee  Vines,  Judy 
Johnson  and  Merv  Griffin  await  their  cue  from  Robert  Q. 


At  home,  Bob  still  entertains — -or  is  entertained,  for  no 
one  has  greater  appreciation  of  other  people's  talents. 


At  five,  Christopher  (known  as  "Kit"  Carson, 
of  course)  is  the  oldest  son.  Richard  (Ricky) 
is  three   and   a   half,   and   Cory   just   past  two. 


The  Carsons  outgrew  other  houses,  but  their 
new  one's  large  enough  to  hold  them  now.  It's 
in  San  Fernando  Valley.  Says  Johnny:  "Jody 
and  I  wanted  the  boys  to  have  the  same  chance 
to  run  about  that  we  had  when  we  were  kids." 


48 


All  for  the  Family 


Johnny  Carson  finds  love  and 
laughter  for  everyone,  in  his  life 
with  Jody  and  their  three  boys 

By  HELEN  BOLSTAD 

For  Johnny  Carson  it  had  been  the  kind  of  day  which 
every  hard-working  television  performer  needs  to 
enjoy  once  in  a  while.  He  had  slept  as  late  as  a 
father  can  sleep,  with  three  small  boys  in  the  house.  He 
had  helped  his  pretty  wife  Jody  with  those  tasks  which 
they  always  saved  up  for  his  day  off.  And,  finally,  he 
had  gone  out  to  the  garage  to  work  on  the  equipment 
for  a  new  magic  trick.  He  hadn't  shaved,  the  jeans  he 
wore  had  become  a  walking  sampler  of  every  shade  of 
paint  he  had  ever  brushed  on  a  wall,  and  his  T-shirt, 
too,  had  reached  that  nothing-more-can-happen-to-it 
stage. 

In  this  happy  domesticity,  the  pressure  of  the  CBS 
Hollywood  studios  seemed  a  million  miles  away.  What 
was  more,  he  refused  even  to  think  about  television 
until  it  was  time  to  switch  on  his  friend  Red  Skelton's 
show.  Besides  doing  his  own  local  comedy  program  on 
Station  KNXT,  Johnny  had  been  writing  some  material 
for  Red  and  wanted  to  see  whether  that  gag  which  had 
seemed  so  funny  on  paper  would  come  out  equally 
funny  in  performance. 

His  lazy  mood  was  broken  by  a  sharp  summons.  From 
the  doors  of  the  house  Jody  called,  "Johnny — tele- 
phone!" As  he  came  in,  she  added,  "It's  Cecil  Baker  and 
he  sounds  upset." 

For  Baker  to  get  excited  was  most  unusual — as  exec- 
utive producer  of  The  Red  Skelton  Show,  he  had  kept 
his  head  through  every  commotion  TV  could  throw  at 
him.  .  Johnny  loped  to  the  phone  and  inquired,  "Hi, 
what  can  I  do  for  you?" 

"Do?"  sputtered  Baker.  "You  can  do  Red's  show  for 
him,  that's  what." 

"Red's  show?"  said  the  astonished  Johnny.  "How 
come?" 

Baker  gave  him  the  news.  "Just  now,  in  rehearsal,  a 
break-away  door  failed  to  break.  It  fell  on  him,  in- 
stead. Red's  got  a  concussion  and  he  wants  you  to  take 
over  for  him." 

Johnny's  eyes  sought  the  clock.  "But,  Sees,"  he  pro- 
tested, "there's  only  ninety  minutes  until  air  time  and 
it  takes  me  forty-five  minutes  to  drive  in." 

"What  are  you  waiting  for?"  said  Baker.  "Move,  guy, 
move." 


See  Next  Page    m 


So  casual,  on  comera — but  Johnny  got  his  big  chance  on 
CBS-TV  because  his  wits  really  work  at  supersonic  speed. 


49 


All  for  f he  Family 


(Continued) 


Johnny   and   Jody    mix   paints — 
Cory  mixes  himself  in  the  blend. 


With   tape-recorder  and   trusty   wife   as   his 
aids,  Johnny  goes  over  weekly  show  scripts. 


Cory    keeps    a    sharp    lookout 
for   bugs,    as   Johnny   gardens. 


Breakfast  for  four  hungry  but  happy  "property  owners": 
Ricky,   at   left;  Johnny  and    Kit;   Cory,    in   the   high    chair. 


It  was,  Johnny  realized  as  he  rushed  to  the  studio,  a 
regular  "Rover  Boys  to  the  Rescue"  situation,  the  kind 
of  crisis  and  challenge  every  aspiring  young  performer 
dreams  about — at  the  age  of  thirteen.  Carried  into 
Johnny's  considerably  more  realistic  late  twenties,  how- 
ever, it  took  on  the  more  tormenting  elements  of  a  hor- 
ror nightmare. 

"I'll  never  know,"  he  says,  "exactly  how  I  got  dressed, 
booted  the  car  through  traffic  and  stumbled  out  in  front 
of  the  cameras.  I  couldn't  use  Red's  script  because  I 
didn't  have  time  to  read  it.  I  had  to  make  up  my  own 
material  as  I  went  along.  Even  after  we  were  on  the 
air,  I  was  scribbling  stuff  on  little  pieces  of  paper  and 
sending  them  around  so  that  we'd  all  know  what  to  do 
next." 

Ensuing  events  had  an  even  greater  Horatio  Alger 
quality.  Johnny  not  only  saved  the  day,  but  he  so  ef- 
fectively impressed  the  network  officials  that  they 
offered  him  his  own  program.  The  Johnny  Carson 
Show  became  the  fresh,  new  comedy  which  CBS-TV 
introduced  as  a  summer  replacement  and  then  retained 
in  its  regular  Thursday-night  schedule. 

As  befits  a  comedian,  Johnny  expressed  his  thanks 
to  Red  in  an  upside-down  fashion.  "I  sent  him  a  'stay- 
sick'  card.  Now  it  has  turned  into  a  running  gag  be- 
tween us." 

Like  most  reputed  overnight  successes,  John  Car- 
son's show-business  career  was  a  long  time  building. 
His  preparation  for  it  actually  began  when  he  sent  away 
for  his  first  magic  kit.    That  kit  was  then  most  impor- 


50 


Johnny  sometimes  feels  he  has  four  sons — counting  "Eddy."    Cory's  sure  he  has  three  brothers! 
Ricky  and  Kit  love  to  play  with  Eddy  but  are  beginning  to  wonder  why  he  "lives  in  a  suitcase." 


tant  in  Johnny's  life — for,  just  as  adolescence  set  in,  he 
also  had  to  cope  with  a  new  town.  His  father,  Kit  Car- 
son ("Dad  would  scalp  me  if  I  said  his  real  name  is 
Homer"),  is  operations  manager  for  a  public  utility 
company  which  covers  the  central  western  states.  John- 
ny was  born  in  Corning,  Iowa,  went  to  grade  school  in 
Norfolk,  Nebraska — and,  just  about  the  time  he  entered 
high  school,  his  father  was  transferred  again. 

Johnny's  sister  Catherine,  who  is  two  years  older,  had 


all  the  excitement  of  being  the  new  pretty  girl  in  the 
school.  His  brother  Dick,  who  was  four  years  younger, 
was  still  content/to  play  cops-and-robbers  and  got  his 
biggest  kick  out  of  the  days  their  father  took  the  two 
boys  out  hunting.  But  Johnny  had  begun  to  realize 
that  life  held  items  of  interest  beyond  the  fun  of  kick- 
ing up  a  good  covey  of  pheasants  deep  in  a  draw.  At 
the  most  bashful  age  of  all,  Johnny  was  a  stranger  in 
town — and   just   discovering    (Continued    on   page  86) 


The  Johnny  Carson  Show  is  seen  and  heard  over  CBS-TV,  Thursdays,  at  10  P.M.  EST,  as  sponsored  by  Jell-O. 


51 


All  forth  family 


(Continued) 


Johnny   and   Jody    mix   paints — 
Cory  mixes  himself  in  the  blend. 


With  tape-recorder  and  trusty   wife   as   his 
aids,  Johnny  goes  over  weekly  show  scripts. 


Cory    keeps    a    sharp    lookout 
for   bugs,    as   Johnny   gardens. 


Breakfast  for  four  hungry  but  happy  "property  owne 
Ricky,   at   left;  Johnny  and    Kit;   Cory,   in   the   high   chair'. 


It  was,  Johnny  realized  as  he  rushed  to  the  studio,  a 
regular  "Rover  Boys  to  the  Rescue"  situation,  the  kind 
of  crisis  and  challenge  every  aspiring  young  performer 
dreams  about— at  the  age  of  thirteen.  Carried  into 
Johnny's  considerably  more  realistic  late  twenties,  how- 
ever, it  took  on  the  more  tormenting  elements  of  a  hor- 
ror nightmare. 

"I'll  never  know,"  he  says,  "exactly  how  I  got  dressed, 
booted  the  car  through  traffic  and  stumbled  out  in  front 
of  the  cameras.  I  couldn't  use  Red's  script  because  I 
didn't  have  time  to  read  it.  I  had  to  make  up  my  own 
material  as  I  went  along.  Even  after  we  were  on  the 
air,  I  was  scribbling  stuff  on  little  pieces  of  paper  and 
sending  them  around  so  that  we'd  all  know  what  to  do 
next." 

Ensuing  events  had  an  even  greater  Horatio  Alger 
quality.  Johnny  not  only  saved  the  day,  but  he  so  ef- 
fectively impressed  the  network  officials  that  they 
offered  him  his  own  program.  The  Johnny  Carson 
Show  became  the  fresh,  new  comedy  which  CBS-TV 
introduced  as  a  summer  replacement  and  then  retained 
in  its  regular  Thursday -night  schedule. 

As  befits  a  comedian,  Johnny  expressed  his  thanks 
to  Red  in  an  upside-down  fashion.  "I  sent  him  a  'stay- 
sick'  card.  Now  it  has  turned  into  a  running  gag  be' 
tween  us." 

Like  most  reputed  overnight  successes,  J0*111..?.81/ 
son's  show-business  career  was  a  long  time  build"* 
His  preparation  for  it  actually  began  when  he  sent  away 
for  his  first  magic  kit.    That  kit  was  then  most  imP° 


Johnny  sometimes  feels  he  has  four  sons — counting  "Eddy."    Cory's  sure  he  has  three  brothers! 
Ricky  and  Kit  love  to  play  with  Eddy  but  are  beginning  to  wonder  why  he  "lives  in  a  suitcase." 


tant  in  Johnny's  life — for,  just  as  adolescence  set  in,  he 
also  had  to  cope  with  a  new  town.  His  father,  Kit  Car- 
son ("Dad  would  scalp  me  if  I  said  his  real  name  is 
Homer"),  is  operations  manager  for  a  public  utility 
company  which  covers  the  central  western  states.  John- 
ny was  born  in  Corning,  Iowa,  went  to  grade  school  in 
Norfolk,  Nebraska— and,  just  about  the  time  he  entered 
nigh  school,  his  father  was  transferred  again. 
Johnny's  sister  Catherine,  who  is  two  years  older,  had 


all  the  excitement  of  being  the  new  pretty  girl  in  the 
school.  His  brother  Dick,  who  was  four  years  younger, 
was  still  content  to  play  cops-and-robbers  and  got  his 
biggest  kick  out  of  the  days  their  father  took  the  two 
boys  out  hunting.  But  Johnny  had  begun  to  realize 
that  life  held  items  of  interest  beyond  the  fun  of  kick- 
ing up  a  good  covey  of  pheasants  deep  in  a  draw.  At 
the  most  bashful  age  of  all,  Johnny  was  a  stranger  in 
town — and  just  discovering    (Continued   on  page  86) 


The  Johnny  Carson  Show  is  seen  and  heard  over  CBS-TV,  Thursdays,  at  10  P.M.  EST,  as  sponsored  by  Jell-O. 


50 


51 


THE  BIG  PAYOFF 


Betty  Ann  Grove 

discovered  that 

falling  in  love 

can  be  the  happiest 

accident  in 

any  woman's  world 


Bride  and  groom  cut  their  cake 
(left) — and  "cut  a  rug"   (below). 


52 


♦^u.ov\ 


The  new  Mrs.  Ed  Brown  admires 
the  oh-so-new  bridal  monogram. 


Gifts  already  in   place,   Betty  Ann 
starts  measuring  for  needed  drapes. 


Her  music  and  other  mementoes  of 
a  busy  TV  life  must  find  space,  too. 


There's  an  impish,  reddish-haired 
vocalist  on  The  Big  Payoff  by 
the  name  of  Betty  Ann  Grove, 
who  has  a  winning  way  with  all  sorts 
of  songs — comedy  numbers,  rhythm 
and  blues,  romantic  ballads.  Espe- 
cially with  the  love  songs.  Especially 
lately.  Because  Betty  Ann  herself  is 
in  love,  a  bride  of  a  few  months, 
and  certain  that  she's  the  happiest 
girl  ever  to  get  a  chance  to  sing 
about  it. 

Betty  Ann's  own  love  story  began 
winter  before   last,   when   she   was 


By  FRANCES  KISH 

vacationing  at  Nassau.  It  wasn't  the 
first  time,  however,  that  she  and 
Edward  Brown,  Jr.  had  met.  Ed  is 
with  the  agency  which  represents 
the  sponsor  of  Betty's  show,  and 
they  had  been  introduced  during 
rehearsal  backstage. 

"The  first  thing  I  noticed  about 
Ed  was  the  twinkle  in  his  eyes,"  she 
says.  "And  the  way  they  slanted  up 
just  a  little  at  the  corners.  He 
seemed  nice,  too.  But  I  was  too  busy 
to  notice  him  much." 

"The  first  thing  I  noticed  about 


Betty  Ann  was  her  sparkle,"  Ed 
says.  "I  was  busy  doing  my  job, 
too.  Whenever  we  met  on  the  set, 
we  would  say  hello  and  maybe  talk 
a  minute  or  two,  and  that  was  all. 
I  still  liked  that  sparkle,  and  I 
thought  I  had  never  seen  a  girl  so 
alive." 

That's  the  way  it  was  until,  in 
February  of  1954,  Betty  Ann  went 
off  for  a  postponed  vacation  (post- 
poned because  she  substituted  on 
one  of  Jane  Froman's  television  pro- 
grams when  (Continued  on  page  72) 


Betty  Ann  Grove  is  seen  and  heard  on  The  Big  Payoff,  CBS-TV,  M-F,  3  P.M.  EST,  as  sponsored  by  Colgate-Palmolive  Company. 


Ed  and  Betty  Ann  have  big  ideas 
for  that  first  home  of  their  own. 


She     can't     help     being     surprised 
when  dinner  turns  out  "as  ordered." 


Similar    tastes,    dissimilar    jobs — 
sure-happiness  recipe  (serves  two). 


WIT* 


Love  those  letters  telling   me  that  viewers  find   our   subjects   on 
This  Is  Your  Life  as  interesting  as  we  thought  when  we  chose  'em! 


That's  the  fascinating  question  we 
face  on  This  Is  Your  Life.   And 
we've  found  the  answers  even  more 
fascinating — and  very,  very  human ! 

By  RALPH  EDWARDS 


few  weeks  ago,  a  middle-aged  woman 
from  Steubenville,  Ohio — on  a  visit  to  Holly- 
wood— approached  me  while  I  was  having 
lunch  at  the  Brown  Derby. 

"What  are  your  criteria  for  selecting  peo- 
ple for  This  Is  Your  Life?"  she  asked  me. 

"Primarily  because  they  are  interesting," 
I  told  her. 

She  paused  for  a  couple  of  seconds  to  think 
over  my  reply.  I  should  have  expected  her 
follow-up  question.  "And  just  what  makes 
one  person  more  interesting  than  another?" 

It  was  a  difficult  query  to  answer,  because 
the  elements  couldn't  be  outlined  like  the 
rules  for  a  contest.  It  is  a  combination  of 
attitudes,  and  a  way  of  life. 

Of  course,  in  applying  this  question  to  my 
show  it  is  impossible  to  give  a  completely 
unbiased  opinion,  for  in  each  instance  I  have 
to  ask  myself:  "What  makes  the  subject 
interesting  as  a  person?"  and  "What  makes 
him  interesting  for  the  show?"  Luckily,  the 
two  criteria  go  hand  in  hand  most  of  the 
time — but  not  always. 

Take  our  first  televised  This  Is  Your  Life 
subject — a  sixty-eight-year-old  farm  woman 
by  the  name  of  Laura  Stone  Marr.  As  I 
went  through  the  records  of  her  life,  she 
appeared  to  be  a  "natural"  for  us.  She  had 
crossed  the  country  in  a  covered  wagon, 
fought  Indians,  run  out  of  food — almost  any- 
thing  that   could  happen   to   a   person  had 


54 


IM 


I 


^ 


Close  to   my  own   family,    I    feel   close  to   all    other   families,    too. 
This  is  my  wife  Barbara — and  our  children  Christine,   Lauren,  Gary 


occurred  to  her.  On  top  of  it,  she  was  very 
humble,  a  quality  which  is  appreciated 
highly  by  any  audience. 

Yet,  after  her  early  experiences  and  all 
she'd  been  through  since  then,  it  was  im- 
possible to  get  her  particularly  excited  about 
anything  any  more.  It  came  as  sort  of  an 
anti-climax. 

Consequently,  when  we  brought  on  stage 
some  of  her  relatives  whom  she  hadn't  seen 
for  more  than  two  decades,  her  reaction  was 
almost  stoically  calm.  Certainly,  she  was 
glad  to  see  them.  But  she  didn't  show  the 
type  of  emotion  the  audience  had  anticipated. 
They  were  disappointed  because  they  didn't 
think  she  was  appreciating  what  we  had 
done  for  her — which  she  did.  What's  more, 
I  felt  we  had  done  her  a  disfavor,  too.  From 
then  on,  we  were  doubly  careful  to  select 
people  who  were  interesting  because  of  their 
reactions,  as  well  as  their  experiences. 

For  that  matter,  a  sudden,  unbounded  en- 
thusiasm will  help  tremendously  in  making 
a  person  interesting.  We  selected  Joan 
Caulfield,  for  instance,  not  simply  because 
she  is  a  star,  nor  because  we  found  any 
extreme  highs  or  lows  in  her  life.  But  she 
has   the  type   of    (Continued   on  page  80) 


r 


"Little"  or  "big,"  interesting  people 
always  have  personality.  We  chose  Joan 
Caulfield  for  her  bubbling  enthusiasm, 
rather  than   the   fact  that   she's   famous. 


Ralph  Edwards'  This  Is  Your  Life,  NBC-TV,  Wed.,  10 
P.M.  EST,  is  sponsored  by  Hazel  Bishop  "Once-A-Day" 
Cosmetics  and  by  Prell  Shampoo  (Procter  &•  Gamble). 


Picture  on  desk  shows  Alice  with  her  husband,  Bill  Tuttle. 
Picture  below  shows  "Marcia"  with  her  radio  mate — 
Larry  Haines  as  "Lew" — in  The  Second  Mrs.  Burton. 


56 


Mi 


There  were  so  many  obstacles  ahead, 
until  Alice  Frost  realized  that 
she  couldn't  change  the  world,  but— 
By   FRANCESCA  WILLIAMS 


IP  you  were  to  ask  Alice  Frost  the  best  advice  she  ever 
got,  she  would  probably  quote  the  drama  teacher 
who  helped  her  get  started  as  an  actress.  He  had 
said:   Always  remember  that  you  cannot  change  the 
world,  you  can  only  change  yourself.    Keep  working  to 
make  yourself  better,  and  your  world  will  keep 
changing  for  the  better.  Start  with  yourself. 

The  man  who  gave  Alice  this  advice,  John  Seaman 
Gams,  has  since  become  a  minister,  with  a  church 
in  New  York.  But  Alice  knew  him  then  as  her  instructor 
in  dramatics  in  her  home  city  of  Minneapolis,  and  as 
a  man  whose  ideas  on  many  subjects  she  respected. 
"His  words  have  been  of  great  (Continued  on  page  9 1 ) 


pHBHniHi 
Real-life  pets  are  a  cocker  spaniel  called  Chris's  Boy 
Laddie  and  a  parakeet  named  Kate — for  Shakespeare's 
"Taming  of  the  Shrew"  heroine — whom  only  Alice  can  tame! 


Alice  in  Wonderland  almost  literally  comes  true  in  her 
library,  decorated  with  characters  and  scenes  from  Lewis 
Carroll's  book.    It  all  started  with  the  map  pictured  above. 


Colorful  figures  of  her  little  fictional  namesake — and  her 
Wonderland  friends,  from  White  Rabbit  to  Ugly  Duchess 
— are  dear  to  today's  very  much  alive  and  lovely  Alice. 


Alice  Frost  found  it  hard  to  choose  between  acting  and 
singing  as  a  career.  Now,  as  an  actress,  she  has  won  fame 
on  Broadway,  as  well  as  her  regular  roles  on  radio  and  TV. 


Alice  Frost  is  Marcia  Archer  in  The  Second  Mrs.  Burton,  CBS  Radio,  M-F,  2  P.M.  EST. 


57 


■■■ 


the    Iwllcim 


Medicine  is  the  true  hero  as  Richard  Boone 

stars  in  an  authentic  portrayal  of  doctors  at  work 


More  rugged  than  romantic,  Dick's 
at  ease  with  the  realism  of  Medic 


With  Mae  Clarke  as  patient,  he  models 
Dr.    Styner   after    his    family    physician. 


Actual    case    histories    filmed    in 
authentic  locales  make  for  drama. 


The  doctor  in  your  house  on  Monday  nights— Dr. 
Konrad  Styner  on  NBC -TV's  Medic — is  a  former 
college  boxing  champion,  an  ex-oil  field  roustabout 
and  a  seventh-generation  nephew  of  Daniel  Boone.  A 
craggy-faced,  husky  six-foot-two,  Richard  Boone  has 
studied  art  and  acting— and  shrewdly  observed  the  bed- 
side manner  of  his  family  physician,  who  lives  and 
practices  in  Pasadena.  He  knows  more  about  patching 
up  things  about  the  house  than  about  patching  up  broken 
bodies,  but  Richard  Boone's  stern  portrayal  of  Dr.  Styner 
is  as  real  as  a  heartbeat.  .  .  .  "There's  a  different  pace 
involved  in  working  around  actual  doctors  and  nurses," 
Boone  says  of  the  real-life  case  histories  filmed  at  hos- 
pitals and  clinics.,  "The  perspiration  is  honest — not 
glycerine."  ...  In  the  pilot  film  of  the  series,  Boone 
portrayed  a  doctor  performing  a  Caesarean  section.  At 
exactly  the  same  time,  his  wife  was  in  St.  John's  Hospital 
in  Santa  Monica,  giving  birth  to  their  first  child — by 
Caesarean  section.  "We  always  strive  for  realism  on 
Medic,"  he  grins,  "but  I  thought  that  was  carrying  things 
a  bit  far."  .  .  .  The  "rusty  nail  realism"  of  his  current 
role  comes  easily  to  Richard  Boone.  Born  in  Los  Angeles, 


he  was  educated  at  the  Army  and  Navy  Academy  in  San 
Diego  and  at  Stanford  University,  where  he  studied 
drama.  Summer  vacations  working  on  a  fishing  boat  or 
in  the  oil  fields  built  the  muscles  that  won  him  the 
college  light-heavyweight  boxing  championship  for  two 
years  ....  After  graduation,  he  went  to  work  as  an 
oil -field  roustabout  and  studied  art  at  night.  Then  came 
four  years  in  the  Navy  and  a  decision  that  he  definitely 
wanted  to  be  an  actor.  ...  He  enrolled  at  New  York's 
Neighborhood  Playhouse,  understudied  John  Gielgud  in 
"Medea"  on  Broadway  and  toured  as  "Yank"  in  "The 
Hasty  Heart."  In  1948,  he  turned  to  the  comparatively 
new  medium  of  television  and  starred  in  nearly  100  TV 
dramas  in  the  next  two  years.  He  continued  to  study, 
working  with  Elia  Kazan  at  the  famed  Actor's  Studio. 
.  .  .  Through  Kazan,  Dick  was  chosen  to  play  a  scene 
with  an  actress  who  was  being  screen-tested.  Only  the 
back  of  Dick's  head  was  visible  but  Darryl  Zanuck  was 
so  intrigued  by  the  actor's  voice  that  he  signed  him  to  a 
contract  ....  Beneath  Dick  Boone's  stethoscope,  there 
beats  a  home-loving  heart.  He  and  his  wife  Claire  bought 
a   big,   old   house   in  Pacific   Palisades,   within   shouting 


58 


distance  of  the  ocean,  renovated  the  seven  existing  rooms 
and  built  on  four  new  ones.  There's  usually  a  roaring 
wood  fire  going  next  to  the  built-in  barbecue,  over  which 
Dick  presides.  Last  year,  the  Boones  introduced  three 
couples  around  their  hearth  and  all  three  ended  up  around 
the  altar  ....  Dick  is  an  accomplished  bullwhip-handler, 
an  art  he  learned  while  filming  "Kangaroo"  in  Australia, 
and  is  also  a  master  of  the  gentle  art  of  bull  fighting. 
He  owns  a  string  of  race  horses,  but  his  fondest  hobby  is 
photography.  He  has  more  than  a  thousand  pictures  of 
Claire  and  his  son  Peter,  age  2%.  .  .  .  Dick  still  likes 
to  go  to  the  fights.  But  he  remembers  a  riot  he  himself 
nearly  caused  last  season.  One  night,  the  referee  an- 
nounced there  would  be  a  delay  because  the  physician 
hadn't  arrived.  Then  the  fight  fans  spotted  Richard 
Boone.  The  referee's  protests  that  Boone  was  not  an 
actual  M.D.  were  drowned  by  the  crowd  chanting:  "The 
Medic's  here!"  As  usual,  Dick  Boone  was  the  main  event. 


Richard  Boone  stars  in  Medic,  seen  on  NBC-TV,  Monday  at  9  P.M. 
EST,  for  The  Dow  Chemical  Co.  and  General  Electric   Company. 


^■■■■■■nmHBiMi^H 


Dick  played  a  real-life  hospital  drama  when  he  and 
Peter  visited  Claire  after  an  attack  of  appendicitis. 


He-man  Boone  tackles  a  script.    Dick  likes  to  take 
time  between  "takes"  to  play  ball  with  youngsters. 


59 


LITTLE    SINGING    BEE 


It's  all  such  fun  for  Molly,  at  16,  being  on  Tennessee  Ernie's  TV  show,  havin 


Molly,  who  goes  to  Hollywood  Professional  School,  gets 
off  the  phone  long  enough  to  catch  up  on  her  homework. 


There's   only   space    for    "snacks"    in    their    little    dining 
room,  since  Mother  gave  Molly  a  piano  for  her  birthday. 


Jk if  :"'Sv^^fc 

V                                 \ 

«  1 

£. 

M     1     ij 

Cliffie  Stone,  who  discovered  both  Molly  and  Tennessee 
Ernie,  has  watched   Molly  literally  "growing  up  on  TV." 


Childhood   traditions   linger   in   the   stuffed   toys   Mother 
gives  her  when  Molly's  ill.    Wee  skunk  is  "Jose  Aroma." 


Molly  Bee  sings  on  The  Tennessee  Ernie  Ford  Show,  over  NBC-TV,  M-F,  12  noon  EST,  as  sponsored  by  Dreft,  Tide,  and  others. 


\ates — and  always,   making  music 


Molly  Bee  and 
Tennessee  Ernie 


By  BUD  GOODE 


■jfr    #* 


#<•.« 


At  about  8:30  one  summer's  evening 
in  1948,  in  the  dressing  room  of 
Tucson's  largest  banquet  hall,  pigtailed 
Molly  Bee — just  nine  years  old — sat 
tapping  one  ballet-slippered  foot,  hum- 
ming along,  ear  up  to.  her  portable 
radio.   In  1948,  Molly  was  one  of  the 
West's  biggest  little  dancing  stars,  but  it 
was  a  singer  she  wanted  to  be  and  not 
a  dancer.  Molly  glanced  at  her 
reflection  in  the  dressing-room  mirror, 
imagining  herself  in  front  of  a  micro- 
phone singing  to  the  millions  in 
America's  radio  audience.   At  the  touch 
of  a  magic  wand,  her  dancing 
costume  changed  into  a  sequined 
evening  gown  .  .  . 

Then  the  door  opened  and  her  mother 
entered,  saying,  "Why,  Molly,  are  you 
still  here?  If  you  don't  hurry,  you'll 
miss  your  dance  cue." 

"Oh,  Mother,"  Molly  said,  "I  don't 
want  to  go  out  there  tonight.  ...  I  don't 
want  to  be  a  dancer." 

Her  mother  was  silent  for  a  moment 
as  she  examined  this  sudden 
unhappiness  in  her  daughter's  eyes. 
"All  right,  Molly,  honey — but  I  thought 
you  enjoyed  dancing." 

Molly  struggled  briefly  with  the  words, 
as  she  said,  "I  know  .  .  .  but  I  really 
don't.  I  know  you  like  dancing,  Mother 
.  .  .  and  I  wanted  to  make  you  happy. 
But  I  don't  (Continued  on  page  65) 


"■•■> 


f\ 


Bedtime's   early,    after   a 
Molly  gets  warm  milk  for 


busy    day,    but 
a  restful  sleep. 


LITTLE   SINGING    BEE 

It's  all  such  fun  for  Molly,  at  16,  being  on  Tennessee  Ernie's  TV  show,  JU. 


Molly,  who  goes  to  Hollywood  Professional  School,  gets 
off  the  phone  long  enough  to  catch  up  on  her  homework. 


There's   only   space   for    "snacks"    in   their   little   dining 
room,  since  Mother  gave  Molly  a  piano  for  her  birthday. 


t*  fates-— and  always  making  music 


By  BUD  GOODE 

At  about  8:30  one  summer's  evening 
in  1948,  in  the  dressing  room  of 
Tucson's  largest  banquet  hall,  pigtailed 
Molly  Bee — just  nine  years  old — sat 
tapping  one  ballet-slippered  foot,  hum- 
ming along,  ear  up  to  her  portable 
radio.   In  1948,  Molly  was  one  of  the 
West's  biggest  little  dancing  stars,  but  it 
was  a  singer  she  wanted  to  be  and  not 
a  dancer.  Molly  glanced  at  her 
reflection  in  the  dressing-room  mirror, 
imagining  herself  in  front  of  a  micro- 
phone singing  to  the  millions  in 
America's  radio  audience.   At  the  touch 
of  a  magic  wand,  her  dancing 
costume  changed  into  a  sequined 
evening  gown  .  .  . 

Then  the  door  opened  and  her  mother 
entered,  saying,  "Why,  Molly,  are  you 
still  here?  If  you  don't  hurry,  you'll 
miss  your  dance  cue." 

"Oh,  Mother,"  Molly  said,  "I  don't 
want  to  go  out  there  tonight.  ...  I  don't 
want  to  be  a  dancer." 

Her  mother  was  silent  for  a  moment 
as  she  examined  this  sudden 
unhappiness  in  her  daughter's  eyes. 
"All  right,  Molly,  honey— but  I  thought 
you  enjoyed  dancing." 

Molly  struggled  briefly  with  the  words, 
as  she  said,  "I  know  .  .  .  but  I  really 
don't.  I  know  you  like  dancing,  Mother 
. .  .  and  I  wanted  to  make  you  happy. 
But  I  don't  (Continued  on  page  65) 


Bedtime's    early,    after    a    busy    day,    but 
Molly  gets  warm  milk  for  a  restful  sleep. 


Cliffie  Stone,  who  discovered  both  Molly  and  Tennessee 
Ernie,  has  watched   Molly  literally  "growing   up  on  TV." 


Childhood  traditions  linger  in  the  stuffed  toys  Mother 
gives  her  when  Molly's  ill.    Wee  skunk  is  "Jose  Aroma. 


lolly  Bee  sings  on  The  Tennessee  Ernie  Ford  Show,  over  NBC-TV,  M-F,  12  noon  EST,  as  sponsored  by  Dreft,  Tide,  and  others. 


Molly  Bee  and 
Tennessee  Ernie 


*-* 


3*   ** 


«^> 


Married  to  Charles  Underhill,  mothering  little  Nancy — and  living  in  the  country — 
Julie  has  found  a  fulfillment  beyond  girlhood  dreams.  She  has  even  "discovered  that 
cooking  is  a  creative  thing."  (She  adds:  "I  want  Nancy  to  learn,  as  she  grows  up.") 


TRUE  HAPPINESS  FOR 


Away  from  her  beloved  career, 

away  from  the  busy  city,  Julie  Stevens 

finds  the  greatest  joy  of  living 

By  ALICE  FRANCIS 

Lovely  Julie  Stevens — who  is  Helen  Trent  on  CBS 
Radio — sat  in  the  living  room  of  her  own  little  house 
'  in  the  country,  talking  about  the  way  her  life  had 
changed  during  the  past  couple  of  years.     She  had  just 
come  indoors  and  was  still  dressed  in  slightly  mud- 
spattered  blue  jeans  and  a  warm  blouse  and  old  sweater, 
a  colorful  scarf  tied  loosely  around  light  gold  hair. 
Her  cheeks  were  rouged  by  the  nipping  breezes,  her  blue- 
green  eyes  bright  with  excitement.     She  and  Charles 
and  little  Nancy — who  is  going  to  be  five  next  June — 
had  been  riding  the  jeep  around  their  eighteen  acres 
of  meadow,  ponds  and  virgin  woods,  deciding  what  work 
had  to  be  done  at  once,  what  could  wait  until  the  ground 
thawed  out  and  the  weather      (Continued  on  page  89) 

The  Romance  Of  Helen  Trent  is  on  CBS  Radio,  M-F,  12:30  P.M.  EST. 


Home  is  a  house  they  planned  themselves,  in  loving  detail.  There 
is  a  spring-fed  pond  for  swimming,  and  part  of  a  larger  lake 
where  they  go  boating — and  Nancy  has  her  very  own  island. 


Nancy  has  all  a  child's  heart  could  desire. 
And,  this  spring,  she'll  watch  daffodils  grow 
from  bulbs  which  she  herself  helped  to  plant! 


Julie  has  everything  she  wants,  too — from  a 
house  so  compact  "I  could  take  care  of  it  my- 
self"— to  the  role  she  loves,  as  Helen  Trent. 


steve  alien 

says:  "On  or  off  camera  my 
style  choice  is  EAGLE  CLOTHES 
They  give  a  feeling  of  vital 
presence  . .  .  radiate  sophisti- 
cation and  good  taste  to  your 
audience."  See  Eagle's  bril- 
liant new  suit  collection . . . 
soft  lines;  exclusive  fabrics; 
wondrous  new  weaves;  all 
meticulously  hand  tailored.  For 
name  of  nearest  dealer  and 
free  style  chart,  write  to  Eagle 
Clothes,  Inc.,  1107  Broadway, 
New  York  10,  N.  Y. 


64 


(Continued  from  page  61) 
want   to    dance.    I   really    want    to    sing." 

Today,  at  sixteen,  Molly  Bee  is  one  of 
television's  brightest  young  songbirds. 
Every  weekday,  on  the  NBC-TV  Tennessee 
Ernie  Ford  Show,  Molly  bounces  with 
energy.  Her  blue  eyes  snap  and  her  long 
blonde  pony-tail  vibrates  with  rhythm. 
Molly  is  singing  with  happiness. 

Molly  was  born  in  Oklahoma  City,  Ok- 
lahoma, in  1939.  When  she  was  four,  the 
family  moved  to  Tucson,  where  Molly  be- 
gan studying  dancing  under  Gertrude 
Schwab.  She  was  an  excellent  pupil  and 
soon  was  called  on  to  dance  in  all  the 
children's  shows,  in  church  and  school,  and 
was  in  demand  for  all  of  Tucson's  impor- 
tant banquets  and  functions.  At  all  times, 
she  was  completely  at  home  on  the  stage. 
Though  her  mother  didn't  realize  it,  Mol- 
ly's interests  lay  in  singing  and  not  danc- 
ing,  even   then. 

When  Molly  was  nine,  she  and  her  ten- 
year-old  brother,  Bobby,  loved  to  spend 
part  of  their  afternoons  singing  along  with 
the  cowboy  records  spun  by  Rex  Allen, 
Tucson's  radio  disc  jockey.  Their  mother 
recalled:  "They  made  a  fair  trio — Molly, 
Bobby,  and  the  record.  Their  singing 
wasn't  so  good.  But,  when  Molly  yodeled, 
it  was  just  grand." 

Shortly  after  she  was  ten,  Rex  Allen 
heard  Molly  sing  "Lovesick  Blues"  in  a 
school  play.  He  invited  her  to  be  on  his 
radio  show,  where,  a  few  days  later,  she 
sang  it  again.  Molly's  been  a  busy  little 
songbird  ever  since. 

JNot  long  after  her  radio  debut,  the 
Beachboard  family  (Molly  shortened  the 
name  to  Bee)  moved  to  Temple  City,  a  Los 
Angeles  suburb — and,  the  first  chance  she 
had,  Molly  tried  out  on  an  amateur  TV 
show  called  Hollywood  Opportunities. 
Again  singing  "Lovesick  Blues,"  she  was 
the  first  week's  winner.  When  she  came 
back  for  the  semi-finals,  she  didn't  win. 
But,  with  her  heart  set  on  singing,  Molly 
just  knew  that  another  Hollywood  oppor- 
tunity would  come  along. 

Fate  almost  made  Molly  miss  that  next 
opportunity.  By  chance,  Clime  Stone,  the 
Western  recording  artist  and  Hollywood 
TV  star,  had  seen  her  on  the  amateur 
program.  As  he  now  recalls,  "I  didn't 
catch  Molly's  name,  so  I  called  the  station 
and  tried  to  get  some  information.  I  fin- 
ally had  to  call  two  advertising  agencies 
before  I  was  able  to  get  Molly's  telephone 
number,  so  I  could  ask  her  to  guest  on  my 
show,  Hometown  Jamboree." 

When  Molly  came  on  the  stage  for  her 
first  appearance  on  Jamboree,  she  was  so 
small  she  couldn't  reach  the  microphone. 
Cliffie  found  an  apple  box,  and  Molly  sang 
"Lovesick  Blues"  standing  on  its  top.  Cute, 
pigtailed  Molly,  singing  on  the  big  box- 
top,  was  immediately  accepted  by  the 
Jamboree  gang  and  taken  into  the  hearts 
of  the  Greater  Los  Angeles  radio  and  TV 
audience — and,  as  a  sentimental  memento, 
Cliffie  Stone  still  has  that  box. 

Molly— featured  nationally  for  the  past 
year  on  Tennessee  Ernie's  NBC-TV  show, 
which  is  also  produced  by  Cliffie  Stone- 
has  now  been  on  Hometown  Jamboree 
with  Cliffie  for  six  years.  "Molly  has 
grown  up  on  TV,"  says  the  jolly,  robust 
producer.  "In  fact,  at  the  age  of  twelve, 
Molly  already  wanted  to  be  'grown-up.' 
She  felt  the  long  blonde  braids  falling  five 
feet  down  her  back  made  her  look  'young.' 
A  week  before  her  thirteenth  birthday,  we 
promised  Molly  that,  when  she  turned  the 
teen-age  corner,  she  could  cut  off  her 
braids. 

"Molly  was  so  excited  at  the  news,"  he 
recalls,  "that,  for  the  first  time  she  dropped 


Little  Singing  Bee 

a  line  in  her  song,  'Over  the  Rainbow.' 
Standing  on  a  bridge  in  the  middle  of  the 
set,  her  usually  perfect  memory  failed  her 
and  she  sang  'When  all  the  world  is  a  .  .  . 
mess!'  Molly  had  to  stop,  walk  over  the 
bridge  to  the  piano,  and  look  at  the  lyrics." 

Cliffie  added:  "Most  young  performers 
outgrow  the  cute  period.  But,  with  her 
hair  sheared,  Molly  made  the  transition 
without  even  shifting  gears.  She  never 
went  through  an  awkward  stage.  As  soon 
as  Molly's  braids  were  cut,  she  was  a 
grown-up  little  lady."  (Cliffie  says  he  still 
has  the  pigtails,  honey-colored  and  thick, 
and  he's  going  to  put  them  in  a  special 
Molly  Bee  Hall  of  Fame,  along  with  the 
apple  box.) 

Just  as  it  was  for  Cliffie  Stone's  other 
find,  Tennessee  Ernie  Ford  himself,  Home- 
town Jamboree  was  an  excellent  training 
ground  and  showcase  for  Molly  Bee.  Ap- 
pearing before  a  live  audience  helped  her 
smooth  out  the  rough  spots  in  her  delivery, 
increased  her  poise  on  stage  and  her  own 
self-confidence  in  singing  solos  and  duets. 

Describing  Molly's  personality,  Cliffie 
says,  "She  gets  along  with  everybody.  She's 
never  upset  by  constructive  criticism.  She 
never  gets  mad.  No  temperament — Molly 
will  sing  solos,  duets  or  in  a  quartet.  'Bill- 
ing' doesn't  make   any   difference   to   her. 

"Molly  never  does  anything  halfway," 
continues  Cliffie.  "She's  one  of  the  fastest 
studies  in  show  business,  learning  as  many 
as  ten  songs  a  week  for  the  Tennessee 
Ernie  Ford  Show  and  four  songs  a  week 
for  Jamboree.  She  never  uses  cue  cards 
on  our  show  and  seldom  uses  them  on  the 
Ernie  show.  If  you  gave  a  twenty-year- 
experienced  professional  this  much  work, 
he'd  freeze  up  at  the  prospect.  But  not 
Molly.     She  just  doesn't  know  it's  tough." 

Molly's  day  begins  at  five  in  the  morn- 
ing, when  she's  up  for  rehearsal  on  the 
Tennessee  Ernie  Ford  Show,  which  is 
seen  from  9  to  9:30  A.M.,  Pacific  time. 
Preparation  for  the  next  day  begins  im- 
mediately after  the  show  and  runs  until 
noon.  Molly  then  goes  to  the  Hollywood 
Professional  School  from  12:45  to  4  P.M. 
She  gets  good  grades. 

After  school,  Molly  returns  to  the  new 
Hollywood  Hills  home  she  shares  with  her 
mother  (now  Mrs.  Lou  Adams),  and  her 
little  brother,  Butch.  (Molly's  father  is 
dead,  and  her  older  brother  Bobby  still 
goes  to  high  school  in  Temple  City.)  Their 
house  is  always  filled  with  friends.  Molly 
acts  on  her  friends  like  a  chemical  cata- 
lyst. When  she  comes  in  from  school, 
things  begin  to  bubble.  After  dinner,  she 
studies — between  constant  phone  calls 
from  beaux.  At  8  P.M.,  calls  are  restricted 
by  her  mother,  and  Molly  is  in  bed  by 
eight-thirty. 

Molly  frequently  rehearses  at  home  with 
the  Jamboree  gang,  in  preparation  for  the 
once-a-week  Saturday  night  show.  Half 
of  Saturday  is  devoted  to  rehearsals  for 
Jamboree,  which  originates  from  Anaheim 


Features  in  Full  Color 

Eddie's  and   Debbie's   Honeymoon  I 

Hal  Holbrook  of 

"THE  BRIGHTER  DAY" 

Pat  Boone  of  the  Godfrey  Shows! 

Janis  Paige — 

"IT'S  ALWAYS  JAN" 

in  the 

April 

TV  RADIO  MIRROR 

on  sale  March  8 


and  is  seen  in  Los  Angeles  over  Channel  5. 

Parents  and  teenagers  alike  flock  to  the 
Jamboree  show.  As  Cliffie  says,  "Parents 
look  at  Molly  and  say,  'My  teenager  is  just 
like  her.'  Teenagers  look  at  Molly  and 
say,  'Gee,  she's  just  like  me.'  "  Cliffie  at- 
tributes to  Molly  much  of  Jamboree's  con- 
tinued successful  family  following,  be- 
cause of  the  personal  identification  the 
audience   feels   for   her. 

Molly  and  her  mother  have  always  been 
very  close.  "We're  good  friends,"  Molly 
says.  "We're  the  real  'together'  kids — to- 
gether, I  think,  more  than  most  mothers 
and  daughters,  because  mother  accompan- 
ies me  to  the  shows  and  drives  me  back 
and  forth  to  work.  This  gives  us  plenty 
of  talking  time." 

Mrs.  Adams  and  Molly  share  a  joint 
bank  account.  They  never  disagree  over 
funds  .  .  .  "At  least,"  says  Mrs.  Adams, 
"very  seldom.  Molly  tends  to  be  over- 
generous.  She  loves  to  give — with  any 
opportunity,  she'll  spend  hours  picking  out 
just  the  right  gift — though  I  have  had  oc- 
casions to  suspect  her  motives!" 

Mrs.  Adams  is  referring  to  the  new  car 
Molly  wanted  to  buy  for  her  as  a  Mother's 
Day  gift.  "The  expense  was  justified," 
says  Mrs.  Adams,  "because  the  family  did 
need  a  new  auto,  and  I  thought  a  conser- 
vative blue  would  do  fine.  But,  when 
Molly  and  I  got  to  the  show  room,  her  eye 
was  caught  by  a  fire-engine  red  convert- 
ible. The  way  she  walked  right  up  to  it, 
I  had  a  hunch  she  knew  it  was  there  all 
along. 

"She  said,  'Mother,  isn't  this  convertible 
just  the  dreamiest  .  .  .' 

"  'Don't  you  think  blue  would  be  more 
practical?'  I  replied. 

"  'But  it's  my  gift  to  you,'  Molly  said. 
'I  think  I  should  pick  out  the  color!' " 

Now — two  years  later — Mrs.  Adams  says, 
"To  keep  from  attracting  attention,  I  still 
hide  behind  trucks  and  busses  while  driv- 
ing. It's  like  trying  to  hide  in  a  spotlight 
on  center  stage." 

IVlolly's  mother  reports  that,  at  sixteen, 
Molly  is  a  good  driver.  She  thinks  child- 
ren should  be  taught  to  drive  as  early  as 
possible.  "Lately,"  she  observes,  "Molly's 
been  spending  more  time  behind  the  wheel 
of  the  red  Ford  than  I  have.  She  sings  as 
she  drives.  I  don't  feel  too  badly  about  it. 
I'm  sure  this  is  what  Molly  had  in  mind 
when  she  picked  out  'my'  new  red  Moth- 
er's Day  gift."  With  Molly  at  the  wheel, 
Mrs.  Adams  has  developed  an  "I'm  just  a 
passenger  in  this  car — it  doesn't  belong  to 
me  at  all"  expression  which  she  puts  on 
when  they  drive  in  to  work. 

Lately,  Molly  has  been  hinting  for  a  new 
Thunderbird  of  her  own.  Her  mother  says 
no.  "In  fact,"  says  Mrs.  Adams,  "I  sud- 
denly go  deaf  when  it's  mentioned." 

"Yes,"  smiles  Molly,  "it's  the  only  thing 
we've  ever  disagreed  on.  Oh,  look!  There 
goes  a  Thunderbird  now.  Isn't  it  just 
gorgeous?" 

"What  were  you  saying?"  says  Mrs. 
Adams,  still  making  a  valiant  effort.  Mol- 
ly is  described  by  her  mother  as  a  great 
family  gal.  "She  loves  her  two  brothers, 
Butch  and  Bobby,  madly.  They  return 
the  favor.  I'll  tell  you  how  much  she 
loves  those  boys:  Last  month,  Molly  and 
I  took  a  trip  to  New  York.  Molly  got  so 
homesick  for  her  brothers  that  she  started 
writing  them  letters  before  we  got  out 
of  town!  I  thought  she  would  die  before 
we  got  home  again."  T 

Describing  her  younger  brother,  Butch,    v 
Molly  says:   "He's  a  riot!     Exuberant's  the    R 
word.    He  really  comes  on.    He  isn't  pret- 
ty, but  he's  cute.     When  he  sees  me  prac- 
tice, then  he  wants  to  play  guitar,  too.    But 

65 


4865 

SIZES 
14!/2_24i/2 


4816 

SIZES 

12—20 

40 


4816 — You'll  live  in,  love  this  pretty  en- 
semble! Cool  scooped-neck  dress,  brief 
cover-up  bolero.  Misses'  Sizes  12-20;  40. 
Size  16  dress  takes  4%  yards  35-inch  fabric; 
bolero    takes    1%    yards.    State    size.    35tf' 

4865 — Look  taller,  smarter,  slimmer  in 
this  attractive  casual.  See  how  it  flatters 
the  shorter,  fuller  figure!  Half  Sizes  Uy2- 
2iy2.  Size  16%  takes  4  yards  35-inch  fabric. 
State  size.  35^ 

4584 — Two  dresses — or  a  dress  and  coat! 
These  are  the  prettiest  fashions  your  little 
girl  could  own!  Girls'  Sizes  6,  8,  10,  12,  14. 
Size  10  dress,  2%  yards  35-inch;  coat, 
3x/i  yards.  State  size.  35# 


4584 

SIZES 
6-14 


66 


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he  thinks  it's  sissy.  Someday,  he's  going 
to  get  some  brains,  though,  and  I  think 
he'll  be  a  good  musician." 

Molly's  brother  Bobby,  now  seventeen, 
still  lives  in  Temple  City  near  his  high 
school.  When  he  comes  in  on  Saturdays, 
the  family  takes  frequent  weekend  trips 
together.  The  "Bees"  are  quite  athletic — 
though  Molly  refers  to  herself  as  "left- 
handed  awkward" — and  they  like  Palm 
Springs,  because  they  can  ride  and  swim 
there. 

Last  trip  out,  Molly  caught  a  cold  and 
the  family  rushed  home  to  put  her  to  bed. 
Then  Mrs.  Adams  went  out  and  bought 
her  a  fuzzy  toy  skunk  which  she  gave  to 
her  daughter  with  a  note  reading:  "You're 
a  skunk  for  being  sick."  (The  gag  gifts 
are  a  holdover  from  Molly's  childhood, 
when  her  mother  gave  her  an  assortment  of 
fuzzy  little  toys  to  cheer  her  whenever 
she  was  ill.  Molly  named  the  skunk,  "Jose 
Aroma.") 

At  sixteen,  Molly's  reached  the  age 
where  she  has  discovered  boys.  "In  fact," 
says  Mrs.  Adams,  "boys  are  the  biggest 
problem  in  the  house.  But  I'm  sure  it's  a 
common  teen-age  phenomenon.  From 
four  to  eight  P.M.,  the  phone  goes  as  auto- 
matically  as   Molly's  record-player." 

Mrs.  Adams  enjoys  having  the  house 
filled  with  kids,  and  encourages  Molly  to 
bring  her  friends  to  the  house,  where  they 
dance  and  play  table  tennis  in  the  rumpus 
room.  The  family  doesn't  have  many  big 
parties — "Just  sort  of  a  continuous  small 
carnival,"  says  Molly's  mother. 

Friday,  and  sometimes  Sunday,  are  Mol- 
ly's nights  for  dates.  Most  of  her  beaux 
are  school  acquaintances  or  come  from 
the  ranks  of  her  brother's  friends.  "For 
more  reasons  than  one,"  she  remarks,  "an 
older  brother  is  handy  to  have  around." 
Molly  likes  fellows  who  can  talk  music, 
and  she  loves  to  dance.  "I  have  this  one 
friend,"  she  says  all  in  one  breath,  "whom 
I've  known  for  years  and  he's  such  a  great 
dancer  and  every  time  I  get  a  chance  I 
twist  his  arm  and  make  him  go  dancing 
with  me!" 

At  present,  Molly  is  going  out  with  a 
young  man  who  does  the  lighting  on  the 
Jamboree  show.  He's  nice  looking,  has  a 
pleasant  personality,  and  is  tall.  Molly 
likes  her  beaux  tall.  (She  thinks  she's 
too  tall  herself — five-foot-four — and  sighs, 
"Oh,  I  hope  I  stop  growing  soon!")  Molly 
is  also  interested  in  sports  cars.  The  new 
beau  owns  an  Austin-Healey  that  takes 
them  out  for  ice  skating  and  dancing. 
Around  the  house,  he's  referred  to  as  the 
"Austin-Healey  Kid." 

Molly  also  has  a  crush  on  Tab  Hunter, 
the  young  Hollywood  actor.  Knowing 
this,  Tennessee  Ernie  had  Molly  sing  a 
love  song  to  a  life-size  picture  of  Tab  one 
morning  on  the  show — and,  on  the  last 
note,  Tab  stepped  out  from  behind  the 
picture.  Was  Molly  surprised?  "I  near- 
ly died!"  she  says. 

The  one  thing  that  Mrs.  Adams  is  strict 
about  is  Molly's  coming  in  on  time  when 
she  goes  out  dating.  Mrs.  Adams  feels 
that  midnight  is  a  reasonable  hour  for  any 
sixteen-year-old.  But  one  night  Molly 
didn't  get  home  until  three!  She'd  gone 
to  a  "very  special  party"  which  hadn't 
started  until  midnight,  and  there  was  no 
way  she  could  phone.  "I  thought  Mom 
would  blow  her  top  or  the  roof  would  ex- 
plode," says  Molly.  But  Mrs.  Adams  lis- 
tened to  Molly's  explanation,  saying  mere- 
ly, "Of  course,  I  understand.  Sometimes 
these  things  just  happen.  However,  it 
would  be  nice  next  time  if  you  could  make 
sure  your  parties  are  near  phones." 

At  sixteen,  Molly  is  not  interested  in 
going  steady.  "I  enjoy  meeting  lots  of 
people,"  she  says.  "It's  half  the  fun  of 
growing  up."  Molly  thinks  she'd  like  to 
be  at  least  twenty- one  before  marrying, 
and  again  adds,  "He'll  have  to  be  some- 


body  you  can  talk  to — good  looks  aren't 
enough.    And   he'll   have   to    like   music." 

Around  home  Molly  picks  up  in  her 
own  room.  Otherwise,  she  doesn't  do  any 
household  chores,  because  she's  too  busy 
concentrating  on  her  singing.  But  Molly 
does  like  to  cook.  "I  don't  mind  her  in 
the  kitchen,"  says  Mrs.  Adams.  "But,  when 
Molly  cooks,  she  uses  all  the  pots  and 
pans  within  reach — then  suddenly  she's 
tired  and  you-know-who  cleans  up. 

"Molly  really  is  a  good  cook,"  she  con- 
tinues. "Though  last  year  she  made  a 
batch  of  brownies  that  didn't  turn  out  so 
well.  She  guarded  them  with  her  life 
when  they  came  out  of  the  oven,  so  her 
brothers  wouldn't  gobble  them  down. 
When  they  cooled  off,  she  put  them  in  a 
box  and  took  them  over  to  the  Tennessee 
Ernie  Ford  gang.  Generally,  they  are  all 
drawn  to  Molly  when  she  first  comes  in. 
But,  when  they  saw  those  hard,  burned 
cookies,  suddenly  everybody  was  on  a 
diet,  and  they  all  went  back  to  their  music." 

Molly  is  careful  of  her  own  diet.  She 
never  raids  the  ice  box,  is  proud  of  her 
twenty-two-inch  waist,  and  collects  wide 
belts  which  show  it  off.  She  loves  clothes. 
Smart  plain  things  without  frills  are  her 
favorites,  although  she  has  half  a  ward- 
robe full  of  wide  skirts  and  petticoats, 
too.  She  adores  toreador  pants,  sweaters, 
and  shoes.  She  has  a  closetful  of  high 
heels,  in  all  colors,  though  her  mother 
doesn't  allow  her  to  wear  them  too  often. 
Molly  says,  "Just  let  Mother  say  the  word 
— I've  got  heels  to  match  any  outfit!" 

During  the  year  Molly  was  on  the  Pinky 
Lee  Show,  her  clothes  were  supplied  by 
Junior  House.  She  was  given  three  new 
dresses  each  week,  and  she  was  in  seventh 
heaven.  "That  was  the  problem,"  she  says 
now.  "The  dresses  were  size  seven — and 
now  I'm  size  nine!" 

Molly  and  her  mother  and  younger 
brother  Butch  live  in  a  modern  two-story 
house  above  Barham  Boulevard  in  the 
Hollywood  Hills.  Molly's  mother  spent 
six  months  searching  before  she  finally 
found  a  place  she  thought  the  family 
would  like.  When  Mrs.  Adams  found 
their  present  house,  Molly  and  Tennessee 
Ernie  went  back  with  her  after  the  show. 
Molly  liked  it  at  once.  But  Ernie,  who 
has  a  protective  attitude  toward  his 
sixteen-year-old  singer,  tried  his  best 
Tennessee  horse-trading  on  the  owner  to 
bring  the  price  down.  After  the  first  com- 
promise, Molly  sang  out  with  a  bright, 
"Golly,  we'll  take  it!"  Later,  Ernie  told 
Molly,  "Honey,  that  song  cost  you  a  thou- 
sand spankin'  good  dollars!" 

The  family  has  been  in  the  house  three 
months  and  already  has  exchanged  the 
Early  American  furniture  for  modern.  In 
doing  so,  the  small  dining  room  was  left 
bare.  Mrs.  Adams  had  promised  Molly  a 
piano  when  the  family  purse  could  afford 
it  and,  on  her  16th  birthday,  Molly  came 
home  from  school  to  find  a  grand  piano 
filling  the  dining  room.  It  was  a  super- 
duper  surprise.  The  first  thing  Molly  does 
now,  when  she  comes  in  from  school,  is 
head  straight  for  the  piano — it's  her  pride 
and  joy.  She  says,  "Now  we  all  eat  our 
meals  in  the  kitchen.  We'll  sacrifice  any- 
thing around  this  house  for  music!" 

Molly  says  the  piano  has  been  a  great 
help  with  her  singing.  Though  she  actually 
doesn't  play  yet,  because  of  her  many 
years  on  the  guitar,  she  has  already 
learned  to  do  chords  on  the  piano.  "Also," 
says  Molly,  "it's  a  lifesaver  at  parties. 
When  the  conversation  gets  dull,  the  kids 
gather  'round  the  piano  and  sing." 

But,  with  Molly  Bee,  it  doesn't  matter 
if  it's  with  the  kids  around  the  dining- 
room  piano  .  .  .  before  the  microphone  on 
the  Tennessee  Ernie  Ford  Show  ...  or  on 
Clime  Stone's  Hometown  Jamboree  .  .  . 
Molly  Bee's  happiest  when  she's  singing. 


COMPLIMENT-WINNING  HAIR 


You  know  the  pleasant  glow  and  feeling  of  content- 
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rale . . .  you  feel  years  younger  . . .  full  of  pride 
and  confidence  in  your  attractive  appearance. 
But  compliments  seldom  come  accidentally. 
In  the  same  way  regular  skin  care  is  necessary 
to  keep  your  complexion  fresh  and  lovely, 
your  hair  also  needs  regular  care  to  keep  it 
gleaming  and  full  of  color.  So  if  your  hair  is 
beginning  to  fade  and  grow  lifeless  ...  if 
the  first  touches  of  gray  have  appeared  . . . 
it's  time  for  you  to  join  the  many  thousands 
of  women  whose  regular  beauty  routine  in- 
cludes a  NOREEN  Color  Hair  Rinse  after  each 
shampoo  to  keep  their  hair  bright  and  shin- 
ing, and  to  blend  in  unwanted  streaks  of  faded 
or  graying  hair. 
These  women  choose  NOREEN  every  time  be- 
cause they  have  found   how  naturally  and  dis- 
creetly it  matches  their  hair  to  eyes  and  skin  tone 
. .  because  NOREEN  brings  them  compliments  — not 
comments — from  their  friends. 


At  cosmetic  counters  everywhere. 

8  rinses  60fi  plus  tax. 

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Also  professionally 

applied  in 

beauty  salons. 


67 


(Continued  from  page  44) 

Peggy  was  inclined  to  sit  down  and  have 
a  good  cry.  She  was  restrained  from  col- 
lapsing just  in  time  to  spare  the  life  of  a 
cuckoo  clock  she  had  bought  at  the  Taka- 
shimhya — a  clock  she  was  destined  to  cart 
home  over  six  thousand  miles  of  ocean 
and  a  stopover  in  Honolulu,  only  to  have 
it  put  away  in  storage  after  a  year  of 
usage. 

"That  clock  got  me  tossed  out  of  three 
different  apartment  buildings,"  she  says 
now.  "Nobody  seemed  to  mind  it  during 
the  day,  but  at  night — that  was  something 
else  again.  Even  so,  I  don't  think  there 
would  have  been  much  trouble  if  it  hadn't 
been  for  the  cuckoo's  nasty  habit  of  ham- 
ming it  up — at  four  A.M.,  if  you  please. 
One  night  it  cuckooed  seventeen  times. 
That  did  it.  When  I  moved  into  this  apart- 
ment— which  I  love  madly — I  realized  that, 
if  I  hoped  to  stay,  the  cuckoo  had  to  go. 
He  went." 

Among  other  delights,  the  new  apart- 
ment boasts  two  sumptuous  bathrooms, 
one  decorated  predominantly  in  black, 
gray  and  white,  and  the  other  in  a  sym- 
phony of — what  else? — pink.  "For  a  girl 
who  has  sung  with  bands  in  towns  where 
the  plumbing  was  strictly  carved-new- 
moon-on-the-door  variety,"  she  likes  to 
announce  with  a  pixie  grin,  "having  two 
bathrooms  is  an  almost  unendurable  lux- 
ury." 

Peggy  was  born  in  South  Greensburg, 
Pennsylvania,  but  when  she  was  ten  her 
parents  moved  to  Ravenna,  Ohio,  where 
Peggy's  father  became  (and  still  is)  an  in- 
spector in  a  rubber-goods  factory.  (In  case 
you  don't  read  trade  magazines,  Ravenna, 
Ohio,  is  the  Baby-Rubber-Goods  Capital 
of  the  World — everything  from  nipples  to 
panties — both  considered  vital  in  junior 
circles.) 

Peggy  graduated  from  Ravenna  Town- 
ship High  School  with  top  grades  in  her 
business  course,  and  quickly  found  a  job 
as  legal  secretary.  She  held  this  position 
for  two  years,  working  at  stenography 
during  the  day,  and  spending  weekends 
and  evenings  trying  to  get  a  break  in  show 
business.  As  she  remembers  it  now,  "I  was 
a  has-been  at  seventeen." 

All  of  Peggy's  life  has  been  marked  by 
odd  coincidences,  and  the  geographical  lo- 
cation of  Ravenna  was  one  of  the  first:  It 
is  about  halfway  between  Cleveland  and 
Akron,  both  of  which  have  excellent  radio 
stations  and  an  active  dancing  life  requir- 
ing name  bands  and  perky  band  singers. 

Peggy  was  convinced  that  if  she  could 
just  get  a  radio  job,  all  else  would  open 
up.  So,  every  time  there  were  tryouts  an- 
nounced,   she    would    try    out.    Inevitably, 


Peggy's  in  the  Pink 

she  became  a  finalist  in  a  Cleveland  com- 
petition. But,  also  inevitably,  that  final  au- 
dition was  scheduled  for  the  night  of  a 
Kent  State  Teachers'  College  formal,  where 
Peggy  had  a  beau.  Luckily,  he  was  under- 
standing. He  agreed  to  take  Peggy  to 
Cleveland  for  the  tryouts,  then  return  to 
the  prom. 

The  emcee  that  night  was  Henry  Pild- 
ner,  and  one  of  the  celebrity  judges  was 
Lex  Barker,  who  listened  while  Peggy 
sang  about  eight  bars  of  a  song,  and  an- 
nounced that  there  was  a  definite  place  for 
her  in  show  business.  A  week  later,  she 
was  offered  a  network  job  at  fifty  dollars 
a  week,  which  seemed  positively  princely. 

However,  when  Peggy  heard  that  George 
Sterney,  playing  at  the  Bronze  Room  of 
the  Cleveland  Hotel,  was  auditioning  vo- 
calists, Peggy  tried  out  for  that  job,  too, 
singing  some  of  the  hit  tunes  from  "Kiss 
Me,  Kate"  and  "South  Pacific"  and  jug- 
gling maracas  for  the  first  time  in  her  life. 

She  was  fairly  certain  that  nothing  much 
would  come  of  the  audition.  But,  being  a 
courteous  type,  she  telephoned  the  next 
day  to  thank  Mr.  Sterney  for  his  time  and 
patience.  She  was  almost  blown  off  her 
feet  by  the  telephonic  blast  from  Mr.  Ster- 
ney who  explained  that  his  male  star  had 
just  broken  a  leg.  Could  Peggy  go  on  that 
night? 

Peggy  could  and  did,  which  meant  that 
she  owned  and  operated  two  jobs.  She 
sang  with  the  band  from  nine  until  two 
each  evening  and  morning,  and  she  re- 
ported to  the  radio  station  at  8:15  A.M.  for 
an  eight-hour  shift — somewhat  pink-eyed, 
to  match  her  favorite  dresses.  This  went 
on  for  nearly  ten  months,  until  budgets 
were  cut  at  the  radio  station  and  at  the 
hotel  simultaneously.  Peggy  fell  back  to 
Ravenna  to  regroup  and  get  some  sleep. 

George  Sterney  had  made  extensive  im- 
provements in  his  singer:  He  had  placed 
Peggy  in  the  hands  of  a  makeup  expert. 
Her  hair  was  cut  in  the  very  short,  boyish 
fashion  she  has  continued  to  use;  her  eye- 
brows were  shaped  into  slender  half- 
moons;  a  bright  pink  lipstick  was  recom- 
mended. She  was  equipped  with  her  first 
French-heeled  slippers,  and  she  soon  ac- 
quired poise  and  sophistication  enough  to 
enhance  the   gentle  charm  native  to  her. 

And  so,  after  meeting  his  new  daughter 
at  the  door  and  hugging  her  soundly,  Mr. 
King  held  Peggy  at  arm's  length,  studied 
her,  then  shouted  toward  the  kitchen  to 
Peggy's  mother,  "Margaret!  Come  here 
and  see  what  this  kid  has  done." 

Peggy  wasn't  much  interested  in  what 
she  "had  done."  She  was  fascinated  by  the 
dilemma  of  her  future.  What  should  be 
her    next    move?    Network    show?    Band 


See  the  PHOTOPLAY 


magazine 


68 


GOLD  MEDAL  AWARD 

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watch  LUX  VIDEO  THEATRE  every  Thursday 


singer?   Actress?   She  didn't  care,  just  as 
long  as  she  could  remain  in  show  business. 

After  a  false  start  or  two,  she  landed  the 
vocalist  job  with  Charlie  Spivak  and  start- . 
ed  on  the  old  band  routine — touring  the 
one-night  stands.  It  was  fun,  and  it  was 
murder.  Peggy  has  always  been  inclined 
toward  car  sickness,  a  malady  never  in- 
tended by  fate  to  be  coupled  with  profes- 
sional touring.  Somehow  she  managed  to 
retain  enough  health  to  sing  every  night, 
but  those  towns  in  which  the  band  re- 
mained for  more  than  one  night  still  stand 
out,  glisteningly,  in  Peggy's  geography. 
Especially  memorable  (in  reverse  English) 
is  Meadowbrook,  New  York,  where  Peggy 
collapsed.  She  was  rushed  to  the  hospital, 
her  appendix  was  extracted,  and  eight 
days  later  she  was  back  on  the  road. 

It  was  in  New  York,  during  the  engage- 
ment at  the  Capitol  Theater,  that  Peggy 
was  noticed  by  scouts  from  20th  Century- 
Fox  and  invited  to  take  a  screen  test.  "It's 
every  girl's  ambition  to  be  a  big,  gorgeous, 
important  movie  star  if  she  can,"  says 
Peggy>  "so  I  agreed  to  the  test.  When 
Charlie  heard  about  it,  he  fired  me." 

For  four  terrible  months  after  that,  she 
worked  the  "little  clubs" — gin  mills  where 
smoke  hung  like  veiling  to  the  floor,  where 
the  giddy  conversation  was  so  loud  that 
Gargantua's  roar  would  have  been  lost  as 
a  sigh  on  the  opaque  air,  and  where  one 
hundred  pounds  of  soprano  could  only  do 
her  best  and  pray  fate  would  rescue  her. 

On  New  Year's  Eve,  Ralph  Flanagan 
called  from  Akron  to  ask  if  Peggy  could 
join  the  band  in  Wichita,  Kansas,  on  Jan- 
uary 7,  1951.  The  band,  he  said,  was  bound 
for  California  and  a  month's  playing  date 
at  the  Palladium.  (This  would  be  the  logi- 
cal point  at  which  to  announce  that  Peggy 
was  spotted  on  the  Palladium  stage  by  a 
major  studio — for  the  second  time — was 
signed  to  a  long-term  contract,  won  the 
lead  in  a  major  musical  when  the  star  was 
drowned  in  a  high  C.  However,  it  should 
be  plain  by  now  that  Peggy  never  does 
things  the  easy  way.  Nothing  happened 
during  the  Palladium  engagement.) 

A  year  later,  Peggy  was  singing  in  New 
York's  The  Blue  Angel  when  she  was  seen 
by  an  executive  at  M-G-M,  who  arranged 
a  long-term  contract  .  .  .  with  annual  op- 
tions. Peggy  went  to  work  at  the  Culver 
City  studio  on  February  2,  1952,  and  ceased 
to  work  there  on  February  1,  1953 — after 
having  sung  just  one  song  in  one  picture: 
"Don't  Blame  Me,"  in  "The  Bad  and  the 
Beautiful." 

Peggy  shed  a  few  tears  but  no  blood 
over  her  withered  film  career.  Nowadays 
she  says,  "My  year  at  Metro  was  the  best 
thing  in  the  world  for  me.  I  had  always 
been  a  pop-off,  and  my  experience  there 
taught  me  to  hold  my  tongue.  I  had  al- 
ways been  a  driver,  and  that  year  taught 
me  patience.  Also,  I  learned  to  discipline 
myself  in  study:  I  took  every  course  of 
training  they  would  give  me:  Voice,  dic- 
tion, acting,  pantomime,  dancing,  fencing — 
name  it,  I  studied  it.  That  instruction  has 
been  of  permanent  value.  But,  most  pre- 
cious experience  of  all,  during  that  year  I 
made  the  trip  to  Korea  to  entertain  troops, 
and  I  acquired  one  of  my  dearest  friends — 
Debbie  Reynolds." 

To  go  back  into  history  a  bit,  during 
Peggy's  Ralph  Flanagan  days,  she  met  a 
trumpeter  named  Norbert  (Nobby)  Lee 
and  fell  deeply  in  love.  He  was  a  fine 
musician  and  a  gay,  wonderful  companion 
and,  as  soon  as  it  seemed  sensible,  Peggy 
married  him.  The  date  was  February  2, 
1953— the  day  after  Peggy  had  been  noti- 
fied that  M-G-M  was  allowing  her  con- 
tract to  lapse — and  the  place  was  the  Lit- 
tle Brown   Church   in   the   Valley.   Peggy 


wore  a  ballerina-length,  pale  blue  nylon 
gown  and  a  matching  blue  veil,  and  Deb- 
bie Reynolds  was  an  exquisite  bridesmaid 
in  pink.  Harry  Prame  was  best  man  and 
the  church  was  filled  with  the  musicians 
and  young  actors  whom  Peggy  and  Nobby 
had  come  to  know  amid  the  confusion  that 
is  "Hollywood"  to  those  who  struggle. 

Looking  back  on  it  now,  Peggy  says, 
"1953  was  a  lost  year."  She  cooked  and 
kept  house  in  a  series  of  small  apartments, 
and  Nobby  worked  "on  his  union  card," 
which  is  to  say  he  took  jobs  as  they  came 
in  to  the  union  hiring  hall— a  scant  living. 
And  then  Fate  stepped  in.  Les  Paul  and 
Mary  Ford  were  set  to  record  the  now- 
celebrated  Hunt's  Tomato  Sauce  jingle, 
but  were  delayed  outside  of  California  by 
an  automobile  accident.  Peggy  was  asked 
to  substitute — and  became  famous.  Be- 
cause of  the  coverage — the  jingle,  like  the 
sauce,  was  used  everywhere — Peggy  was 
named  Billboard  singer  of  the  year.  She 
went  to  work  on  a  late  show  at  KRCA, 
won  a  recording  contract  with  Columbia, 
turned  in  an  unforgettable  guest  spot  on 
the  Saturday  Night  Revue,  and — historic 
date — on  October  2,  1954,  appeared  for  the 
first  time  on  the  George  Gobel  show. 

Nobby,  also,  hit  pay  dirt:  He  was  signed 
by  Liber  ace. 

The  Lees'  Christmas  in  1954  was  every- 
thing Charles  Dickens  would  wish  for  Tiny 
Tim.  Peggy  and  Nobby  set  up  a  ten-foot 
tree  in  their  living  room,  and  Peggy  sent 
her  parents  airline  tickets  for  a  two  weeks' 
vacation  in  California.  Nobby  gave  Peggy 
a  gold  bracelet  from  which  hung  a  gold 
angel  medallion  clasping  a  pearl. 

"We've  managed  to  live  through  the 
rough  spots,"  she  thought  jubilantly. 
"From  now  on — a  cinch!" 

A  year  has  passed  since  perky  Peggy 
made  that  statement,  but — as  is  usual  in 
life — things  have  not  been  too  "cinchy." 
True,  her  career  has  expanded  so  that  her 
pretty,  piquant  face  is  known  wherever 
audiences  tune  in  The  George  Gobel  Show 
on  Saturday  night,  and  her  voice  is  known 
wherever  there  are  juke  boxes. 

But  she  and  Nobby  are  living  apart, 
separated  by  the  same  problems  which 
confront  so  many  people  in  show  business: 
Long  hours,  odd  hours,  separations  neces- 
sitated by  professional  demands,  energies 
channeled  to  satisfy  career  demands  (an 
unavoidable  condition  well  demonstrated 
by  the  fact  that,  during  the  past  four 
months,  Peggy  has  done  ninety  shows), 
and  finally,  adjustments  that  have  to  be 
made  in  the  ail-too -public  aquarium  of 
Hollywood. 

Even  so,  it  is  a  fascinating  life  and  one 
for  which  Peggy  was  obviously  destined. 
Now  junior  queen  of  television — or,  as 
Mr.  Gobel  once  observed,  "the  little  King" 
— she  is  set  for  a  long  and  exciting  career. 
Her  goals  are  many,  but  one  in  particular 
should  be  achieved  soon.  Peggy's  grand- 
mother had  never  thought  much  of  her 
granddaughter  working  in  show  business. 
In  mentioning  this  tepid  attitude  one  day, 
she  said  the  profession  was  fine  for  men — 
just  look  at  Bing  Crosby,  think  of  all  the 
happiness  he  brought  to  people,  think  of 
all  the  good  he  had  done — but  things  were 
"not  quite  the  same  for  a  girl." 

Came  the  wonderful  day  when  Peggy 
appeared  on  the  same  show  with  Bing  and 
told  Mr.  Crosby  of  the  admiration  of  his 
Ravenna  fan.  Bing  sent  a  tape  recording  of 
the  show  to  Peggy's  grandmother. 

"So  now  she  thinks  that  I've  arrived — 
just  a  little  bit,"  Peggy  beams.  "Of  course, 
I  have  a  long  way  to  go,  but  Grandmother 
believes  I  may  be  on  my  way  to  worth- 
while accomplishment." 

Note  to  Peggy's  grandmother:  Pretty, 
perky  Peggy  King  is  in  the  pink  ...  in 
every  sense  of  the  word. 


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69 


(Continued  from  page  47) 
matches  and  ash  trays,  knives  and  forks, 
art  collections— and  just  about  every  other 
kind  of  collection,  too.  ...  As  we  said, 
almost  everything.  But  not  quite.  For 
example,  Bob  plays  a  fast  game  of  tennis, 
but  tennis  courts  are  not  allowed  in  the 
building.  Missing,  too,  are  towels  and 
wash  cloths  marked  Hers.  Not  that  a 
woman  can't  wash  her  face  at  Bob's  sink. 
But,  as  everyone  knows,  Bob  is  a  bach- 
elor. 

Career -wise,  however,  he's  a  very  hap- 
py man.  Speaking  of  his  shows — Mon- 
day through  Friday  on  TV,  Saturday  on 
radio — he  says:  "This  is  such  a  wonderful 
thing  I  have,  to  be  doing  exactly  what  I 
want  to  do.  There's  not  a  moment  in  the 
day  when  I  could  say,  'I  wish  I  were  doing 
something  else.'  I'm  very  happy.  Matter 
of  fact,  I  know  few  people  who  are  as 
happy  as  I  am." 

In  a  very  real  sense,  Bob  is  married  to 
show  business.  It's  impossible  to  sep- 
arate his  private  life  from  the  professional, 
just  as  it's  impossible  to  draw  comparisons 
between  Mr.  Q.  and  any  other  big  names 
in  radio-TV.  The  particular  model  named 
Robert  Q.  Lewis  is  an  individualized,  cus- 
tom-made job.  From  the  headlights  of  his 
spectacles  to  the  lithe  leanness  of  his 
five-foot-eleven  chassis,  this  is  a  classy 
sports  car  with  a  supercharged  motor. 

Like  many  other  funny  men,  Mr.  Q.  is 
very  serious.  As  a  person,  he  is  very  hu- 
man. "Aside  from  social  niceties,  which 
he  abides  by,"  says  Nancy  Robinson,  his 
long-time  secretary,  "he  is  a  gentleman. 
He  has  time  for  other  people's  happiness 
and  problems.  I  remember  when  my  fath- 
er was  ill  and  I  had  to  go  away  to  see 
him — well,  Bob  made  me  feel  comfortable 
about  taking  time  off." 

Our  Mr.  Q.  can  lose  his  heart  to  great 
talent,  and  he  can  lose  his  temper  over 
stupidity.  His  tolerance  has  genuine  two- 
way  stretch,  but  he  doesn't  pretend  to  be 
a  simpleton  about  what  he  knows  and 
wants. 

"Bob  isn't  easy  to  work  with — he's  a 
perfectionist,"  says  orchestra  leader  Ray 
Bloch,  and  he  adds:  "He  knows  exactly 
what  he  wants  and  we  go  over  and  over 
it  until  we  get  it.  But  he's  got  good  taste 
and  he's  very  imaginative,  so  it's  worth 
it.  And  I'll  tell  you — fifteen  minutes  aft- 
er he's  blown  his  top,  he's  back  to  apolo- 
gize publicly." 

Mr.  Q.  has  ideas  and  opinions.  Any- 
thing he  touches  has  the  unmistakable 
stamp  of  Robert  Q.  Lewis,  and  his  home 
is  perhaps  the  best  example  of  his  thought- 
fulness  and  his  tastes,  his  interests  and 
his  work. 

"A  home  for  me  has  got  to  be  every- 
thing," says  Bob.  "It's  my  ivory  tower, 
and  it's  also  my  place  to  work.  I  enter- 
tain here — or  I  use  it  to  just  get  away 
from  everything  and  rest.  It's  like  a  mu- 
seum of  my  life,  with  many  of  my  closest 
possessions."  He  gives  his  hand  that  char- 
acteristic flick  and  continues,  "You  know, 
they'll  never  get  me  into  the  country.  I 
love  the  city.  What  could  I  do  with  a  tree, 
if  I  had  one?  You  can't  read  it  or  talk 
to   it." 

Robert's  Retreat  is  a  man-made  moun- 
tain that  sets  on  the  edge  of  Manhattan's 
East  River.  It  is  a  mountain  of  steel  and 
blond  bricks  that  shelters  a  lot  of  other 
people — including  Bill  Cullen,  Joni  James 
T  and  Harvey  Stone.  Mr.  Q.'s  de-luxe,  dou- 
ble-decker  cave  is  some  hundred  feet 
above   ground   level. 

As  a  whole,  his  home  is  comfortable, 
sumptuous  and  warm.  From  the  living- 
room  terrace,  there  is  a  magnificent  view 
70 


Robert  Q.'s  Hideaway 

of  the  river.  Tugboats,  tramp  freighters, 
tankers  move  along.  Sea  gulls  arc  the 
sky.  But,  if  you  are  no  bird,  you  enter 
the  apartment  by  way  of  the  foyer  and 
are  instantly  aware  of  its  magnificence. 
There  is  no  let-down.  There  is  even  an 
"authentic  Irving  Noodleman"  in  the  foy- 
er. An  Irving  Noodleman  is  a  small-type 
statue  of  a  Venetian  gondolier  holding  a 
light  in  one  hand  and  an  oar  in  the  other 
while  standing  on  a  miniature  gondola. 
It  stands  about  four  feet  high  and  when 
the  Venetian  boy  is  turned  on  there  is  a 
light  in  the  hall.  Bob  discovered  the 
Irving  Noodleman  himself. 

"I  was  in  a  cab,  and  driving  by  an  an- 
tique store,  when  I  spotted  this  Venetian 
boy  in  the  window,"  he  says,  "and  I  asked 
the  cab  driver  to  cut  back — so,  at  great 
peril  to  life  and  limb,  he  swung  around  in 
traffic.  I  rushed  into  the  store  and  dis- 
covered the  figure  hadn't  been  asked  for. 
I  considered  myself  lucky  to  get  it.  .  .  . 
The  driver's  name  was  Irving  Noodleman." 

An  L-shaped  living  room  is  right  off  the 
foyer.  It  has  been  furnished  in  browns, 
tans   and  beige. 

"Basically,  the  place  is  furnished  in 
'contemporary.' "  Bob  explains,  "with  ac- 
cessories— such  as  lamps  and  tables — which 
are  French  Regency  and  Italian  Empire 
and  French  Empire.  That  part  of  it — the 
antiques — I'll  eliminate  the  next  time  I 
move." 

Actually,  the  conflict  in  decor,  if  any, 
is  subtle,  for  Bob's  modern  furniture  is 
so  simple  that  it  could  co-exist  with  about 
anything.  The  coffee  table  and  end  tables 
are  marble-topped.  In  one  corner  there 
is  a  table  with  chess  pieces  poised  for 
action.  (Bob  is  a  bridge  and  a  chess  en- 
thusiast.) 

On  another  wall  there  are  two  large, 
oval  frames.  Instead  of  holding  pictures, 
they  contain  miniature  busts  imprisoned 
in  crystal.  They  are  called  "sulfurs,"  and 
Bob  gathered  them  over  a  period  of  years. 

"Maybe  you  know  I'm  a  collector,"  he 
tells  you.  "It's  been  going  on  since  I  was 
a  kid,  starting  with  marbles  and  political 
buttons.  I  still  have  those  campaign  but- 
tons.   I've  collected  dozens  of  things." 

He  has  a  library  of  old  sheet  music  that 
includes  such  rarities  as  music  from  "The 
Golddiggers  of  1933"  and  the  original  pub- 
lishing of  "When  the  Moon  Comes  Over 
the  Mountain,"  with  Kate  Smith's  picture 
and  autograph.  He  has  a  collection  of 
cameras,  nineteenth-century  bathing 
beauties  (pictures  only),  and  French  re- 
vue posters.  He  has  an  assortment  of 
early  playbills,  totem  poles  and  old  rec- 
ords. For  the  past  few  years,  he  has  been 
on  a  clown  kick.  He  has  ceramic  clowns 
smuggled  in  from  Yugoslavia.  He  has 
dozens   of  figurines  of  clowns  and  about 


-  help  your 
HEART  FUND 


help 
your  HEART 


twenty-five  oil  canvases  on  the  same  sub- 
ject. In  one  of  the  paintings,  a  gift  from 
Ray  Bloch,  the  clown  is  Bob  himself. 

A  number  of  these  paintings  are  in  the 
dining  room,  which  is  a  distinctive  cube. 
The  walls  are  covered  with  gold  Oriental 
grass  cloth.  The  floor  is  of  white  tile  scat- 
tered with  small  black  squares.  In  one 
corner  is  a  splendid  set  of  silver  service 
which  Bob's  parents  brought  him  from 
England.  On  a  black  cabinet  is  an  as- 
sortment of  Venetian  glass  clowns  which 
Bob  brought  back,  a  couple  at  a  time, 
from  Italy.  The  dining  table  is  a  circular 
hunk  of  marble,  and  the  chairs  are  gold 
with  unusual  carvings. 

One  of  Bob's  television  receivers  is  in 
the  dining  room  so  that,  like  everyone 
else  he  can  watch  a  program  while  he's 
eating.    Bob  watches   a  lot  of  television. 

"I  don't  think  there's  any  program  I 
haven't  seen  a  half-dozen  times,"  he  says. 
"My  favorites?  Jack  Benny — he's  tops. 
And  so  is  Gleason.  They're  not  just  great 
comedians,  but  great  actors,  too." 

The  other  television  receiver  is  upstairs 
in  his  office.  This  room  is  jammed.  There 
is  a  wall-and-a-half  full  of  books  and 
records.  There  is  a  phonograph  and  short- 
wave radio,  a  chair  and  a  convertible  sofa. 
Here  is  his  collection  of  totem  poles,  his 
awards — framed  and  hung — and  a  beauti- 
ful Indian  headdress  under  glass.  The 
room  is  predominantly  green.  Cheerful 
checked  curtains  hang  from  the  window 
over  his  desk,  and  it  is  here  that  Bob  does 
much  of  his  typing. 

"I  haven't  done  much  writing  for  the 
show  in  years,"  he  says.  "My  writers,  Ray 
Allen  and  Bob  Cone,  have  been  with  me 
for  eight  years.  They  understand  me  and 
I  understand  them.  I  give  them  an  idea — 
not  that  they  don't  have  plenty  of  their 
own — but,  when  I  give  them  one,  they  can 
take  it  home  and  write  it  just  about  the 
way  I  would  myself." 

JVlr.  Q.'s  bedroom  is  right  across  from 
the  office  and  the  first  thing  you  see,  as 
you  walk  in,  is  a  Dali  sketch  which  the 
famous  artist  made  when  he  visited  the 
show.  The  room  has  been  furnished  in 
gray  and  yellow.  Again,  French  and 
Italian  styles  predominate  in  the  choice 
of  bed  and  chests.  There  is  another  out- 
door terrace,  which  Bob  avoids  in  the 
winter  but  uses  like  an  old-fashioned  porch 
in  the  summer.  Just  inside  the  door  there 
is  another  cabinet  filled  with  "sulfurs." 

"Next  time  I  move  I  intend  to  give  the 
whole  batch  to  a  museum,"  he  notes.  "You 
know  what  I'd  like  to  have  next  time  I 
move?  A  small  kind  of  gymnasium.  A 
place  where  I  could  get  a  little  work-out 
and  practice  dancing  or  rehearse  the  cast." 

Bob  is  back  on  topic  number-one 
again.  The  furniture  and  the  collections 
are  all  incidental  to  show  business.  Even 
eating  and  sleeping  are  incidental.  He  gets 
along  on  one  meal  and  six  hours  sleep  a 
day,  and  his  days  are  full.  He  takes  dance, 
vocal  and  dramatic  lessons. 

He  shows  up  at  the  TV  studio  five  morn- 
ings a  week  about  eleven  o'clock,  but  he 
has  already  put  in  a  couple  of  hours  with 
a  coach  or  a  teacher.  Besides  this,  he  de- 
votes two  nights  a  week  to  a  dramatic 
workshop  and  spends  a  few  more  hours 
on  Saturday  with  a  dramatic  coach. 
Usually,  another  night  goes  to  a  benefit 
and  he  reserves  Friday  for  the  theater  or 
opera.  He  spends  one  evening  at  dinner 
with  his  folks,  who  live  twenty  blocks  to 
the  south  of  Bob. 

"You'll  never  hear  me  complain  for  lack 
of  time,"  Bob  says.  "I  don't  hold  with  that 
attitude.  There's  time  for  everything— 
lessons,     rehearsals,     meetings,     planning, 


promotion.  There's  time  to  be  nice  to 
people,  and  time  to  pick  out  a  birthday 
gift    yourself." 

Bob  does  most  of  his  entertaining  and 
work  and  studying  at  home.  Teachers 
come  to  his  apartment.  Rather  than  go 
out  to  a  club,  he  prefers  to  have  friends  in. 

Mr.  Q.  has  many  friends,  for  he  is  gen- 
erous and  genial  and  has  an  earnest  in- 
terest in  people.  Yet  he  manages  (with 
skills  and  techniques  he  has  personally 
invented)  to  stay  high  on  each  year's  list 
of  eligible  bachelors. 

"I  prefer  tall  girls,  about  five-eight  and 
brunette,"  he  says.  "I  also  prefer  short 
girls  and  blondes  and  redheads."  He  swal- 
lows a  smile  and  continues,  "All  kidding 
aside,  I  like  a  date  who's  got  something 
in  her  head.  She  doesn't  have  to  be  a 
beauty,  but  I  do  like  a  girl  who's  put  to- 
gether well.  .  .  .  It's  embarrassing  to  walk 
down  the  street  with  a  girl  who  isn't  put 
together  well — you  lose  a  hand  here,  an 
ear  there.  Pretty  soon  you're  walking 
with  a  bracelet." 

The  only  real  cooking  ever  accomplished 
at  the  apartment  is  done  by  a  date,  for 
Bob  isn't  much  good  at  anything  except 
steaks  and  scrambled  eggs.  However,  food 
is  of  little  consequence  to  him.  For  break- 
fast, he  has  a  couple  of  vitamin  pellets  and 
a  quart  of  coffee. 

"Lunch?"  he  says.  "Lunch  is  a  soft- 
boiled  egg  mushed  into  a  piece  of  bread 
and  served  in  a  paper  cup.    Lunch?" 

He  eats  one  full-size  meal  in  the  evening, 
and  then  forgets  about  food  for  another 
twenty-four  hours.  Once  in  a  while,  he 
takes  a  day  off  and  forgets  about  every- 
thing. "I  just  lock  myself  in  and  relax 
completely,"  he  says.  "I  read,  watch  TV 
and  don't  answer  the  phone."  There  is  a 
deep-freeze  in  the  kitchen  packed  with 
prepared  foods.  "It's  like  a  grab  bag.  I 
put  in  my  hand  and,  if  I  come  up  with 
a  frankfurter,  a  bagel  and  a  pizza,  that's 
dinner." 

Mr.  Q.  was  born  on  April  5,  1921,  which 
makes  him  thirty-four.  He's  been  in  show 
business  ever  since  he  learned  he  could 
turn  his  father's  garage  into  a  theater.  He 
sang  professionally  when  he  was  eight 
and  was  a  member  of  the  Horn  &  Hard- 
art  gang.  His  father,  an  attorney,  loved 
the  theater  and  took  Bob  to  matinees  every 
Saturday,  but  they  weren't  pushing  him. 
"I  just  learned  a  few  years  ago  that,  when 
I  was  eight,  I  had  a  Hollywood  contract 
offered  to  me.  My  parents  turned  it  down. 
For  twenty  years,  they  were  afraid  to 
tell  me." 

Bob  lives  and  breathes  his  business  and 
every  aspect  of  it.  Next  summer  he  may 
make  his  first  movie.  In  fifteen  years,  he 
may  retire  from  television  and  handle 
talent — that  appeals  to  him.  In  the  mean- 
time, there  are  rehearsals,  the  show  goes 
on,  there  are  daily  lessons. 

"Don't  say  I  haven't  got  time  for  mar- 
riage, though,"  he  warns.  "That's  ridicu- 
lous. I  got  time  for  a  wife  and  kids,  too. 
Look,  I  think  you  can  do  anything  if  you 
put  your  time  to  it."  He  takes  a  breath 
and  swallows  another  smile.  "Kids.  Sure, 
you  got  to  have  a  wife  first.  I  told  you  the 
kind  of  woman  I'd  like — she's  got  to  be 
tall  or  short  or  medium.  But  she  would 
have  to  be  in  show  business.  After  all, 
they  say  marriage  is  a  fifty-fifty  proposi- 
tion— and  I  wouldn't  want  to  spend  my 
fifty  per  cent  of  it  explaining  what  I  was 
doing.  .  .  .  And  kids  wouldn't  be  a  prob- 
lem. Both  parents  can  keep  careers  and 
raise  kids,  too.  How  many  kids?  I  don't 
know.  But,  of  course,  the  kids  would  have 
to  be  able  to  dance  or  sing — or  at  least 
applaud." 

Meanwhile,  Robert  Q.  has  his  hideaway 
.  .  .  not  hiding  away  from  show  business, 
but  filled  with  it— as  anything  must  be, 
which  is  connected  with  this  avid  showman. 


OPPORTUNITIES 


EVERYBODY 


FOR 

Publisher's  Classified  Department  (Trader* 


i 


M 


For  advertising  rates,  write  William  R.  Stewart,  9  South  Clinton  Street,  Chicago  6  (Mar.-Wom.)  6 


FEMALE  HELP  WANTED 


MAKE  MONEY  INTRODUCING  World's  Cutest  Children's 
Dresses.  Big  selection,  adorable  styles.  Low  prices.  Complete 
display  free.  Rush  name.  Harford,  Dept.  R-3359,  Cincinnati 

25,  O. i 

DEMONSTRATORS— $25-40  DAILY,  Our  Apparel  Style 
Shows  are  sensational  tor  Party  Plan.  Isabel  Sharrow  made 
$258—11  days,  sparetimel  Free  outfit.  Beeline  Fashions,  Ben- 

senville  489.  III. 

BEAUTY  DEMONSTRATORS— TO  $5  hour  demonstrating 
Famous  Hollywood  Cosmetics,  your  neighborhood.  For  free 
Samples,  details,  write  Studio-Girl,  Glendale,  Cal.,Dept.  1663A. 
HOME  SEWERS  WANTEDI  Earn  extra  cash  making  readi- 
cut  ties,  experience  unnecessary.  No  selling.  We  instruct. 

Jud-San,  518  E.  105,  Dept.  B-1,  Cleveland  8,  Ohio. 

HOME  WORKERS  MAKE  hand-made  moccasins.  Good 
pay.    Experience   unnecessary.   California   Handicraft,    Los 

Angeles  46,  California. 

FREE  CATALOG— MONEY  making  opportunity  sewing 
various    Ready    Cut    products.    Thompson's,  Loganville    2, 

Wisconsin. 

IF  YOU  WANT  to  earn  money  fast,  I'll  send  you  Free  Sample 
Stocking  Of  newest  Stretch  DuPont  Nylons  to  sell  at  only  $1  a 

pair.  American  Mills,  Dept.  481,  Indianapolis  7,  Ind. 

EARN  UP  TO  $2.00  hourly  possible  in  your  spare  time  at 
home.  Everything  furnished.  Experience  unnecessary.  Jafran 
Company  8507-B  West  Third,  Los  Angeles  48,  California. 
HOME  SEWING.  READY-Cut  Rap-Around.  Profitable,  Easy. 
Free  Instructions.  Hollywood  Manufacturing,  Dept.  C,  Holly- 

wood  46,  California. 

$2.00  HOURLY  POSSIBLE  doing  light  assembly  work  at 
home.   Experience  unnecessary.  Crown   Industries,  7159-B 

Beverly  Blvd.,  Los  Angeles  36,  Calif. 

"FASCINATING  WORK  AT  Homel  No  Selling  I  We  Pay  You  I 

Truart,  Box  438,  Passadena,  California" 

$30.00  WEEKLY  MAKING  Roses.  Look,  Smell  real.  Studio 

Company,  Greenville  6,  Pa. 

MAKE  SCENTED  ORCHIDS.  Easy.  $5.00  daily,  no  canvas- 
sing. Free  Sample.  Write,  Boycan  Industries,  Sharon  6,  Penna. 

AGENTS  WANTED  ~ 

RUN  A  SPARE-TIME  Greeting  Card  and  Gift  Shop  at  home. 
Show  friends  samples  of  our  new  1956  All-Occasion  Greeting 
Cards  and  Gifts.  Take  their  orders  and  earn  up  to  100%  profit. 
No  experience  necessary.  Costs  nothing  to  try.  Write  today 
for  samples  on  approval.  Regal  Greetings,  Dept.  65,  Ferndale, 

Michigan. 

NEW  "TASTE  OF  Profits"  Plan  pays  you  to  $36.05  first  day 
without  house-to-house  selling  to  strangers.  Then,  amazing 
demand  for  new  style  craze  in  novelty  footwear  "snowballs" 
profits  for  customers  who  call  you.  No  experience  needed. 
Follow  simple  instructions.  Write  for  money-making  "Top" 
Plan,  Free.  Flexiclogs,  Dept.  42-C,  New  Holstein,  Wisconsin. 
FREE  TRIAL  OF  full-size  famous  Blair  Home  Products  wil 
prove  you  can  make  good  money  spare  time  every  day.  Show 
them  to  friends,  neighbors  take  big-profit  orders.  Write  Blair, 

Dept.  185D,  Lynchburg,  Va. 

CLEANS  WINDOWS  WITHOUT  mess.  Strange  "dry"  clean- 
ing cloth.  Replaces  liquids.  Windows  gleam.  Samples  sent  on 

trial.  Kristee  142,  Arkon,  Ohio. 

ZODIAC  LUCKY  COINS— Sell  on  the  spot  to  prospects  every- 
where! 100%  profit.  Complete  information  and  sample  $1.00. 
Give  your  birthdate.  Zodiac  Co.,  1053BL  Lawrence,  Chicago 
CALIFORNIA  SWEET  SMELLING  Beads.  Sensational 
sellers.  Free  Particulars.  Mission,  2328AA  West  Pico,  Los 

Angeles  6,  California. 

60%  PROFIT  COSMETICS  $25  Day  up.  Hire  others.  Sam- 
ples, details.  Studio  Girl-Hollywood,  Glendale,  Calif.,  Dept. 

1663-H. 

EDUCATIONAL  OPPORTUNITIES 

BE  A  HOTEL  Hostess.  Enjoy  your  workl  Fascinating  positions 
in  hotels,  motels,  clubs  as  Hostess,  Executive  Housekeeper, 
Manager,  Social  or  Food  Director.  Lewis  Training  quickly 
qualifies  you  at  home  or  through  resident  classes  in  Washing- 
ton. Lewis  National  Placement  Service  Free.  Write  for  Free 
Book.  40th  Year.  Course  Approved  for  All  Veteran  Training. 
Lewis  Hotel  Training  School,  Sta.  BC-2901,  Washington  7,  D.C. 
HIGH  SCHOOL— NO  Classes.  Study  at  home.  Spare  Time. 
Diploma  awarded.  Write  for  Free  Catalog  HCH-32,  Wayne 

School,  2527  Sheffield,  Chicago  14,  III. 

HIGH  SCHOOL  DIPLOMA  at  home.  Licensed  teachers. 
Approved  materials.  Southern  States  Academy,  Box  144W 

Station  E,  Atlanta,  Georgia. 

PHYSICAL  THERAPY  AND  Massage  Pays  big  profits. 
Learn  at  home.  Free  Catalog.  National   Institute,  Desk  5, 

159  East  Ontario,  Chicago  11. 

LOANS  BY  MAIL 

BORROW  $50  TO  $500.  Employed  men  and  women,  over  25, 
eligible.  Confidential — no  co-signers — no  inquiries  of  employ- 
ers or  friends.  Repay  in  monthly  payments  to  fit  your  income, 
Supervised  by  State  of  Nebraska.  Loan  application  sent  free 
in  plain  envelope.   Give  occupation.  American   Loan   Plan. 

City  National  Bldg.,  Dept.  WD-3,  Omaha,  Nebraska. 

BORROW  UP  TO  $600  By  Mail.  Employed  men  and  women 
can  borrow  $50  to  $600  from  privacy  of  home.  Speedy,  easy 
and  entirely  confidential.  No  signers.  No  fees.  No  deductions. 
Money  Request  form  send  Free  in  plain  envelope.  State  age. 
occupation  and   amount   wanted.    Postal    Finance  Co.,   200 

Keeline  Bldg.,  Dept.  91 E,  Omaha,  Nebraska. 

HEALTH  &  MEDICAL  SERVICE 
FREE  BOOK— PILES,   Fistula,   Colon-Stomach,  associated 
conditions.  Newest  scientific  procedures.  Thornton  &  Minor 

Hospital,  Suite  C-313,  Kansas  City  9,  Mo. 

HOME  SEWERS  WANTED 

SEW  BABY  SHOES  at  home.  No  canvassing.  $40.00  weekly 

possible.  Write:  Tiny-Tot,  Gallipolis  19,  Ohio. 

NURSING  SCHOOLS 

EASILY  MAKE  $65  Week  as  Practical  Nurse.  Learn  quickly 
at  homel  No  high  school  necessary,  no  age  limit.  Write  today 
for  free  booklet,  lessons.  Post  Graduate  School  of  Nursing, 
21 E36  Auditorium  Bldg.,  Chicago. 

DO-IT-YOURSELF 

LEARN  ART  METALCRAFT  and  jewelry  making.  Complete, 
inexpensive,  home  training  course  now  available.  Special  tools 
and  materials  furnished.  Write  for  free  booklet.  Interstate 
Training  Service,  Dept.  L-72,  Portland  13,  Oregon. 

OLD  COINS  &  MONEY  WANTED 

WE  PURCHASE  INDIANHEAD  pennies.  Complete  allcoin 
catalogue  25c.  Magnacoins,  Box  61-FM,Whitestone  57,  N.Y. 


OF  INTEREST  TO  WOMEN 

WHOLESALE  CATALOemo-80%  Discounts!  Appliances, 
Musical  Instruments,  Typewriters,  Phonographs,  Watches, 
Jewelry,   Recorders,  Housewares,  etc.  Consolidated  Distrib- 

utors,  21-28  Lafayette,  Paterson  15,  New  Jersey. 

COMPLETE  YOUR  HIGH  School  at  home  in  spare  time  with 
59-year-old  school.  Texts  furnished.  No  classes.  Diploma. 
Information    booklet,    free.    American    School,   Dept.    X374, 

Drexel  at  58th,  Chicago  37,  Illinois. 

$350  FOR  YOUR  Child's  Picture  (all  ages).  Thousands  paid 
by  advertisers.  Send  one  small  picture.  Returned  withjudges' 
report.  Print  child's,  parents'  name,  address  on  back.  Spotlite, 

5880-P3  Hollywood,  Hollywood,  Calif. 

12  NEW  TOWELS  Only  $1.00  Large  Sizel  Assorted  colors. 
Newl  Not  seconds.  Non-woven  Cotton  and  Rayon.  Money- 
back  guarantee.  Supply  limited.  Order  Nowl  Homemakers, 

Dept.,  292-A,  Farmingdale,  N.  Y. 

EARN  $40.  WEEKLY  Sewing  Babywearl  No  canvassing! 
Send  stamped,  addressed  envelope.  Babywear,  Warsaw  1, 

Indiana. 

$100-$4O0  MONTHLY  Possible,  preparing  envelopes,  post- 
cards, from  mailing  lists  at  home.  Longhand,  typewriter. 
Detailed  Instructions  only  25cl  T.  Economy,  Rowley,  Mass. 
DRESSES  24c;  shoes  39c;  men's  suits  $4.95;  trousers  $1.20. 
Better  used  clothing.  Free  catalog.  Transworld,  164-A  Christo- 

pher,  Brooklyn  12,  N.Y. 

ENVELOPE  PREPARING  FACTS— extra  income  opportuni- 
ties revealed  through  HM  service.  Free  details.  Maxwell, 

Dept.  2-2,  Cleveland  14,  Ohio. 

MAKE  SPARE  TIME  money  preparing  and  mailing  sales 
literature.  Adams  Surveys,  3513C  Sunset  Blvd.,  Los  Angeles 

26,  California. 

PROFITABLE  HOME  BUSINESS.  Make  Fast-Selling 
chenille  monkey  trees.  Literature  free.  Velva,  Bohemia  32, 

New  York. 

$50.00  THOUSAND  POSSIBLE,  Preparing  Envelopes,  at 
Home  Sparetime,  lnstructions-$1.00.  Fisher-WC,  Box  4044, 

San  Francisco,  Calif. 

MAKE  MONEY  CLIPPING  Wanted  Items  From  Your  News- 
paper For  Publishers.  Newscraft  Publishing  Company,  PW- 

983-E.  Main,  Columbus  5,  Ohio. 

SEW  OUR  READY  cut  aprons  at  home,  spare  time.  Easy, 

Profitable.  Hanky  Aprons,  Ft.  Smith  3,  Ark. 

EARN  SPARE  TIME  Cash  mailing  advertising  literature. 

Glenway,  5713  Euclid,  Cleveland  3,  Ohio. 

GUARANTEED  PAY  HOMEWORK!  No  Selling.  Wallace, 
Box  3W,  Boston  22,  Massachusetts 

MONEY  MAKING  OPPORTUNITIES 

GROW  MUSHROOMS,  CELLAR,  Shed,  Spare,  full  time, 
year  round.  We  pay  $3.50  lb.  We  paid  Babbitt  $4165.00  in  few 
weeks.  Free  Book.  Washington  Mushroom    Ind.,  Dept.  164, 

2954  Admiral  Way,  Seattle  6,  Wash. 

RECEIVE  OPPORTUNITY  MAIL  Worth  hundreds  of  dollars. 
Send  25c  or  $1.00  for  Big  Mail.  Blue  Ridge,  Box  18,  Waynes- 

boro,  Virginia 

OPERATE  YOUR  OWN  cafe,  diner.  Only  minor  investment 
needed.  Guide  reveals  how.  Write  Restaurant  School,  M053, 

Fremont,  Ohio 

GUARANTEED  HOMEWORKI  Immediate  Commissions! 
Everything   Furnishedl   Hirsch's,  1301-12   Hoe,    New   York 

City  59. 

STUFFING— MAILING  ENVELOPES.  Our  instructions  tell 
how.  Dept.  G-3,  Education  Publishers,  4043  St.  Clair,  Cleve- 

land  3,  Ohio. 

$25  WEEKLY  POSSIBLE,  sparetime,  preparing  advertising 

mailings  at  home.  Temple  Co.,  Muncie  2,  Indiana. 

MAKE  MONEY  DOING  simple  Sparetime  writing.  Quick- 

Pay,  5713  Euclid  Ave.,  Cleveland  3,  Ohio 

EXTRA  MONEY  PREPARING  Mailing  Postcards.  Gul,  2419 

Thomas,  Chicago  22,  Illinois 

HOMEWORKERS!  Get  $1 .00-$5.00  each  clipping  items  from 
newspapers.  Eastern,  Box  142-H,  Dorchester  24,  Mass. 

PERSONAL 

BORROW  BY  M  Al  L.  Loans  $50  to  $600  to  employed  men  and 
women.  Easy,  quick.  Completely  confidential.  No  Endorsers. 
Repay  in  convenient  monthly  payments.  Details  free  in  plain 
envelope.  Give  occupation.  State  Finance  Co.,  323  Securities 

Bldg.,  Dept.  R-69,  Omaha  2,  Nebraska. 

PSORIASIS  VICTIMS:  HOPELESS?  New  Discovery!  Free 
Trial  Offer.  Write  Pixacol,  Box  3583-C,  Cleveland,  Ohio 

MISCELLANEOUS 

FREE  BOOK  ON  Arthritis,  Rheumatism  explains  specialized 
system  on  non-surgical,  non-medical  treatment.  Write  Ball 

Clinic,  Dept.  750,  Excelsior  Springs,  Missouri. 

SALESWOMEN  WANTED 

ANYONE  CAN  SELL  famous  Hoover  Uniforms  for  beauty 
shops,  waitresses,  nurses,  doctors,  others.  All  popular  miracle 
fabrics — nylon,  dacron,  orlon.  Exclusive  styles,  top  quality. 
Big  cash  income  now,  real  future.  Equipment  free.  Hoover, 

Dept.  B-119,  New  York  11,  N.Y. 

BIG  MONEYI  BUY  wholesale,  sell  retail.  Dresses,  children's 
wear,  family  apparel.  Lowest  factory  prices.  No  stock  to  carry. 
No  samples  to  buy.  Big  Sales  Kit  with  actual  fabrics  Free. 
C.  E.  Israel,  Dept.  R-3720,  Cincinnati  25,  Ohio 

BUSINESS  OPPORTUNITIES 

GROW  EXPENSIVE  HERBS  For  Us!  Big  Profits  Home-Busi- 
ness of  your  own.  Year  around  profitunity !  We  supply  every- 
thing necessary!  Send  for  Free  Rare  Seeds  And  Revealing 
Plan.  National  Herb  Exchange,  Dept.  PW,  Gardena,  Calif. 
WANT  TO  MAKE  Big  Money  At  Home?  Invisibly  reweave 
damaged  garments.  Details  free.  Fabricon,  8340-S  Prairie, 

Chicago  19. 

FOREIGN  AND  USA  JOB  LISTINGS 
HIGH  PAYING  JOBS.  All  Types.  Foreign,  U.S.  Chance  to 
Travel.  Fare  paid.  Application  Forms.  Free  Information.  Write 
Dept.  73K,  National,  1020  Broad,  Newark,  N.J. 

~~   MALE  &  FEMALE  HELP  WANTED 

EARN  EXTRA  MONEY  selling  Advertising  Book  Matches. 
Free  sample  kit  furnished.  Matchcorp,  Dept.  WP-23,  Chicago 

32,  Illinois. 

•       STAMP  COLLECTING 
100  DIFFERENT  U.S.-50C  Approvals.  Leonard,  1143X  North 

Keeler,  Chicago  51. 

FIRST  U.N.  SET.  Among  World's  Prettiest.  Only  10c.  Approv- 
als.  Welles,  Box  1246-PX,  NYC  8. 


71 


Marriage  Is  The  Big  Payoff 


(Continued  from  page  53) 
Jane  had  to  be  out).  When  she  finally 
got  away,  the  hotel  she  wanted  to  stay  at 
was  filled  up,  and  she  had  to  settle  for 
another  one.  It  just  happened  that  Ed 
was  scouting  for  a  place  to  spend  a 
week  in  the  sun  and,  after  discarding  sev- 
eral ideas  for  other  trips,  decided  on 
Nassau.  He  found  himself  at  the  same 
hotel  with  Betty  Ann— although  he,  too, 
had  asked  for  reservations  at  one  of  the 
others.  Someone  connected  with  the  show 
had  told  him  she  was  down  there,  and 
he  had  said  he  would  give  her  a  call  some 
time  after  he  arrived.  He  would  ask  her 
to   dinner   one  night,   he  thought. 

Betty  Ann  got  there  on  a  Friday,  ran 
right  into  her  friend  Audrey  Meadows  in  a 
restaurant  next  day.  Audrey  had  a  beau 
who  was  escorting  her  around.  When  Ed 
came  down  on  Sunday,  they  made  a 
foursome  for  dinner,  and  it  got  to  be  a 
habit.  They  chartered  a  boat  and  went 
deep-sea  fishing,  they  water-skiied  and 
swam,  and  sat  for  hours  on  the  golden 
beaches  and  talked  and  laughed.  At  night, 
they  sat  around  the  table  in  leisurely  com- 
panionship, and  danced,  and  laughed  and 
talked  some  more.  And  that  sparkle  of 
Betty  Ann's  which  Ed  remembered  got 
to  be  a  pretty  dazzling  thing — in  spite  of 
the  fact  that  she  thought  she  looked  sim- 
ply awful,  with  her  hair  hanging  rather 
lank  in  the  sea  air,  and  no  amount  of 
coaxing  and  curling  helping  it  much,  and 
her  nose  burned  bright  red. 

Ed  wasn't  at  his  best,  either.  He  had 
gone  motor-biking  one  day  and  came  to 
meet  her,  late  and  apologetic,  all  patched 
up,  with  cuts  and  bruises,  after  a  bad 
spill.  For  days,  he  begged  everyone  not 
to  make  him  laugh  because  his  side  hurt — 
as  well  it  might,  considering  that  he  had 
a  broken  rib  which  wasn't  discovered  un- 
til he  had  been  back  in  New  York  a  week. 

Before  the  vacation  was  over,  Betty  Ann 
knew  she  was  falling  in  love.  They  were 
on  the  same  flight  back  to  New  York, 
where  both  had  to  get  right  back  on  their 
jobs.  "It  was  marvelous  all  the  way,"  she 
glows.  "The  trip  home,  the  week  in  Nas- 
sau, learning  to  know  Ed  better  and  to 
realize  how  he  was  always  the  same,  al- 
ways kind,  always  a  lot  of  fun.  With  a 
terrific  sense  of  humor.  When  he  con- 
tinued to  call  up  after  we  got  back,  I  was 
pretty  happy  that  the  whole  thing  hadn't 
been  just  a  vacation  interlude." 

Definitely,  it  hadn't.  They  were  mar- 
ried one  year  and  seven  months  later — 
last  September  17 — at  the  Carlyle  Hotel 
in  New  York.  It  was  a  small  and  perfect 
wedding,  and,  if  the  brilliance  of  the 
bride's  sparkle  was  more  apparent  than 
ever,  that  was  the  most  natural  thing  in 
the  world.  They  left  next  day  for  twelve 
days  in  Bermuda,  where  they  had  rented 
a  honeymoon  cottage.  (This  year  they 
would  like  to  go  back  to  Nassau,  to  cele- 
brate their  anniversary  of  falling  in  love.) 
Betty  Ann  had  been  sharing  an  apart- 
ment with  her  mother,  who  now  had  gone 
back  to  Boston  to  live  with  Betty's  grand- 
mother. The  young  couple  found  a  three- 
room  apartment  on  Park  Avenue,  in  the 
center  of  all  the  noise  and  confusion  that 
is  midtown  New  York,  but  they  didn't 
mind.  It's  tucked  away  on  an  upper  floor 
of  a  big  building  where  noises  are  muted 
and  there's  comparative  quiet,  and  they 
'  find  the  location  perfect  because  of  its 
T  nearness  to  their  work,  to  theaters,  to 
y  stores,  to  all  the  places  they  want  to  reach. 
p  Young  Mrs.  Brown  had  some  very  defi- 
nite ideas  about  what  she  wanted  in 
this  first  home  of  her  own.  Stark  white 
walls  and  ceilings.    Palest  mauve  carpet- 


ing.  White  drapes.  Traditional  furniture. 
The  white  and  gold  pieces  that  her  moth- 
er had  antiqued  "while  I  did  the  heavy 
looking  on,"  as  Betty  Ann  says.  "But 
now,"  she  adds,  "I'm  the  one  who  will  be 
working,  antiquing  some  of  the  bedroom 
pieces.  I  always  told  myself  that  someday, 
when  I  got  married,  I  would  take  time  to 
do  all  the  things  that  make  a  place  at- 
tractive,  as  my  mother  had   done." 

The  whole  project  is  proceeding  more 
slowly  than  it  might  for  two  reasons:  First, 
she  and  Ed  are  both  such  busy  people; 
second,  Betty  Ann  has  a  way  of  succumb- 
ing to  nostalgia  as  she  unpacks  each  box 
she  brought  from  home.  Take  her  old 
music  scores,  for  instance.  She  had  in- 
tended to  dump  them  out,  sight  unseen, 
until  she  began  to  dig  into  a  carton  and 
realized  there  were  scores  from  the  days 
when  she  began  her  career,  at  seventeen, 
singing  with  bands.  Arrangements  from 
her  first  night-club  work.  Wonderful 
things  she  wants  to  keep.  And  it's  the 
same  with  their  books. 

Ed,  being  an  up  and  coming  young  ac- 
count executive  on  his  own,  prefers  to 
stay  completely  in  the  background  of  his 
wife's  professional  life.  But,  in  their 
private  life;  he's  a  handy  man  around  the 
house,  fixing  up  extension  lights  expertly, 
putting  up  things  like  extra  towel-racks, 
planning  labor-saving  devices  for  the 
kitchen — and  bursting  with  pride  at  Betty 
Ann's  housewifely  skills. 

He  still  grows  lyrical  about  the  first 
meal  she  cooked  for  him.  Not  having  had 
much  experience,  she  decided  she  might 
just  as  well  try  a  favorite  menu.  If  she 
were  going  to  fail,  she  reasoned,  it  might 
just  as  well  be  in  a  big  way.  The  roast 
beef  she  served  that  night  turned  out  just 
right,  and  so  did  all  the  trimmings.  "I 
thought,  'Oh,  I'll  never  be  able  to  do  this 
again,' "  she  says.  And  Ed  says,  "I  wished 
we  had  invited  everyone  we  knew  to  share 
my  pride — and  that  good  dinner." 

Betty  Ann  often  cooks  one  of  her  spe- 
cialties, tomatoes  Italian  style,  spiced  with 
oregano  and  other  herbs,  topped  with 
crushed  soda  crackers  and  grated  cheddar 
cheese.  Sometimes  she  adds  lima  beans 
to  the  tomatoes,  all  scalloped  together  in 
a  big  casserole.  The  two  of  them  sit  at 
their  little  dining  table,  each  promising 
to  take  "just  one  more  spoonful,"  until 
there's  nothing  left. 

Betty  Ann  was  living  in  Cambridge, 
Massachusetts,  when  she  started  to  sing 
with  Ruby  Newman's  Society  Band.  Un- 
til then,  she  had  sung  and  entertained  at 
many  civic  affairs  and  events  of  that  sort, 
but  not  for  money,  so  she  never  thought 
of  herself  as  a  professional.  She  had  been 
studying  dancing  since  she  was  four,  had 
taken  ballet  lessons,  and  was  about  equal- 
ly interested  in  both  dancing  and  singing, 
for  a  long  time. 

"My  first  job,"  she  recalls,  "was  at  the 
Somerset  Hotel  in  Boston,  one  of  the  nicest, 
in  the  Balinese  Room.  I  opened  the  floor 
show,  with  the  band.  I  loved  it  and  was 
learning  a  lot.  One  night,  I  was  at  the 
Fox  and  Hounds,  a  very  good  club,  where 


LORETTA,  that  is  .  .  .  in  full  color 

on  our  April   cover  .   .   .  with  a  warm 

"welcome  home"  story  inside 

April 
TV  RADIO  MIRROR 

at    your    favorite    newsstand    March    8 


they  were  having  a  Celebrity  Night  to 
honor  the  cast  of  'Finian's  Rainbow,' 
which  was  then  playing  in  Boston.  Some 
people  who  had  heard  me  at  the  Somerset 
told  the  emcee  I  was  in  the  room,  and  he 
asked  me  to  come  up  and  do  a  number.  I 
picked  a  song  from  'Finian's  Rainbow,' 
not  realizing  that  they'd  like  to  do  the 
tunes  from  their  own  show.  They  gave 
me  a  wonderful  hand,  but  I  would  know 
better  than  to  do  a  thing  like  that  now." 
At  that  time,  Ed  Sullivan's  show  was 
one  of  the  few  top  shows  on  television,  but 
already  a  very  important  one.  Someone 
who  worked  with  Ed  heard  Betty  Ann 
sing,  and  she  was  asked  to  come  to  New 
York  to  appear  on  the  show.  When  she 
got  there,  she  found  that  previous  book- 
ings made  it  necessary  to  postpone  her 
appearance  a  couple  of  weeks,  so  she  de- 
cided to  audition  for  a  couple  of  stage 
musicals  that  were  being  cast.  "I  got 
only,  'Thank  you,  we'll  call  you  if  we 
need  you.'  But  I  did  television  auditions 
and  immediately  got  bookings,  one  of  them 
a  regular  spot  on  Bob  Smith's  Gulf  Road 
Show,  besides  appearing  on  Ed  Sullivan's 
program." 

ohe  was  staying  at  a  hotel  for  women, 
in  New  York,  and  whenever  she  had  to 
rehearse  she  would  get  some  of  the  girls 
there  to  listen  to  her  lines.  "I  would  have 
perhaps  ten  lines  to  speak,  but  I  was  so 
excited  I  thought  it  was  a  whole  book.  On 
one  program,  I  had  to  say  to  Johnny  Des- 
mond, 'Johnny,  I  brought  you  some  honey- 
buns,'  and  I  rehearsed  it  a  dozen  different 
ways,  finally  deciding  to  stress  'some 
honeybuns.'  On  the  night  of  the  show,  I 
picked  up  the  tray  and  started  to  bring 
it  on,  and  then  did  a  double-take.  A 
stagehand  had  forgotten  the  honeybuns 
and  there  was  only  a  glass  of  milk!  I 
amended  my  speech  just  in  time:  'Johnny, 
I  brought  you  a  glass  of  milk.'  The  girls, 
watching  back  at  the  hotel,  wondered 
what  happened   to   all   that  rehearsing." 

Meticulous  as  she  was  about  her  work, 
Betty  Ann  almost  refused  a  final  audition 
as  vocalist  on  Stop  The  Music.  "I  had 
done  about  ten  auditions,  and  I  couldn't 
understand  why  there  had  to  be  so  many. 
I  was  tired  of  doing  them.  I  know  now 
that  it  had  to  be,  because  there  were  sev- 
eral owners,  and  producers  and  sponsors, 
and  each  had  to  know  what  I  could  do. 
But  I  almost  ran  out  on  that  show."  Since 
it  was  the  one  that  gave  her  career  its 
first  big  push  upward,  this  really  would 
have  been  too  bad. 

Being  on  Stop  The  Music  made  Betty 
Ann's  face  familiar  to  many,  many  people. 
They  began  to  recognize  her  in  the  street, 
and  in  stores  and  restaurants.  But  her 
pride  took  quite  a  fall — literally — after 
she  did  one  show  called  "Bowl  for  Char- 
ity." As  a  high-school  student  she  had 
done  some  bowling,  so  she  was  willing  to 
go  on,  although  she  had  never  been  a 
crack  player.  On  the  second  play,  she 
went  right  along  with  the  ball  down  the 
alley,  and  found  herself  sitting  in  the 
middle  of  the  floor,  laughing  and  feeling 
like  a  fool.  The  people  on  the  show 
thought  it  was  great,  so  she  didn't  really 
mind  too  much — until  a  few  days  later, 
when  she  got  into  a  cab  and  the  driver 
asked,  "Haven't  I  seen  you  some  place?" 

"On  TV?"  Betty  Ann  suggested.  "Sure," 
he  said,  smiling  delightedly  (and  she  was 
sure  he  was  going  to  say  something  nice 
about  her  singing  on  Stop  The  Music). 
"You  bowled  on  television  the  other  night, 
and  you  fell." 

During  the  time  she  was  on  Stop  The 
Music,  she  took  Lisa  Kirk's  role  in  the 
stage    musical,    "Kiss   Me,   Kate,"    playing 


it  for  six  months.  Her  television  program 
went  on  at  8:00  P.M.,  Eastern  time.  The 
curtain  rose  at  the  theater  at  8:40.  On 
her  television  night,  they  held  the  cur- 
tain an  extra  ten  minutes  just  for  Betty 
Ann,  while  she  grabbed  her  waiting  cab 
and  rushed  over  and  into  her  costume. 
One  night,  the  jackpot  broke  on  Stop  The 
Music.  Her  last  number  was  delayed. 
She  bolted  for  the  cab  after  it  was  over 
and  got  to  the  theater — just  in  time  to  see 
her  understudy   go  on. 

There  was  another  problem  in  connec- 
tion with  her  dual  career.  She  was  used 
to  television  and  to  microphones,  and  she 
had  to  learn  to  "project"  in  the  theater, 
so  that  audiences  in  the  very  farthest 
back  seats  could  hear  her.  Consequently, 
it  got  so  that,  whenever  she  started  to  re- 
hearse on  Stop  The  Music,  they'd  have  to 
keep  shushing  her.  "We  can  hear  you 
without  the  boom,"  they'd  say.  After  a 
while,  she  remembered. 

She  loved  working  with  Bert  Parks,  who, 
as  she  says,  is  quick  with  his  praise,  when 
he  thinks  it  is  deserved.  "He  would  not 
only  tell  me  when  I  did  a  good  job,"  Betty 
Ann  says,  "but  he  would  tell  the  produc- 
ers of  the  show.  He  would  protect  my 
numbers  if  the  show  ran  too  long.  'Take 
it  from  somewhere  else,'  he'd  say.  'That's 
too  good  to  cut  out.'  He  was  just  won- 
derful. 

So  is  Randy  Merriman,  emcee  of  The 
Big  Payoff.  Just  great.  A  perfect  host, 
whether  you're  appearing  as  a  contestant, 
or  whether  you're  working  with  him  on 
the  show.  Just  naturally  kind  and  in- 
terested in  everybody.  He  is  happy  when 
someone  wins,  or  when  someone  who  per- 
forms does  an  extra-special  job.  It's  not 
a  pose,  but  the  real  thing.  Working  with 
Randy  and  Bess  Myerson  is  wonderful." 

Ed  helps  her  rehearse  her  songs  at 
home,  but — as  previously  noted — prefers 
to  remain  in  the  background,  otherwise 
ducking  out  of  interviews  whenever  he* 
can  and  not  wanting  to  pose  for  pictures. 
(He  did  pose  for  a  couple  illustrating 
this  story,  as  a  special  favor,  but  he  was 
breaking  one  of  his  rules.)  He  shares  her 
love  for  music,  although  he  doesn't  sin<* 
or  play,  and  he  loves  jazz — but  not  bop. 
They  both  like  opera  and  go  whenever 
they  can.  Besides  being  an  excellent  pho- 
tographer, Ed's  consuming  interest,  outside 
his  home  and  job,  is  the  Army,  especially 
the  artillery.  He  saw  active  service  in 
Europe,  was  wounded  slightly  in  the  Bat- 
tle of  the  Bulge,  is  now  a  captain  in  the 
Army  Reserve. 

They  both  feel  that  being  in  allied  busi- 
nesses makes  things  interesting.  "Ed  sees 
our  business  from  the  advertising-agency 
side,"  Betty  Ann  points  out.  "I  see  it 
from  the  performer's  viewpoint.  We  argue 
about  it,  but  each  has  learned  from  the 
other." 

Right  now,  Betty  Ann  is  too  busy  to 
ponder  much  about  what's  ahead.  "I  just 
want  to  learn  as  much  as  I  can  and  be 
ready  for  everything  good  that  may  come. 
And  to  stay  right  where  I  am,  on  The  Big 
Payoff,  for  a  long  time.  When  the  show 
is  over  for  the  day,  I  go  home  now  and 
begin  to  think  about  dinner  and  what  has 
to  be  started  early.  During  the  years  in 
show  business,  when  I  was  unmarried,  I 
ate  out  so  much  that  now  I  love  having 
meals  at  home,  even  the  cooking  and  doing 
the  dishes  myself — although  I  must  say 
that  Ed  has  the  perfect  excuse  for  not 
helping,  because  our  kitchen  is  long  and 
narrow  and  there  just  isn't  room  for  two 
people  to  pass  each  other.  I  should  have 
thought  of  that  when  we  took  the  apart- 
ment!" 

But  that's  the  littlest  "payoff"  Betty  Ann 
has  found  in  marriage.  The  rest  of  it  has 
been  giant-size— the  kind  of  "jackpot" 
about   which    every    woman   dreams. 


fcctf  Gut! 


Now— All  Your  Favorites 
In  This  1956  Yearbook 


It's  sensational.  It's  the  big  TV-RADIO  book- 
of-the-year.  It's  the  new  1956  TV-Radio  An- 
nual. This  glamorous  new  edition  tops  them 
all.  It's  just  bursting  with  pictures,  facts 
and  stories  about  the  lives  of  all  your  favor- 
ite entertainers.  You'll  refer  to  this  book 
over  and  over  again.  Get  your  copy  before 
they  are  all  gone.  Here  are  some  of  the  fea- 
tures contained  in  this  marvelous  yearbook: 

THE  YEAR'S  ROUNDUP— News  .  .  .  gossip  .  .  . 
chit-chat  about  your  favorite  entertainers. 
Your  eyes  will  pop  at  some  of  these  inside 
stories.  Lots  of  pictures,  too. 

NEW  SHOWS  OF  THE  YEAR— The  stars  that 
made  these  shows  click:  The  $64,000  Ques- 
tion (Hal  March)  •  Ford  Star  Jubilee  (Bing 
Crosby)  •  The  Woolworth  Hour  (Percy 
Faith)  •  Mickey  Mouse  Club  (Roy  Williams 
and  Jimmie  Dodd)  •  The  Chevy  Show  (Bob 
Hope,  Dinah  Shore)  •  The  Big  Surprise 
(Jack  Barry)  •  You'll  Never  Get  Rich  (Phil 
Silvers). 

PERSONALITIES  OF  THE  YEAR— Full-page  pic- 
tures, plus  the  exciting  stories  behind  Cathy 
and  Bob  Crosby  •  Patti  Page  •  Jackie 
Gleason  •  James  Arness,  William  Conrad  » 
Christine,   Phyllis   and   Dorothy    McGuire. 

WHO'S  WHO  IN  TV  COMEDY— True-life  stories 
of  Bob  Cummings  and  Rosemary  DeCamp  • 
Ann  Davis,  Dwayne  Hickman  •  Peg  Lynch 
and  Alan  Bunce  •  Vanessa  Brown  and  Barry 
Nelson  •  Leonid  Kinskey,  Margaret  Irving, 
Pat  Breslin  and  Jackie  Cooper  •  Spring  By- 
ington,  Harry  Morgan,  Verna  Felton,  Dean 
Miller  and  Frances  Rafferty  •  George  Gobel 
and  Peggy  King  •  Sid  Caesar  and  Nanette 
Fabray. 

WHO'S   WHO   IN    MUSIC-VARIETY— Liberace    • 

Julius  LaRosa  •  Johnny  Desmond  •  Tommy 
and  Jimmy  Dorsey  •  June  Taylor  Dancers 
•   Frankie  Laine   •   Florian  ZaBach. 


WHO'S  WHO  IN  ADVENTURE— Lassie  and  Tom- 
my Rettig  •  Gail  Davis  and  Jimmy  Hawkins 

•  Rin  Tin  Tin  and  Lee  Aaker  •  Dick  Jones 
and  Nancy  Gilbert  •  Preston  Foster  •  Mark 
Stevens. 

WHO'S  WHO  IN  QUIZLAND— Jack  Sterling  • 
Bud  Collyer  •   Bert  Parks  •   Groucho  Marx 

•  Jan  Murray  •  George  DeWitt  •  Herb 
Shriner  •  Jack  Bailey  •  Warren  Hull  • 
Randy  Merriman  and  Bess  Myerson  •  Dennis 
James  •  Jack  Smith  and  Pat  Meikle. 

ALWAYS  TOPS— Arthur  Godfrey  •  Jack  Webb 

•  Eve  Arden  •  Ernie  Ford  •  Ralph  Edwards 

•  Dave  Garroway  •  Arlene  Francis  •  Steve 
Allen  •  Perry  Como  •  Garry  Moore  •  Don 
McNeill   •   Burr  Tillstrom  and  Fran  Allison 

•  Ed  Sullivan  •  Milton  Berle  •  Martha  Raye 

•  Robert  Q.  Lewis  •  Lucille  Ball  and  Desi 
Arnaz  •  Art  Linkletter  •  Jimmy  Durante  • 
Ozzie,  Harriet,  David  and  Ricky  Nelson. 

PLUS — Pictures  and  biographies  from  the 
most  beloved  daytime  dramas  on  radio  and 
TV. 

ONLY  50<t  AT  ALL  NEWSSTANDS 

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News,  Cedric  Foster 

Footnotes  To  History 

Luncheon  With 

Lopez 


News,  Sam  Hayes 
2:05  Letter  To  Lee 

Graham 
America's  Front 

Door 


News 

3:05  Ruby  Mercer 
Show 


Noon  News 

Frank  Farrell 

12:55  Don  Gardiner, 
News 


Wendy  Warren  fc 

The  News 
Backstage  Wife 
Helen  Trent 
Our  Gal  Sunday 


Paul  Harvey,  News 
Arthur  Van  Horn 


Martin  Block 


Second  Mrs.  Burton 
Brighter  Day 

This   Is  Nora  Drake 
Aunt  Jenny 


Martin   Block   icon.) 


News 

4:05  Bruce  x-  Dan 

Musical  Feature 


Claude  Rains 
Dr.  Norman 

Vincent  Peale 
Lone  Ranger 

5:55  Production  Five 


Monday 


Bob  And  Ray 


5:50  Wismer,  Sports 
5:55  Cecil  Brown 


Broadway  Matinee 

Treasury  Band- 
stand 


Musical  Express 
Bobby  Hammack 

Gloria  Parker 
Vincent  Lopez 


Road  Of  Life 
Ma  Perkins 
Young  Dr.  Malone 
The  Guiding  Light 


Linkletter's  House 

Party 
Fred  Robbins  Show 


Evening  Programs 


6:00 

Local  Program 

ABC  Reporter 

Jackson  ft  The  News 

8:30 
6:45 

Three  Star  Extra 

Bill  Stern,  Sports 

Lowell  Thomas 

7:00 

Alex  Dreier,  Man 
On  The  Go 

Fulton  Lewis,  Jr. 

Morgan,   News 

News  Analysis, 
LeSeuer 

7:15 

America's  Business 
7:20  Dinner  Date 

Quincy  Howe 
7:25  Wall  Street 
Final 

7:05  Curt  Massey 

7:30 

News  Of  The  World 

Gabriel  Heatter 

Events  Of  The  Day 

Bing  Crosby 

7:45 

One   Man's    Family 

Les  Paul  &  Mary  Ford 

Edward  R.  Murrow 

8:00 

Henry  Taylor 

True  Detective 

The  World  And  You 

My  Son,  Jeep 
Yours  Truly, 

8:15 

Boston  Symphony 

Orchestra 

8:25  News 

Johnny  Dollar 

8:30 

John  Steele, 

Voice  Of  Firestone 

Arthur  Godfrey's 

8:45 

Adventurer 

Talent  Scouts 

9:00 

Telephone  Hour 

News,  Lyle  Van 

News 

News,  Collingwood 

9:05  World  Of  Sports 

9:05  Sound  Mirror 

9:05  Jack  Carson 

9:15 

Behind  The  Iron 
Curtain 

9:25  News 

9:30 

Reporters'  Roundup 

Offbeat 

Amos  V  Andy  Music 

9:45 

9:55  News 
Personality 

Hall 
9:55  News,  Trout 

T          10:00 

Fibber  McGee  & 

Virgil  Pinkley 

Vandercook,  News 

Dance  Orchestra 

V 

Molly 

R          10:15 

News 

Orchestra 

10:05  Three  Suns 

10:20  Heart  Of  The 

News 

10:30 

Stars  In  Action 

Distinguished  Artists 

George   Hamilton 
Combs 

Tuesday 


NBC 
6:00 
6:45  Three  Star  Extra 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 


10:15 
10:30 


6:00 
6:45 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Fulton  Lewis.   Ir 
America's  Business 
7:20  Dinner  Date 

Gabriel    Heatter 
Eddie  Fisher 


People  Are  Funny 
Dragnet 


9:05  Your  Radio 
Theater— Herbert 
Marshall* 


Evening    Programs 

MBS  ABC 

Local  Program    . 

Bill  Stern,  Sports 


Treasury  Agent 
Squad  Room 


News,  Lyle  Van 
9:05  World  Of  Sports 
This  Is  Civil  Defense 
Army  Hour 


Virgil  Pinkley 


Fibber  McGee  & 

Molly 
10:20  J.  C.  Harsch 
Night  Life  With 

Nadine 

Feb.  21,  Biography  In  Sound  of  Anne  Morrow  Lindbergh 


Men's  Corner 
Dance  Music 


CBS 

Jackson  fc  The  New 
Lowell  Thomas 


Morgan,  News 
Quincy  Howe 
7:25  Wall  Street 

Final 
Events  Of  The  Day 


News  Analysis 

LeSeuer 
7:05  Curt  Masse 

Bing  Crosby 
Edward  R.  Murrt 


The  World  And  You 
8:25   News 
Bishop  Sheen 
8:55  News 


Sound  Mirror 

9:25    News 
Offbeat 
9:55  News 
Personality 


Vandercook,  News 


10:05  Three  Suns 
Take  Thirty 


My  Son,  Jeep 
Johnny  Dollar 
Suspense 


News,  Herman 
9:05  Jack  Carson 

Amos  V  Andy  Mi 
Hall 


Dance  Band 


Wednesday 


Evening    Programs 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 
10:30 


6:00 
6:45 


Three  Star  Extra 


Alex   Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 

Gabriel  Heatter 
Les  Paul  ft  Mary  Ford 


Truth  Or 

Consequences 
College  Quiz  Bowl 
8:55  News 


You  Bet  Your  Life 
— Groucho  Marx 


X  Minus  One 

9:55  "travel  Bureau 


Local  Program 


Morgan  News 
Quincy  Howe 
7:25  Wall  Street 

Final 
Events  Of  The  Day 


Gangbusters 
Public  Prosecutor 


News,  Lyle  Van 
9:05  World  Of  Sports 
Front  Page  Exclusive 
Family  Theater 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 
10:30 


Fibber  McGee  & 

Molly 
10:20  This   Is 

Moscow 
Keys  To  The  Capitol 


Thursday 


Three  Star  Extra 


Virgil  Pinkley 
Success  Story,  U.S.A 
Sounding  Board 


Bill  Stern,  Sports 


News,   LeSeuer 
7:05  Curt  Massi 


Bing    Crosby 
Edward  R.  Murn 


The  World  And  You 
8:25  News 
YourBetterTomorrow 


Sound  Mirror 
9:25  News 

Offbeat 
9:55  News 
Personality 


Vandercook,  News 
10:05  Pabst  Fights 


Jackson  fc  The  ti 
Lowell  Thomas 


My  Son,  Jeep 
Johnny  Dollar 
FBI  In  Peace  A 
War 


News,  Herman 
9:05  Jack  Carsoi 

Amos  'n'  Andy  N 

Hall 
9:55  News,  Troi 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Great  Gildersleeve 
The  Goon  Show 


News 

9:05  American 

Adventure 
Conversation 


74 


Fibber  McGee  & 
Molly 

10:20  Carling  Con- 
servation Club 

Jane  Pickens  Show 


Friday 


Evening    Programs 

Local  Program 

Bill  Stern.  Sports 


Fulton  Lewis.  lr 
America's  Businass 
7:20  Dinner  Date 

Gabriel  Heatter 
Eddie  Fisher 


Official   Detective 
Crime  Fighter 


News,  Lyle  Van 
9:05  World  Of  Sports 
Book  Hunter 
State  Of  me  Nation 


Virgil    Pinkley 
Here's  Hayes 
Music  For  You 

Evening    Programs 


Newsmakers 
Presidential  Rep 


I  Jackson  &  The  Ne 
Lowell  Thomas 


Morgan,  News 
Quincy  Howe 
7:25  Wall  Street 

Final 
Events  Of  The  Day 


News  Analysis, 

LeSeuer 
7:05  Curt  Mass 

Bing  Crosby 
Edward  R.  Mur 


The  World  And  You 
8:25  News 
YourBetterTomorrow 


Sound  Mirror 

9:25  News 
Offbeat 
9:55  News 
Personality 


Vandercook,  News 
10:05  Three  Suns 
Platterbrains 


My  Son,  Jeep 
Johnny  Dollar 
Godfrey  Digest 


News,  Herman 
9:05  Jack  Carso 

Amos  'n'  Andy  * 
Hall 


Dance  Orchestn 


6:00 

Local  Program 

Jackson  &  The  1 

6:15 

Joseph  C.  Harsch 

6:45 

Three    Star    Extra 

Bill  Stern,  Sports 

Lowell    Thomas 

7:00 

Alex  Dreier, 

Fulton  Lewis,  Jr. 

Morgan,  News 

News  Analysis, 

7:15 

Man  On  The  Go 

America's  Business 

Quincy  Howe 

LeSeuer 

7:20  Dinner  Date 

7:25  WallStreetFinal 

7:05  Curt  Mass 

7:30 

News  Of  The  World 

Gabriel  Heatter 

Events  Of  The  Day 

Bing   Crosby 

7:45 

One  Man's  Family 

Les  Paul  &  Mary  Ford 

Edward  R.  Murn 

8:00 

News 

Counter-Spy 

The  World  And  You 

My  Son,  Jeep 

8:15 

8:05  National  Radio 

8:25   News 

Johnny  Dollar 

8:30 

Fan  Ciub 

City  Editor 

Your  Better  Tomorrow 

21st  Precinct 

9:00 

N?<^  Inb  Clinic 

News,  Lyle  Van 

Sound  Mirror 

News,   Colling* 

9:05  Radio  Fan  Club 

9:05  World  Of  Sports 

9:05  Jack  Carso 

9:15 

(con.) 

9:30 

Double  Date 

Listen 

Amos  'n'  Andy  t 

9:45 

9:55  News 

9:55  News 
Personality 

Hall 

10:00 

Cavalcade  Of  Sports 

Virgil    Pinkley 

Vandercook,  News 

Dance  Orchestr 

10:15 

10:25  Sports  Digest 

Forbes  Report 

10:05  Three  Suns 

10:30 

Fibber  McGee  fc 
Molly 

London  Studios 
Melody 

Vincent  Lopez 

I 


nside  Radio 


Saturday 


NBC 


(orning  Programs 


MBS 


ABC 


CBS 


:30 
5:45 

World   News 
Roundup 

Local  Program 

Van  Voorhis,  News 
8:35  Doug  Browning 
Show 

News 

00 
:15 

30 
:45 

This  Farming 

Business 
Monitor 

No  School  Today 

News  Of  America 
Farm  News 

Garden  Gate 

;00 
3:15 

:30 
:45 

Monitor 

Good  News 

No  School 

Today  (con.) 
Moppets  &  Melody 
10:55  News 

News,  Jackson 
10:05  Galen  Drake 
Show 

.00 
:15 
:30 

:45 

Monitor 

Lucky  Pierre 

Johnny  Desmond 

Show 
11:55  Les  Paul  & 

Mary  Ford 

News 

11:05  Inner  Circle 

Van  Voorhis,  News 

11:35  All  League 
Clubhouse 

News,  Calmer 
11:05  Robert  Q. 
Lewis  Show 

ttc 

:00 

:15 
:30 
:45 

moon  Progr 

National   Farm  & 
Home  Hour 

Monitor 

a  ins 

Tex  Fletcher 
Wagon  Show 

Fifth  Army  Band 

12:05  World  Tourist 
101    Ranch  Boys 
Van  Voorhis,  News 
12:35  American 
Farmer 

Nsws,  Jackson 
12:05  Romance 

Gunsmoke 
12:55  Surprise 
Theater 

:00 

:15 
:30 
:45 

Monitor 

Musical  Wheel  Of 
Chance 

Magic  Of  Music, 
Doris  Day 

News 

1:05  Navy  Hour 

It's  Time 
1:35  Shake  The 
Maracas 

News,  Jackson 
1:05  City  Hospital 

Kathy  Godfrey 

:00 

:15 
:30 
:45 

Monitor 

Musical  Caravan 

Metropolitan    Opera 

News,  Townsend 
2:05  Adventures  in 

Science 
Antonini's  Serenade 
Orchestra 

:00 
:15 
:30 

:45 

Monitor 

Country  Jamboree 

Opera  (con.) 

News,  Bancroft 
3:05  Orchestra 

:00 
:15 
-.30 
:45 

:00 
:15 
:30 
:45 

Monitor 

Wismer,  World  Of 
Sports 

Opera  (con.) 

News,  Church 
4:05  Orchestra 
Make  Way  For  Youth 

Monitor 

Wismer,  World  Of 
Sports  (con.) 

5:5b  Les  Paul  & 
Mary  Ford 

Opera  (con.) 

News,  Cochran 
5:05  Orchestra 
Saturday  At  The 
Chase 

(veiling  Programs 


|:00 

Monitor 

John  T.  Flynn 

News 

6:05  Pan-American 

News,  Cioffi 
6:05  New  Orleans 

1:15 

Les  Paul  &  Mary 
Ford 

Union 
6:25  It's  Time 

Jazz  Band  Ball 

I-.30 

Report  From 
Washington 

Sports  Kaleidoscope 

Young  Ideas 

:45 

Les  Paul  &  Mary 
Ford 

Bob  Edge,  Sports 
Afield 

:nn 

Monitor 

Pop  The  Question 

News 

News.  LeSeuer 

:15 

7:05  At  Ease 
7:25  It's  Time 

7:05  Juke  Box  Jury 

■30 

The  Big  Surprise 

Inspiration  Please 

Labor-Management 

:45 

Series 

i'00 

Monitor 

True  or  False 

News 

News,  Jackson 

:15 

8:05  Dance  Party 

8:05  Country  Style 

1:30 

Quaker  City  Capers 

Van  Voorhis,  News 
8:35   Dance   Party 

:45 

| 

(con.) 

8:55  News 

j:C0 

Monitor 

1  Ask  You 

News 

9:05  Dance  Party 

News,  Collingwood 
9:05  Philadelphia 

Iit15 

(con.) 

Orchestra 

rb30 

Grand  Ole  Opry 

Lombardoland,  U.S.A. 

Van  Voorhis,  News 
9:35  Dance  Party 

\|:45 

(con.) 

too 

Monitor 

Oklahoma  City 

News 

News 

Symphony 

10:05  Hotel  Edison 

10:05  Basin  Street 

b30 

Orch. 

Jazz 

Van  Voorhis,  News 

Orchestra 

r 

10:35  Lawrence  Welk 

Sunday 


NBC 


MBS 


ABC 


CBS 


Morning  Programs 

8:30 

Monitor 

Sunday  Melodies 

Renfro  Valley 

8:45 

8:55  Galen  Drake 

9:00 

Monitor 

Wings  Of  Healing 

Bible  Study 

World  News  Roundup 

9:15 

9:25  Voice  Of 

The  Music  Room 

9:30 

Back  To  God 

Prophecy 

Church  Of  The  Air 

9:45 

Art  Of  Living 

10:00 

National  Radio 

Radio  Bible  Class 

News 

News 

10:15 

Pulpit 

10:05  Message   Of 
Israel 

10:05   Invitation  To 
Learning 

10:30 

Monitor 

Voice  Of  Prophecy 

News 

The  Leading  Question 

10:45 

10:35  College  Choir 

11:00 

Monitor 

Frank  And  Ernest 

Van  Voorhis,  News 
11:05   Sunday 
Melodies 

News 

11:05  E.  Power 
Biggs 

11:15 

Christian  Science 
Monitor 

Marines   On 
Review 

UN  Report 

11:30 

11:35  New  World 

Northwestern 

News 

Salt  Lake  Tabernacle 

Reviewing  Stand 

11:35  Christian  In 

Choir 

11:45 

Action 

Attn 

12:00 

12:15 
12:30 

12:45 

moon  Progr 

Monitor 

The  Eternal  Light 

a  ins 

As  I  See  It 

News,  Bill  Cunning- 
ham 
Christian  Science 

Herald   Of  Truth 

News,    Robert  Trout 
12:05  Washington 

Week 
World  Affairs 
Guy  Lombardo  Time 

1:00 

1:15 
1:30 
1:45 

Monitor 

Les  Paul  &  Mary  Ford 
1:05  Basil  Heatter 
Merry  Mailman 
Lutheran  Hour 

Or.  Wm.  Ward  Ayer 

News 

1:35  Pilgrimage 

Woolworth  Hour- 
Percy   Faith, 
Donald   Woods 

2:00 
2:15 
2:30 
2:45 

The  Catholic  Hour 
Monitor 

Complete  Opera 

Dr.  Oral  Roberts 
Wings  Of  Healing 

Symphonette 

New  York  Philhar- 
monic-Symphony 

3:00 
3:15 
3:30 
3:45 

Monitor 

Complete  Opera 
(con.) 

Dr.  James  McGinley 
Billy   Graham 

Symphony  (con.) 

4:00 
4:15 
4:30 
4:45 

Monitor 

Complete  Opera 

(con.) 
Wismer,  World  of 

Sports 

Old-Fashioned 
Revival  Hour 

News 

4:05  On  A  Sunday 
Afternoon 

5:00 
5:15 

5:30 
5:45 

Monitor 

5:05  Your  Nutrilite 
Radio  Theater 

Wismer,  World  Of 
Sports  (con.) 

Holiday  For  Strings 

5:25  Van  Voorhis, 

News 
Greatest  Story  Ever 

Told 

News 

5:05  On  A  Sunday 
Afternoon 

News 

Evening    Programs 

6:00 

Meet  The  Press 

Walter  Winchell 

Monday  Morning 
Headlines 

News 

6:05  Gene  Autry 

6:15 

Tomorrow's 
Headlines 

Paul  Harvey,  News 

6:30 

Monitor 

On  The  Line,  Bob 
Considine 

News 

6:35  Evening  Comes 

Gunsmoke 

6:45 

Les  Paul  &  Mary  Ford 
6:50  Sports 

6:55  Tremendous 
Trifles 

7:00 

Monitor 

This  Is  Civil  Oefense 

News 

7:05  Showtime 
Revue 

News  Analysis 
7:05    Bergen- 
McCarthy  Show 

7:15 

George  E.  Sokolsky 

7:30 

Pan-American 

News 

7:45 

Panorama 

Travel  Talk 

8:00 

Monitor 

Hawaii  Calls 

America's  Town 

News 

t 

Meeting 

8:05  Our  Miss 

8:15 

Brooks 

8:30 

Bonsoir  Paris 

Two  For  The  Money 

8:45 

9:00 

Monitor 

Wm.  Hillman,  News 

Overseas  Assignment  News 

9:05   Music   Hall, 

9:15 

Dick  Joseph, 
World  Traveler 

Lifetime  Living 

Mitch  Miller 

9:30 

Manion  Forum 

Van  Voorhis,  News 
9:35  Sammy  Kaye 

9:55  John  Derr, 

9:45 

Keep  Healthy 

9:55  News 

Sports 

10:00 

Monitor 

Billy  Graham 

News,  E.  D.  Canham  News 

1 10:05  Face  The  Na- 

10:15 

Richard  Hayes  Sings      tion 

10:30 

American  Forum 

Global  Frontiers 

Revival  Time 

Church  Of  The  Air 

See   Next  Page- 


75 


TV  program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  FEBRUARY  8-MARCH  8 


Monday  through  Friday 


7:00  ©  Today— Garroway's  eye-opener 
8:00  0  Captain  Kangaroo— Kids  love  him 
8:55  0  George  Skinner— Easygoin'  show 
9:00  O  Herb  Sheldon-With  Jo  McCarthy 
0  Look  To  Win— Quiz  for  mommies 
9:30  O  Todd  Russell  Corner— Comfy 
10:00  0  Garry  Moore— Everybody's  happy 

©  Ding  Dong  School— TV  nursery 
10:30  0  Godfrey  Time— Simulcast  except  Fri. 
©  Ernie  Kovaes— With  wife  Edie  Adams 
0  Claire  Mann— Grooming   expert 
11:00  ©  Home— Arlene  Francis,  femcee 

0  Janet  Dean,  R.N.— Ella  Raines  stars 
0  Romper  Room— Keeps  kids  kwiet 
11:15  0  life  With  Elizabeth-Pert  &  fun 
11:30  0  00  Strike  It  Rich— Hullhearted  quiz 

0  Beulah— Louise  Beaver's  a  howl 
11:45  ©  Mr.  &  Mrs.  North— Gory  but  gay 
12:00  0  Valiant  lady— Stars  Flora  Campbell 
©  Tennessee  Ernie— Ford  in  our  present 
0  Johnny  Olsen— House  of  fun 
12:15  0  00  love  Of  life— Jean  McBride  Stars 
12:30  0  00  Search  For  Tomorrow— Serial 
©  Feather  Your  Nest— Bud  Collyer 
O  Two  Of  The  Most— Variety 
12:45  0  00  Guiding  Light— Ellen   Demming 
1:00  0  Jack  PaarShow— With  Martha  Wright 
©  One  Is  For  Sheldon— Pert,  punny 
0  Virginia  Graham— Irrepressible 
1:30  0  Love  Story— Jack  Smith  emcees 
©  Sky's  The  Limit— Sprightly  quiz 
O  Afternoon  Show— Hollywood  films 
2:00  0  Robert  Q.  Lewis— Sparkles  plenty 

©  Richard   Willis— Facial   decorator 
2:30  0  00  Art  Linkletter's  House  Party 
©  Jinx  Falkenburg— Sweet  &  purty 
0  Maggi  McNeills— More  gal  talk 
{JD  Liberaee— Valentino  of  the  keyboard 
3:00  0  00  Big   Payoff— Mink-lined  quiz 
©  Matinee  Theater— Hour  dramas 
O  Joe  Franklin's  Memory  Lane 
0  Ted  Steele— Makes  good  music 
CD  Dione  Lucas— Cookery  as  an  art 
3:30  0  Bob  Crosby  Show— A  wing-ding 
4:00  0  00  Brighter  Day— Blair   Davies  stars 
©  Date  With   Life— Dramatic  serial 
0  Wendy  Barrie— Fair  and  Wendy 
4:15  0  00  Secret   Storm— Peter    Hobbs   stars 

©  First  Love— Pat  Barry  leads  off 
4:30  0  On  Your  Account— Dennis  James  quiz 
©  Queen  For  A  Day— Jack  Bailey's  king 
4:45  0  Letter  To  Lee  Graham— Clever  gal 

EARLY  EVENING 

5:00  O  00  Mickey  Mouse  Club— For  kids 
5:30  ©  Howdy  Doody— Bob  Smith's  boy 
6:00  0  News  &  Weather 
6:30  ©  Patti  Page— Tues.  &  Thurs.  only 
7:00  0  Mike  Wallace  &  News 

O  Kukla,  Fran  &  Ollie— Fun  &  fantasy 
7:15  ©  Tex  McCrary— Interviews  VIPs 

0  John  Daly,  News 

7:30  ©  00  Songs— Tony  Martin,   Mon.;   Dinah 

Shore,  Tues.,  Thurs.,-  Eddie  Fisher,  Wed.,  Fri. 

0  Million    Dollar    Movies— Feb.    6-12, 

"Tomorrow    Is    Forever,"    Claudette    Colbert, 

Orson  Welles;  Feb.  13-19,  "Great  Gilbert  & 

Sullivan,"    Maurice     Evans,     Robert    Morley; 

Feb.  20-26,  "Outcasts  of  the  Islands,"  Ralph 

Richardson;   Feb.   27-Mar.   4,   "Duffy   of   San 

Quentin,"  Joanne   Dru,   Paul    Kelly;   Mar.   5- 

11,  "Steel  Trap,"  Joe  Cotten,  Teresa  Wright 

7:45  ©  John  Cameron  Swayze— News 

LATE    NIGHT 

10:00  O  Million  DollarMovies— See7:30P.M. 
11:00  0    ©    0  News  &  Weather 

CD  Liberaee— Charming  &  melodic 
11:15  0  The  Late  Show— Feature  films 
11:20  ©  Steve  Allen— Man,  he  goes! 


Monday  P.M. 


7:30  0  Robin  Hood— Romantic  outlaw 
0  The  Lone  Wolf— Louis  Hayward 
0  Topper— Hocus-pocus  comedy 

8:00  0  Burns  &  Allen— Coupled  comedy 

©  Caesar's    Hour— Sid    sizzles    except 
Mar.  5,  Producers'  Showcase,  8-9:30. 
0  The  Hunter— Defender  of  justice 
0  00  Digest  Drama— Tailored  tales 
C£  Public  Defender— Reed  Hadley  stars 

8:30  0  Godfrey's  Talent  Scouts— Showcase 
0  00  Voice  Of  Firestone— Concert 

9:00  0  00  I  Love  Lucy— Desi  &  delightful 
©  The  Medic— Dramas  about  docs 
0  Dotty  Mack  Show— Musicmimics 
9:30  0  December  Bride— It's  always  Spring 
©  Robert  Montgomery  Presents 
0  Boxing  From  St.  Nicholas  Arena 

10:00  0  [s]  Studio  One— Brilliant  hour 

0  Dangerous  Assignment— Adventure 

10:30  O  Boris  Karloff— Whodunits 


Tuesday 


7:30  0  Name  That  Tune— Dough-re-mi 
0  Waterfront— Preston  Foster  stars 
0  00  Warner   Bros.   Presents— Films 

8:00  0  Phil  Silvers  Show— Very,  very  funny 

©  Milton  Berle-Feb.  21;  Bob  Hope- 

Feb.  28;  Martha  Raye— Feb.  14,  March  6 

8:30  0  Navy  Log— True  tales  of  U.S.  Navy 
0  00  Wyatt  Earp— Adult  western 

9:00  0  Meet  Millie— Elena  Verdugo  winks 
©  Jane  Wyman's  Fireside  Theater 
0  [J]  Danny  Thomas— Fine  &  Danny 

9:30  0  Red  Skelton  Show— Rib-tickler 

©  Playwrights  '56— Circle  Theater 
0  00  Cavalcade  Theater— True  drama 
10:00  0  00  $64,000  Question— Suspenseful 
10:30  0  Do  You  Trust  Your  Wife?— Hmmm? 
©  Big  Town— Mark  Stevens  stars 
0  Where  Were  You?— Ken  Murray 


Wednesday 


7:30  0  Brave  Eagle— Indian  stories 

0  Disneyland— From   Goofy  to   Mickey 

8:00  0  Godfrey  &  Friends— Artful  variety 
©  Screen  Directors'  Playhouse 

8:30  ©  Father  Knows  Best— Happy  comedy 
0  00  M-G-M  Parade— Film  variety 

9:00  0  The  Millionaire— Money,  what  else? 
©  Kraft  Theater— Always  top-notch 
0  00  Masquerade  Party— Panel   panic 

9:30  0  I've  Got  a  Secret— Garry  Moore 

0  fs]  Break  The  Bank— Berk  Parks  quiz 
10:00  0  00  U.  S.  Steel— 20th  Century-Fox 
Hour 

©  This  Is  Your  Life— Surprise  bios 
0  0  Wednesday  Night  Fights 

10:30  ©  Patti  Page  Party— Come  as  you  are 


76 


Thursday 


7:30  ©  The  Goldbergs— Molly  glows 

8:00  0  Bob  Cummings  Show— Forceful 

©  Groucho  Marx— Quiz  at  Wits  End 
0  [£]  Bishop   Fulton   J.   Sheen— Talks 

8:30  0  Climax— Drama.    Shower   Of   Stars 
Feb.   16,  Jack  Benny 

©  Dragnet— Webb  traps  criminals 

0  |TJ  Stop  The  Music— Bert  Parks  pays 

9:00  ©  People's   Choice— Cooper   comedy 
0  Wrestling— Grunts  &  groans 
0    0  Star  Tonight— Filmed  dramas 

9:30  0  Four  Star  Playhouse— Stories 
©  (00  at  10:00)  Ford  Theater 
0  00  Down  You  Go— Dr.  Bergen  Evans 
10:00  0  Johnny  Carson— Roguish  &  rollicking 
©  Lux  Video  Theater— Hour  dramas 

10:30  0  "Wanted"— Real   rogues  gallery 

0  Racket  Squad— Reed   Hadley  stars 


Friday 


7:30  0  Rin  Tin  Tin— Canine  tales 

8:00  0  Mama— Peggy  Wood  stars 

©  Truth  Or  Consequences— Wild 
0  Sherlock  Holmes— Sleuthing 
O  00  Ozzie  &  Harriet— Delightful 

8:30  0  Our  Miss  Brooks— Babblin'  Brooks 
©  Life  Of  Riley— Bill  Bendix  gets  riled 
O  [TJ  Crossroads— About  clergymen 

9:00  0  The   Crusader— Melodramas 

©  Big  Story— Newsworthy  dramas 
0  Igor  Cassini's  Showcase— Chic 
O  Dollar  A  Second— Jan  Murray  quiz 

9:30  0  Playhouse  Of  Stars— Filmed  stories 
©  Star  Stage— Filmed  stories 
0  00  The  Vise— Suspense  tales 
0  Duffy's  Tavern— Ed  Gardner  stars 
10:00  0  The  Line-Up— City  police  in  action 
©  Boxing— Headline  fisticuffs 
0  Ethel   &  Albert— Marital  fisticuffs 

10:30  0  Person  To  Person— Visit  the  famed 
0  Adventures  Of  Falcon— Thrillers 


Saturday 


3:00-4:45  0  Big  Ten  Basketball 
7:00  0  Gene  Autry  Show— Singin'&shootin' 
©  Henry  Fonda  Presents— Drama 
O  Step  This  Way— Dance  contest 
7:30  0  Beat  The  Clock— Stunts  for  prizes 
©  The  Big  Surprise— $100,000  quiz 
0  Ozark   Jubilee— Every  fourth   week, 
Grand  Ole  Opry 
8:00  0  00  The   Honeymooners— J.   Gleason 

©  Perry  Como  Show— Hour  revue 
8:30  0  U]  Stage  Show— Dorsey  Brothers 
9:00  0  Two  For  The  Money— Shriner  quiz 
©  People  Are  Funny— So  is  Linkletter. 
Feb.  18,  The  Oscar  Nominations,  9-10:30 
0  00  Lawrence  Welk— Pop  music 
9:30  0  It's   Always  Jan— Janis  Paige.   Feb. 
11,  Star  Jubilee,  "Day  Lincoln  Was  Shot" 
©  Durante-O'Connor  Show— Laughs 
10:00  0  Gunsmoke— Adult  adventure 

©  George  Gobel— And  here's  the  show 
10:30  0  Damon  Runyon  Theater— Stories 
©  Your  Hit  Parade— Top  tunes 


Sunday 


4:00  0  Front  Row  Center— Full  hour  drama! 

©  Maurice     Evans     Presents— Drama 
Wide  Wide  World— Travelogues,  Feb.  12 
March  4.  NBC  Opera— Feb.  26 
5:00  0  Omnibus— TV  artistry 

O  Super  Circus— Big  top  variety 
6:00  ©  Meet  The  Press— Celebrities  fried 
6:30  0  11]  You  Are  There-History  alive 

0  Paris  Precinct— Crime  from  the  Seini 

tf>  Life  With  Father— Leon  Ames  corned; 
7:00  0  Lassie— Adventures  of  a  movie  queei 

©  It's  A  Great  Life— Dunn's  fun 

0  00  You  Asked  For  It-Art  Baker 
7:30  0  H  Jack   Benny  alternates  with   Am 
Sothern's  Private  Secretary 

©  Frontier— Rootin'    tootin'    drama    ex 
cept  Feb.  26,  Color  Spread,  Imogene  Coci 

0  Famous  Film  Festival— Screen  hits 
8:00  0  00  Ed  Sullivan  Show-The  best 

©  New  Comedy  Hour— Gagstersgalor 

fl>  Inspector  Mark  Saber-Crime  hunte 
9:00  0  G-E  Theater-Ronald   Reagan   Host 

©  Television  Theater-Fine,  full  houi 

0  00  Chance   Of   A   Lifetime-Variet 
9:30  0  Alfred   Hitchcock   Presents-Dram 

0  (jO  Original  Amateur  Hour 
10:00  0  Appointment  With   Adventure 

©  Loretta  Young   Show-Stories 
10:30  0  00  What's  My  Line?-Job  game 

©  Justice— Documentary-style   stories 

(J)  The  Whistler— Mysteries 


Cinderella  Story 

(Continued  from  page  33) 
Bud  had  invited  the  girl  from  Davenport. 
The  girl  from  Davenport  was  little,  cuddly, 
cute.  And  Bonnie.  .  .  . 

Today's  lovely  Bonnie  Bartlett  bears 
small  resemblance  to  that  "dateless"  junior. 
She  has  become  a  slender,  talented  young 
actress  and  also  a  happy,  beloved  young 
wife,  rich  in  charm  and  understanding. 
Bonnie  made  her  bow  to  the  cameras  in 
a  play  which  Norman  Felton,  one  of  the 
most  important  of  TV  producers,  wrote 
especially  for  her.  She  has  appeared  in 
the  big  drama  shows — and  she  recently 
won  the  coveted  role  of  Vanessa  Raven  in 
Love  Of  Life,  on  CBS-TV,  after  Peggy 
McCoy  relinquished  the  part  to  pursue 
other  theatrical  activities. 

Having  conquered  a  problem  which  be- 
sets many  a  teenager,  Bonnie  can  now 
take  a  clear-eyed  view  of  her  unhappy 
high-school  days:  "This  has  been  the 
strongest  drive  in  my  life.  In  school,  I  was 
the  ugly  duckling — the  big  girl  who  was 
over-weight  and  over-tall.  I  had  bulges 
instead  of  curves.  My  hair  was  thick  and 
bunchy,  and  I  hated  myself  so  much  I 
wouldn't  even  try  to  dress  becomingly." 

Bonnie  had  grown  to  sturdy-oak  propor- 
tions with  beanstalk  speed.  When  she  was 
six,  people  said,  "She's  tall  for  her  age, 
isn't  she?"  At  nine,  she  had  outstripped 
her  brother  Bob,  who  is  eighteen  months 
older.  At  ten,  when  she  topped  her 
mother,  her  parents  seriously  feared  she 
might  become  a  giant — for  she  had  already 
reached  her  present  height  of  five  feet, 
six  inches,  and  was  bursting  into  adoles- 
cence. 

The  tallest  child  in  grade  school,  she 
was  always  at  the  end  of  the  line  when 
the  kids  paired  off  for  games.  High  school 
was  worse.  At  dances,  she  cringed  against 
the  wall  when  boys,  who  were  friendly 
enough  in  class,  passed  her  by.  "I  didn't 
understand  they  were  as  ashamed  of  being 
short  as  I  was  of  being  tall.  I'd  sit  there 
bravely  for  two,  three  hours,  then  walk 
home  with  another  girl." 

For  the  anguished,  left-out  child,  her 
understanding  parents  opened  three  ave- 
nues of  solace:  Books,  dramatics,  work. 

The  books  came  first.  "I  could  never 
stand  dolls,"  Bonnie  recalls,  "I  suppose  it 
was  because  they  were  little  and  pretty 
and  I  wasn't.  Even  when  my  father  bought 
me  the  biggest,  most  beautiful  doll  in 
town — it  cost  thirty  dollars  and  that  was  a 
lot  of  money  during  the  Depression — I 
smashed  it  right  away.  From  then  on,  they 
let  me  make  out  my  own  Christmas  book 
list.  I'd  always  find  all  I  asked  for — some- 
times as  many  as  forty  books — waiting 
under  the  tree." 

Movies  and  radio,  too,  became  absorbing 
interests:  "I  knew  every  program  on  the 
air  and  in  summer  I'd  go  to  a  show  every 
afternoon.  I  read  everything  I  could  find 
about  the  stars.  I  lived  on  Photoplay  and 
Radio  Mirror." 

Her  own  ventures  into  dramatics  formed 
the  bridge  between  this  world  of  imagina- 
tion and  everyday  life.  In  the  bridging, 
Bonnie's  real  world  became  more  toler- 
able: "Mother  started  me  on  ballet.  That 
helped  me  manage  my  bulk."  And  when 
the  fourth  grade  staged  a  play,  Bonnie's 
first  role  proved  prophetic:  "It  was  that 
fairy  tale  about  the  bewitched  frog  who, 
when  some  one  loves  him,  turns  back  into 
a  prince.  Being  biggest,  I  played  the  frog. 
I  guess  I  was  pretty  good.  Good  for  my- 
self, at  least.  I  discovered  that  when  I  was 
on  stage  I  could  get  away  from  being 
my  cumbersome  self.  On  stage,  I  would 
feel  pretty  and  that  people  admired  me, 
just  like  the  rest  of  the  kids." 

Thus  Bonnie  became  the  girl  who  was 


Who  are  the  winners  of  PHOTOPLAY'S 


coveted  Gold  Medal  Awards? 


March  PHOTOPLAY,  at  newsstands  now, 


announces  Hollywood's  most 


popular  actor  and  actress,  as  selected 


in  PHOTOPLAY'S  annual  moviegoers'  poll! 


AT 

NEWSSTANDS 

NOW 


also  in 


PHOTOPLAY 


"THE  BOY  I  LOVED"  by  the  grandmother  of  the  late  James  Dean— 
"I  know  you  loved  him,  too,  and  want  to  know  him  the  way  I  did." 

A  PHOTOPLAY  FIRST 

"What  Kim  Novak  wants,  she  means  to  get," 
An  exclusive  interview  by  columnist  Earl   Wilson. 

and 

GAIL  RUSSELL — Woman  Re-born  "God  help  me,"  she  whispered 
ANITA  EKBERG  Swedish  Dish  Fights  Back 
RORY  CALHOUN  Day  of  Destiny 
DEWEY  MARTIN  He's  The  Darndest 

ALL  IN  PHOTOPLAY 

GET  YOUR  COPY  TODAY.    MORE  NEWS!    MORE  STORIES! 
MORE  PICTURES!    ONLY  200 


77 


called  on  to  "speak  a  piece"  at  programs, 
to  give  the  Gettysburg  Address  on  Decora- 
tion Day,  to  appear  in  every  school  play. 
"I  didn't  have  the  lead  roles,"  she  points 
out.  "Those  went  to  the  pretty  girls.  I 
was  always  the  mother  or  the  aunt  and 
sometimes  even  the  father." 

Bonnie's  talent  "came  natural,"  as  they 
say  back  in  western  Illinois.  In  his  youth, 
her  father,  E.  E.  Bartlett,  had  joined  with 
his  sisters  and  brothers  to  form  a  family 
stock  company  at  Yonkers,  New  York. 
He  was  teaching  dramatics  at  a  boys' 
school  in  Racine,  Wisconsin,  when  he  met 
and  married  pretty  Carrie  Archer,  the 
blonde  and  pretty  granddaughter  of  a  Nor- 
wegian frontiersman.  Shortly  after  Bonnie 
was  born,  he  joined  the  Dallas  Little 
Theater  as  an  actor  and  director.  To  give 
their  family  a  more  secure  life  than  show 
business  afforded,  the  Bartletts  moved  to 
Moline  and  set  up  an  insurance  office.  "My 
mother  works  right  along  with  dad,"  Bon- 
nie says.   "They  make  a  wonderful  team." 

Bonnie  describes  her  father  as  "a  big, 
hearty  man  with  a  booming  voice,  tremen- 
dous energy  and  a  great  love  for  the 
theater.  Instead  of  singing  in  the  shower, 
he's  more  likely  to  shout  a  soliloquy  from 
'Hamlet'  at  the  top  of  his  voice.  And,  of 
course,  he's  into  every  kind  of  amateur 
performance  in  the  Tri-Cities." 

Mr.  Bartlett's  coaching  of  Bonnie  took 
a  subtle  turn.  "Dad  never  told  me  how  to 
play  a  part,"  she  says,  "and  he'd  never  let 
me  take  elocution  lessons,  either.  Instead, 
we'd  talk  out  a  role  until  I  could  see  a 
character  and  know  what  I  wanted  to  do 
with  it.  We  discussed  my  themes  the  same 
way.  When  I  finished  one,  he  would  cor- 
rect it,  but  everything  I  wrote  or  acted 
was  my  own." 

Both  parents  taught  Bonnie  the  satisfac- 
tion to  be  found  in  hard  work.  "Although 
they  were  willing  and  able  to  give  me  an 
allowance,"  she  recalls,  "I  took  tremendous 
pride  in  having  a  job  of  my  own.  I  clerked 
in  stores  and  later  I  was  a  receptionist 
for  a  doctor." 

Perhaps  the  jobs  became  unduly  impor- 
tant, she  confesses.  "Doubtless  I  was  com- 
pensating for  feeling  socially  left  out.  I 
became  fiercely  independent  and  put  a 
miser's  value  on  money  I  earned.  I  was 
so  thrifty  I  would  walk  a  mile  to  work 
rather  than  spend  a  dime  for  bus  fare." 

1  o  ease  the  pain  of  the  present,  Bonnie 
set  her  sights  on  the  future.  When  other 
girls  were  happily  engaged  in  the  usual 
"he  loves  me,  he  loves  me  not"  conversa- 
tion, Bonnie  was  all  too  likely  to  assert 
herself  by  saying,  "When  I'm  on  stage  .  .  ." 
She  now  realizes  its  effect.  "That  didn't 
endear  me  to  the  other  kids.  They  didn't 
know  I  hurt,  inside,  because  I  had  no  dates 
to  talk  about.  They  thought  I  felt  I  was 
too  good  for  them.  I  made  no  bones  of 
the  fact  that  I  couldn't  wait  to  get  out  of 
Moline." 

That  chance  came  between  her  junior 
and  senior  years,  when  she  won  a  declam- 
atory contest:  "All  the  cute  girls  did 
comedy.  I  picked  a  tear-jerker  and  made 
everyone  cry."  With  the  prize  came  a 
scholarship  to  the  summer  high-school  in- 
stitute at  the  school  of  speech  of  North- 
western University  in  Evanston,  Illinois. 
"For  the  first  time,"  she  says,  "I  felt  I 
belonged.  The  other  kids  were  interested 
in  the  same  things  I  was.  I  loved  every 
minute  of  it.  I  knew,  too,  that  North- 
western was  the  school  for  me." 

Her    high -school    graduation    year    was 

made  memorable  by  another  honor:    "At 

T    the  First  Congregational  Church,  the  young 

V    people    take    over   the    entire    service    on 

R    Children's   Day.     Our   minister,    the    Rev. 

Mr.  Oliver  Black,  asked  me  to  preach  the 

sermon.    We  worked  it  out  together.    My 

topic  was  'You're  a  Christian,  So  What?' 

78 


I  admit  I  got  off  my  chest  quite  a  few 
ideas  about  hypocrisy  and  unkindness." 

Preparing  to  go  to  Northwestern,  Bonnie 
paid  more  attention  to  classes  than  clothes. 
"I  studied  the  catalogue  and  had  my 
schedule  made  out  before  I  left  home,  but 
my  mother  couldn't  get  me  to  go  shopping. 
I  didn't  expect  to  be  popular  and  it  didn't 
matter  what  I  wore.  I  bought  one  green 
dress — an  awful  thing — and  I  believe  I 
paid  three  dollars  for  it." 

When  Bonnie  left  Moline,  she  didn't 
realize  that  her  assets  were  beginning  to 
come  into  their  own.  Thanks  to  the  Bart- 
lett's family  life,  she  had  acquired  the 
social  graces.  As  she  says,  "We  always 
had  fun  at  our  house.  Friends  liked  to 
visit.  I  guess  I  know  how  to  play  every 
kind  of  card  game  there  is.  Following 
Mother's  example,  I  could  always  make 
talk  and  see  that  a  guest  felt  comfortable." 

Physically,  too,  as  the  other  young 
people  were  growing  up  to  Bonnie's  height, 
Bonnie  was  beginning  to  grow  up  to  her- 
self. Although  she  feels  she  was  still  much 
too  plump  when  she  entered  Northwestern, 
her  golden  curls,  her  lovely  complexion 
and  her  pretty  face  drew  admiring  glances. 
Ballet  had  given  her  grace.  Her  intelli- 
gence, talent  and  willingness  to  work 
marked  her  as  coed  of  promise. 

The  exceedingly  critical  young  ladies  of 
Kappa  Kappa  Gamma,  one  of  the  "top  five" 
sororities,  noticed  these  attributes  and 
pledged  her.  Bill  Daniels  noted  them,  too, 
and  asked  her  for  a  date. 

In  1947,  a  year  when  a  number  of  pres- 
ent-day television's  outstanding  people 
were  on  the  Northwestern  campus,  Bill 
Daniels'  matriculation  had  about  the  same 
effect  in  the  school  of  speech  as  a  poten- 
tial Ail-American  signing  for  football. 

The  son  of  Mr.  and  Mrs.  David  Daniels, 
Bill  was  born  in  Brooklyn,  inheriting  the 
good  looks,  the  charm,  the  voice  and  the 
wit  of  the  Irish.  Recognizing  this  as  an 
explosive  combination,  his  mother  had 
determined  her  children  would  never 
roam  the  streets  in  kid  gangs,  so  long  as 
show  business  offered  a  constructive  out- 
let for  their  energies. 

Bill  and  his  sisters,  Jackie  and  Carol, 
first  sang  on  children's  radio  programs  and 
then  progressed  to  professional  engage- 
ments. With  his  hair  dyed  fiery  red  for  the 
part,  Bill  had  appeared  on  Broadway  as 
one  of  the  sons  in  "Life  with  Father."  In 
the  Army,  he  became  program  director  of 
an  Armed  Forces  radio  station  in  Italy. 
Entering  Northwestern  under  the  GI  Bill, 
Mr.  Daniels  was  a  freshman  to  watch. 

Bonnie  had  no  thought  but  to  watch 
from  afar,  when  they  were  assigned  to  the 
same  drama  workshop  crew.  A  "crew"  at 
Northwestern  is  a  group  which  does  every- 
thing necessary  to  produce  a  play,  from 
the  first  reading  to  the  final  curtain.  Eve- 
nings, as  well  as  class  hours,  are  devoted 
to  building  scenery  and  making  costumes. 
Bonnie  recalls,  "Our  first  play  was  'Bury 
the  Dead.'  For  me,  it  might  better  have 
been  titled,  'Start  to  Live.' " 

Bill,  when  he  first  heard  her  read, 
thought  Bonnie  was  a  good  actress.  Her 
way  of  forgetting  herself  and  becoming 
the  character  she  sought  to  portray  pleased 
him.  He  had  had  enough,  he  explains,  of 
"the  ingenue  type — the  girl  who  is  so  busy 
starring  as  the  belle  of  her  personal  drama 
that  she  can't  bother  to  search  out  and 
develop  the  character  the  playwright  had 
in  mind.  She  goes  on  forever  playing  no 
role  but  herself." 

Shy  Bonnie  was  unaware  of  his  interest. 
"When,  after  our  first  evening  work  ses- 
sion, Bill  asked  to  walk  me  home,"  she 
recalls,  "I  was  so  flustered  I  couldn't  say 
yes  or  no.  I  went  into  an  absolute  panic. 
I  was  afraid  I  was  taller  than  he  was." 

Bill,  who  is  five-foot-eight,  had  no  such 


concern.  He  was  intrigued  rather  than 
rebuffed  by  her  shyness.  With  man-of- 
the-world  adroitness,  he  suggested  every- 
one go  over  to  the  Huddle  for  a  hamburger. 
When  the  gang  broke  up,  it  was  easy 
enough  for  him  to  fall  into  step  and  stroll 
with  her  across  the  moonlit  campus. 

Their  first  date,  according  to  Bonnie, 
was  "the  works — dinner,  theater,  dancing. 
I  had  never  had  such  an  evening.  It  was 
a  night  to  remember." 

"And  it's  a  good  thing  she  did,"  says 
Bill,  "because  I  had  spent  all  my  money. 
After  that,  we  went  dutch." 

Bonnie  chimes  in,  "We  couldn't  afford 
to  run  around  with  the  gang  and  go  to 
the  big  parties.  But  that  didn't  matter. 
Being  able  to  work  together  on  plays 
counted  the  most  for  us." 

They  learned  from  each  other.  "Because 
of  being  in  'Life  with  Father,'  "  says  Bill,  "I 
never  went  to  a  regular  high  school.  I 
tutored  to  pass  my  Board  of  Regents  ex- 
aminations. I  was  having  a  terrible  time 
with  assignments.  I  guess  I  tried  to  mem- 
orize everything  like  a  play  script  until 
Bonnie  taught  me  how  to  study." 

Bonnie,  in  turn,  learned  theater  from 
Bill. 

But  her  most  important  learning  had  lit- 
tle to  do  with  the  stage.  Bonnie  says  sim- 
ply, "Bill  helped  me  un-inhibit  myself."  In 
the  glow  of  his  affection,  she  gained  confi- 
dence. The  storybook  magic  became  a 
real -life  fact.  With  someone  to  love  her, 
Bonnie  began  turning  into  a  beauty. 

Both  insist  there  was  never  any  outright 
proposal.  "We  got  serious  about  each  other 
right  away,"  Bonnie  remembers,  "but  we 
didn't  say  much  about  it.  We  just  knew 
that  someday  we  would  be  married." 

To  speed  that  day,  they  determined  to 
graduate  from  Northwestern  in  three  years. 
They  increased  their  class  hours  and  also 
attended  summer  school.  "That  first  sum- 
mer was  more  fun  than  going  to  a  resort," 
Bonnie  says.  "The  Speech  building  is  down 
on  the  shore  of  Lake  Michigan.  We  kept 
our  bathing  suits  in  our  lockers  and  after 
class  we'd  swim  or  sit  on  the  dock  in  the 
sun  and  play  bridge." 

Their  next  vacations  held  hard  but  satis- 
fying work.  As  apprentices  at  the  summer 
theater  in  Eaglesmere,  Pennsylvania,  they 
were  often  on  the  job  from  9  A.M.  until 
two  the  following  morning.  "That's  when 
I  really  learned  to  depend  on  Bonnie," 
Bill  says.  "I  couldn't  see  working  that 
hard  for  free.  It  was  Bonnie  who  made  me 
see  that  here  I  was  getting  experience  I 
would  never  find  any  other  way." 

1  heir  degrees,  which  they  received  in 
August,  1950,  became  their  passports  to 
New  York.  Bill  left  immediately  to  go  into 
the  NBC-TV  show,  So  Young,  So  Gay, 
featuring  Wally  Cox.  Bonnie  went  to 
Moline  and,  when  she  came  to  New  York, 
was  accompanied  by  her  mother,  who  re- 
mained for  a  month. 

Television  rolled  out  no  red  carpets  for 
the  eager  young  pair.  In  fact,  it  even 
snatched  away  the  bit  of  ground  cloth  on 
which  Bill's  feet  were  precariously  planted. 
His  show  went  off  the  air  and,  although 
there  were  promises  of  parts,  that  was  a 
turbulent  period  and  nothing  materialized. 

Bonnie,  when  Bill  tried  to  show  her  how 
to  make  the  rounds  of  producers'  offices, 
got  scared  of  New  York.  "I'd  sort  of  blend 
into  the  wall,"  she  says.  With  the  hard-won 
perspective,  she  adds,  "You  think  some 
one  ought  to  come  to  you  and  say  'You're 
It.  Just  the  actress  we've  been  looking 
for.'  You  don't  realize  that,  when  you're 
new,  you  must  give  yourself  time  to  ad- 
just— time  to  get  ready  to  make  an  im- 
pression." 

One  producer,  a  family  friend,  suggested 
she  study  "until  she  was  ready."  Bonnie 
says,  "I  was  shocked.  By  my  way  of  think- 


ing,  I  was  'ready'  right  then.  Didn't  I 
have  that  nice  new  degree  from  North- 
western, plus  a  scrapbook  of  glowing  re- 
views from  campus  publications?  What's 
more,  I  had  never  heard  of  Lee  Strasberg, 
the  coach  this  producer  suggested." 

Strasberg,  who  has  schooled  many  of 
today's  leading  young  actors  and  actresses 
toward  fame,  is  artistic  director  of  the 
notable  Actors  Studio.  He  also  teaches 
a  number  of  private  classes.  "It's  a  won- 
der he  ever  accepted  me,"  Bonnie  says 
now.  "I  went  in  and  announced  I  merely 
wanted  to  'kill  a  little  time  until  I  started 
working'!" 

Once  started,  it  didn't  take  bright  Bon- 
nie long  to  understand  that  while  North- 
western had  given  her  a  sound  founda- 
tion, she  hadn't  yet  learned  all  there  was 
to  know  about  acting.  Once  she  did,  she 
changed  her  plan.  "Although  I  had  a 
family  subsidy — an  allowance — I  wanted 
some  independence  and  I  also  wanted  to 
concentrate  on  studying.  I  stopped  making 
rounds  and  took  jobs  which  wouldn't  tie 
me  up  too  much— working  in  stores  and 
offices.  For  a  while,  I  was  Mr.  Strasberg's 
secretary.    It  helped  with  the  tuition." 

A  short  while  later,  Bill  joined  the  class, 
too.  "And  it's  a  good  thing  he  did,"  Bonnie 
says.  "Otherwise  we  would  have  had  no 
time  to  be  together." 

Their  separation  was  an  unhappy  slap 
of  circumstances.  Mrs.  Bartlett  had  ar- 
ranged for  Bonnie  to  stay  at  an  ultra-re- 
spectable hotel  for  women.  Bill  was  living 
with  his  family,  who  had  moved  out  to 
Valley  Stream,  Long  Island.  When  his  TV 
role  evaporated,  he  found  a  number  of 
small  parts,  but  he  couldn't  afford  to  stay 
in  town  to  dinner.  "For  three  years,  we 
had  been  together  most  of  our  waking 
hours.  Now  we  didn't  have  a  place  to 
drink  a  cup  of  coffee  alone,"  Bonnie  says. 
"Evenings,  I'd  go  to  a  movie  all  by  myself. 


The  only  bright  spots  were  the  weekends 
I  spent  at  Bill's  house." 

It  was  there,  on  a  Sunday  in  May,  that 
they  reached  the  conclusion  they  had  had 
enough  of  this.  "Neither  of  us  had  a  job 
or  a  dollar,  but  we  just  decided  we  were 
going  out  to  get  a  license  and  be  mar- 
ried in  June,"  Bonnie  says. 

Mr.  and  Mrs.  Bartlett,  when  informed, 
insisted  Bonnie  be  married  at  home.  The 
date  was  June  30,  1951. 

"That  was  quite  a  wedding,"  Bill  says 
drily.  "Bonnie's  dad  stage-managed  it  and 
even  Nature  cooperated.  The  garden  was 
in  full  bloom  and,  just  as  Bonnie  came  out 
of  the  house,  the  sun  burst  from  under  a 
cloud  and  a  bird  began  to  sing.  Everybody 
cried.  Everybody,  that  is,  except  my 
mother.  She  merely  said,  after  the  cere- 
mony, 'It  looks  as  though  you  didn't  give 
a  very  convincing  performance.' " 

In  their  four  years  of  marriage,  Bonnie 
and  Bill  have  had  the  usual  feast-or- 
f amine  of  young  actors.  Once,  when  jobs 
were  scarce,  Bonnie's  parents  urged  them 
to  come  home.  "My  brother  had  gone  into 
the  family  insurance  business,"  Bonnie 
says,  "and  they  thought  Bill,  too,  would  be 
an  asset  to  the  firm." 

The  offer  was  tempting.  "But,"  says 
Bill,  "we  talked  it  over  and  decided  that, 
win  or  lose,  we  were  in  show  business  to 
stay." 

"Our  friends  helped  turn  the  tide,"  Bon- 
nie adds.  "We  were  lucky  enough  to  have 
known,  at  Northwestern,  a  number  of 
people  who  have  made  their  mark  in  tele- 
vision production.  Dan  Petrie,  now  at  the 
Theater  Guild,  is  one.  Through  him  we 
met  another  Midwesterner,  Norman  Felton, 
and  it  was  Norm  who  gave  me  my  first 
part." 

Felton — now  also  at  the  Theater  Guild, 
but  then  director  of  Robert  Montgomery 
Presents — recalls:    "I   didn't   'give'  Bonnie 


the  part,  I  wrote  it  for  her.  I'd  met  her 
when  I  had  Bill  in  a  show,  and  she  was 
so  sweet,  so  unspoiled,  so  young  and  yet 
so  mature,  it  sort  of  precipitated  a  plot  I 
had  in  the  back  of  my  head.  That  became 
our  Christmas  show  in  1953." 

With  that  start,  Bonnie — as  well  as  Bill — 
began  garnering  major  credits.  She  has 
appeared  on  Armstrong  Circle  Theater, 
Justice,  United  States  Steel  Hour  and 
Philco  Television  Playhouse.  Her  present 
role  of  Vanessa  Raven  on  Lowe  Of  Life 
("Again,  it  was  Dan  who  recommended 
me")  marks  an  important  professional  step 
because,  as  she  points  out,  "People  get  to 
know  you  when  you  have  a  day-to-day 
role.    Besides,  I  just  love  the  show." 

When  her  success  began  to  come,  she 
was  ready  for  it — since,  at  long  last,  she 
had  finally  licked  her  old  problem  of  sur- 
plus weight.  She  credits  another  friend 
from  Northwestern,  Georgann  Johnson — 
who  was  Mrs.  Harvey  Weskit  on  Mr. 
Peepers  and  now  appears  in  dramas — with 
supplying  the  incentive. 

"I've  always  admired  Georgann  tremen- 
dously," Bonnie  explains.  "When  she  un- 
dertook to  help  me  with  my  hair  and  my 
clothes,  I  went  back  to  studying  ballet  and 
really  trimmed  myself  down.  I  was  so 
thrilled  when  people  began  saying  we 
looked  enough  alike  to  be  sisters." 

While  such  friends  have  been  important 
to  Bonnie  and  Bill,  it  is  Georgann  John- 
son who,  in  turn,  evaluates  what  Bonnie 
and  Bill  mean  to  their  friends.  She  says, 
"They're  the  ones  we  all  turn  to  for  help 
and  advice.  Because  they  had  a  rough 
time  getting  started  and  solved  their  prob- 
lems so  well,  we  all  bring  them  our 
troubles  and  value  what  they  have  to  say. 
In  our  crowd,  Bonnie  and  Bill  are  known 
as  'the  healthy,  happy  young  couple.' 
They'll  never  need  a  psychiatrist,  for 
they're  so  very  much  in  love." 


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What  Makes  a  Person  Interesting? 


(Continued  from  page  55) 
bubbling-over  personality  that  make  her 
fun  to  be  with  at  a  party,  at  work — and 
therefore  on  our  program,  as  well. 

Joan's  excitement  about  being  on  the 
show  and  her  reaction  to  my  questions 
were  so  spontaneous,  no  writer  could  have 
provided  a  better  situation.  When  I  men- 
tioned her  husband,  producer  Frank  Ross, 
she  exclaimed,  "You'll  never  get  Frank 
to  come  up  here."  And,  thirty  seconds  later, 
when  he  did,  she  looked  at  him,  back  at 
me,  and  cried  out,  "You  not  only  got  him 
here,  but  he  didn't  even  shave!" 

Generally  speaking,  the  mere  fact  that 
a  person  has  accomplished  a  great  deal 
doesn't  make  him  or  her  interesting.  If  we 
were  to  use  that  as  a  sole  criterion,  it  would 
be  just  as  dull  on  television  as  being  at  a 
party  and  being  forced  to  listen  to  a  suc- 
cessful businessman,  boxer,  soldier — or 
what-have-you — expounding  on  his  ex- 
ploits. 

Our  criterion  for  success  is  an  entirely 
different  one.  Maybe  I  can  more  easily  ex- 
plain it  by  giving  a  comparison:  If  I  were 
a  teacher  and  had  to  grade  a  student  for 
his  efforts — instead  of  giving  an  "A"  to  the 
brightest  boy  in  class,  who  has  managed 
to  get  a  perfect  score  with  comparatively 
little  effort — I'd  hand  it  to  the  student  who 
had  done  the  best  within  his  capabilities. 

Apply  this  idea  to  life  in  general,  and 
you  see  what  we  mean:  We  don't  care 
whether  a  person  makes  fifty  dollars  a 
week  or  five  thousand,  whether  he  is  an 
executive,  a  bricklayer,  a  deep-sea  diver 
or  the  corner  druggist — so  long  as  he  has 
lived  up  to  the  best  of  his  ability,  and  has 
thought  of  his  fellow-men  (if  necessary,  at 
his    own    expense),    while    getting    ahead. 

One  good  example  of  that  type  of  person 
is  Mrs.  Clarinda  Mason  of  Los  Angeles. 
During  World  War  II,  her  soldier  son  used 
to  bring  home  his  buddies  for  a  day,  a 
weekend,  or  even  a  longer  furlough.  Mrs. 
Mason  saw  how  much  the  boys  enjoyed  a 
home-cooked  meal  and  the  type  of  affec- 
tion they  would  find  in  her  environment. 
And  so,  on  her  own,  she  asked  servicemen 
to  visit  her. 

By  the  time  the  war  was  over,  some  six 
hundred  had  enjoyed  her  hospitality.  The 
Masons  were  an  average,  middle-class 
family — neither  particularly  wealthy,  nor 
poor — who  could  not  easily  afford  such  en- 
tertaining. To  pay  for  it,  they  had  to  cut  a 
lot  of  corners  in  their  own  expenditures. 

Furthermore,  Mrs.  Mason  wasn't  satis- 
fied with  just  having  the  boys  over  to  her 
house.  She  kept  in  touch  with  them  by  mail 
and  phone  calls,  and  sent  presents  on  their 
birthdays  and  at  Christmas.  Her  contribu- 
tion to  the  war  effort  was  a  pinnacle  of 
achievement. 

Amazingly,  she  immediately  recognized 
every  one  of  the  voices  of  the  fifteen  ex- 
servicemen  we  brought  on  the  show.  How 
great  her  popularity  really  was  became 
apparent  after  we  had  given  her  a  car  to 
tour  the  United  States  and  visit  all  the 
boys  she'd  practically  adopted  during  the 
war.  In  almost  each  town,  newspaper 
headlines  proclaimed  her  arrival  with 
"Mom  Mason  of  This  Is  Your  Life  in  Town 
to  Visit  One  of  Her   Boys." 

Mrs.  Mason  wasn't  the  only  one  who 
looked  after  servicemen  during  the  war. 
Millions  of  American  mothers  did  the  same, 
even  if  not  to  such  an  extent.  Consequent- 
ly, when  she  appeared  on  our  show  there 
was  the  added  excitement  of  self-identifi- 
cation. The  women  and  ex-GIs  who 
watched  it  relived  their  own  lives.  And 
that  is  another,  very  important  point  that 
we  constantly  keep  in  mind. 

Actually,  there  is  a  show  in  almost  every 


person,  because  of  this  feeling  of  self- 
identification.  We  find  other  persons  inter- 
esting because  in  them  we  recognize  a  part 
of  ourselves,  and  of  our  own  experiences — 
whether  it  is  the  loss  of  our  first  tooth,  a 
high-school  prom,  a  battle  in  which  we 
have  participated,  a  sickness  we  over- 
came, or  a  struggle  for  personal  achieve- 
ment— particularly  by  someone  who  start- 
ed out  with  the  same  handicaps  (or  even 
worse)  which  we  now  face  or  have  faced. 

A  typical  example  is  the  story  of  Roy 
Rogers.  We  considered  him  an  outstanding 
personality — not  because  of  his  tremend- 
ous popularity  and  success  today — but  be- 
cause of  the  way  he  got  where  he  is. 

He  came  across  the  country  at  the  height 
of  the  Depression.  The  old,  rickety  truck 
carrying  him  and  his  family  broke  down 
in  Albuquerque,  New  Mexico.  To  get  an- 
other vehicle  that  would  at  least  move, 
Roy  got  himself  a  job  to  pay  for  it.  He 
bought  his  first  guitar  in  a  pawnshop,  for 
two  dollars.  There  are  dozens  of  episodes 
like  that  which  identified  Roy  with  thous- 
ands of  our  viewers  to  whom  his  story  is 
a  personal  inspiration. 

Just  as  important,  if  not  more  so,  is  the 
fact  that  Roy  accomplished  all  this  without 
stepping  on  anybody  else's  toes.  On  the 
contrary,  he  helped  his  fellow  man  in  an 
almost  unprecedented  manner,  during  his 
prosperous  times,  as  well  as  during  his 
years  of  struggle.  That  is  the  true  success 
story  of  Roy  Rogers — and  much  more  in- 
teresting than  a  listing  of  how  many  pic- 
tures he  has  made  or  how  big  a  bank  ac- 
count he  has. 

In  selecting  people  for  our  show,  prob- 
ably the  single,  most  important  character- 
istic we're  after  is  honesty.  By  that,  I  mean 
a  frank  approach  to  life,  a  person  who 
isn't  trying  to  hide  anything  about  him- 
self, his  family,  or  his  past  experiences. 
Like  Bill  Bendix,  of  Life  Of  Riley  fame. 

Bill,  who  is  doing  extremely  well  today, 
doesn't  try  to  hide  the  fact  that  he  once 
worked  for  the  WPA,  counted  cars  cross- 
ing a  bridge,  was  a  clerk  for  a  steamship 
company,  a  moving  man  for  a  van  and 
storage  house,  and  even  a  salesman  for  a 
newly  invented  hot-water  bottle.  He  is  not 
ashamed  of  anything  that  happened  to  him. 

This  same  honest,  down-to-earth  ap- 
proach is  obvious  in  his  everyday  life.  Be- 
cause of  it,  people  enjoy  being  with  him, 
like  to  listen  to  what  he  has  to  say.  At  the 
same  time,  they  give  more  of  themselves 
after  the  example  he  sets.  Doing  research 
on  his  life  was  one  of  the  easiest  jobs  we 
ever  had  to  do.  It  was  like  an  open  book, 
with  all  the  information  readily  available. 
There  was  so  much  of  it,  we  could  have 
stretched  the  show  to  twenty-four  hours! 

While,  so  far,  most  of  my  examples  re- 
ferred to  average,  "nice,"  cheerful  people, 
I  don't  want  to  give  the  impression  that  we 
take  a  "Pollyanna"  type  of  approach.  We 
like  gusty  personalities,  whose  past  ex- 
periences would  of  necessity  arouse  the 
interest  of  almost  anyone. 

We  did  the  story  of  Emma  Jo  Wengert, 
of  Las  Vegas,  falsely  accused  of  murder, 
convicted  and  sent  to  the  penitentiary  for 
four  years  before  she  was  finally  acquitted. 

Clyde  Lamb,  an  habitual  criminal,  was 
another  person  we  covered.  Clyde  was  in- 
volved in  almost  everything  from  holdups 
to  armed  robbery.  At  22,  he  received  a 
life  sentence  and,  during  the  subsequent 
years  in  prison,  realized  the  folly  of  his 
actions.  "It  was  like  awakening  from  a 
long  sickness,"  he  told  me.  In  prison,  he 
started  to  concentrate  on  what  he  consid- 
ered "more  constructive  work"  for  which 
he  had  a  talent — cartooning.  And,  after 
his   pardon,   he   got   a   job   with   the   Des 


Moines  Tribune  Syndicate,  where  he  is  now 
a  respected  member  of  the  staff,  and  of  the 
community  in  which  he  lives. 

His  story — which  we  did  with  his  prior 
approval — was  of  interest,  not  because 
of  the  criminal  life  he  had  once  led,  but 
because  of  the  manner  in  which  he  had 
rehabilitated  himself. 

Another  man  whose  story  we  recently 
told — again  with  his  consent — is  John 
Weber,  a  former  mental  patient  who  had 
been  recommended  to  us  by  the  Mental 
Health  Research  Foundation.  We  con- 
sidered him  interesting  because  he  had 
overcome  his  sickness,  and  even  more  so 
because  he  was  willing  to  talk  about  it. 
Although  ten  percent  of  our  population 
suffers  from  various  mental  diseases,  the 
mere  mention  of  it  will  make  most  of 
them,  their  friends  and  their  relatives, 
shut  up  tighter  than  a  clam.  Talking 
about  it  as  freely  as  John  Weber  was  of 
interest  because  so  little  is  known  about 
it,  in  the  first  place — because  it  showed 
the  general  public  that  it  is  a  sickness, 
like  any  other,  and  should  be  treated  as 
such — and,  most  of  all,  that  it  can  be 
cured. 

From  the  research  we  have  done,  we 
learned  that  other  former  mental  patients 
have  become  much  better  and  more  quick- 
ly adjusted  when  they  acted  like  John 
Weber,  rather  than  when  they  were  trying 
to  pretend  it  never  existed. 

Not  all  personal  achievements  are  as 
dramatic  as  those  of  John  Weber  and 
Clyde  Lamb.  But,  generally  speaking,  to 
be  "interesting,"  almost  every  subject  has 
some  accomplishment  to  his  or  her  credit. 

Take  the  case  of  Dr.  Lawrence  C.  Jones 
of  Piney  Wood,  Mississippi,  who  through 
his  own  efforts  started  and  kept  going 
one  of  the  finest  schools  for  Negro  chil- 
dren in  the  country.  His  interest  in  the 
welfare    of   others    in   turn   made    him   of 


interest,  not  only  to  the  ones  he  cared 
about,  but  to  people  in  general.  Inciden- 
tally, when  we  found  out  that  Dr.  Jones 
was  concerned  about  how  the  school  would 
keep  going  if  anything  should  happen  to 
him,  we  suggested  on  the  program  that 
viewers  should  each  send  one  dollar  to 
him  for  an  endowment  fund.  Within  a 
couple  of  weeks,  the  fund  had  grown  to 
$779,000. 

Dorothy  Lamour  is  another  person  who 
stands  out  by  what  she  has  done  for  others. 
When  we  checked  into  her  life  story,  we 
found  that  everyone  with  whom  she  had 
ever  been  in  contact  had  something  to  say 
in  her  favor. 

For  instance,  there  was  a  wardrobe 
woman  whose  hospital  bill  was  paid  by 
Dorothy.  And  Dorothy's  stepson,  Bill 
Howard — who  was  in  the  Marine  Corps  at 
the  time  of  the  show — had  the  greatest  ap- 
preciation for  a  woman  who  married  into 
his  family  when  he  was  twelve,  which  is 
probably  the  most  difficult  age  to  accept 
a  new  stepmother.  Yet  Dorothy  handled 
herself  in  such  a  manner  that  she  won  his 
love  and  devotion,  and  also  the  admiration 
of  thousands  of  women  who  were  fasci- 
nated by  her  story  as  we  were  able  to  tell 
it  on  our  show.  Once  again,  it  was  a 
common,  almost  everyday  problem  which 
she  had  faced  and  conquered,  rather  than 
her  success  in  show  business,  that  made 
her  interesting. 

One  of  the  most  amazing  people  we  have 
come  across  to  date  is  Dr.  Kate  Newcomb, 
of  Woodrow,  Wisconsin.  "Dr.  Kate,"  as  she 
is  called,  has  gained  no  outstanding  suc- 
cess in  the  medical  field  that  occasioned 
headlines,  medals,  or  even  recognition  be- 
yond her  own  immediate  environment.  She 
didn't  make  much  money — in  fact,  a 
great  deal  less  than  most  city  doctors.  Yet 
she  was  a  fascinating  subject  because  of 
the  type  of  success  and  popularity  she  en- 


joyed, and  the  generosity  with  which  she 
gave  of  herself. 

She  was  the  only  doctor  in  a  one-hun- 
dred-mile backwoods  territory  with  ex- 
treme climates  and  poor  communications, 
which  often  necessitated  walking  on  snow- 
shoes  for  miles  to  deliver  a  baby,  or 
operating  on  kitchen  tables  with  the  sim- 
plest of  instruments. 

Dr.  Kate  retired  when  she  got  married, 
to  become  a  housewife  and  raise  her  son. 
But  a  few  years  later,  the  doctor  who  had 
taken  her  place  prevailed  on  her  to  re- 
sume her  practice,  because  he  had  grown 
too  old  to  look  after  all  the  patients.  Nat- 
urally, her  experiences  as  such  were  in- 
teresting to  hear.  Even  more  fascinating 
was  the  story  behind  what  made  her  do 
it:  Her  devotion  to  her  fellowmen. 

I  could  go  on  and  on,  mentioning  peo- 
ple like  Victor  McLaglen,  who  had  five 
careers  in  his  lifetime— actor,  circus  per- 
former, boxer,  soldier,  and  adventurer. 
(And  I  should  add  a  sixth:  Being  a  won- 
derful family  man.)  Or  Rene  Belbenoit, 
who  escaped  from  Devil's  Island  and  wrote 
a  book  about  it,  not  just  for  personal  profit, 
but  to  change  a  system  that  condemned  his 
fellowmen  to  such  miserable  existence. 
Or  Harris  Pottier,  whose  ship  went  down 
in  the  icy  waters  of  the  Atlantic,  and  who 
kept  himself  and  twenty-six  others  alive 
by  his  tremendous  spirit. 

To  me,  no  matter  how  successful  a  per- 
son is  or  how  exciting  his  life  has  been, 
if  he  talks  about  nothing  else,  if  he  puts 
himself  constantly  into  the  foreground — 
once  the  novelty  of  his  story  has  worn 
off,  he  is  nothing  but  a  bore. 

On  the  other  hand,  a  person  who  has 
lived  to  the  best  of  his  ability,  who  gives  of 
himself  and  who  is  interested  in  the  well- 
being  of  others,  will  also  be  of  interest  to 
them — because  in  him  we  see  what  we 
are.    Or,    at   least,    what    we    want   to    be. 


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81 


UA  nurse  showed  me 

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SEE 


READER'S  DIGEST 


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ON 


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82 


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Owt.303-«.5tW.428L,N.Y.36  ®"0    m 


Lucky  Lawrence  Welk 


(Continued  from  page  31) 
these  romances  might  have  originated  al- 
most anywhere  in  the  United  States.  But 
chances  are  that  they  did  so  in  the  Mid- 
west, where  Welk  for  many  years  played 
thousands  of  popular  ballroom  engage- 
ments, many  of  them  one-night  stands  in 
small  towns. 

In  this  vast,  sprawling  area,  there  are 
few  people  in  their  thirties  today  who 
haven't  at  one  time  or  another  been  ex- 
posed to  the  charm  of  Lawrence  Welk's 
warm  personality,  or  felt  at  least  the 
flicker  of  romance  while  dancing  to  the 
firm  yet  gentle  beat  of  his  caressing  music. 
There  is  something  irresistibly  romantic 
about  the  style  which  made  Lawrence 
Welk  one  of  America's  most  popular  and 
successful  bandleaders.  But,  in  his  own 
life,  music  alone  wasn't  enough  to  win 
the  affection  of  the  girl  who's  been  his 
loyal  and  devoted  wife  for  the  past  almost 
twenty-five  years,  the  girl  who  became 
the  mother  of  his  three  children. 

"I  had  to  have  my  tonsils  clipped  twice 
in  order  to  get  a  date  with  her,"  Welk 
recalls  with  a  smile.  "If  I  had  to  do  it 
over,  I'd  gladly  have  my  appendix  out 
as  well.  It  would  have  been  worth  it." 

.Back  in  1930,  young  Lawrence  Welk 
was  already  something  of  a  celebrity  in 
the  town  of  Yankton,  South  Dakota,  where 
he'd  been  playing  for  some  time  at  Sta- 
tion WNAX,  one  of  the  midwest's  pioneer 
radio  stations.  Among  his  most  ardent 
admirers  was  a  group  of  young  student 
nurses  from  the  near-by  hospital  who'd 
always  flock  to  the  station  at  broadcast 
time,  flattening  their  noses  against  the 
glass  panel  which  separated  them  from 
their  idol. 

In  their  nurses'  quarters,  the  hand- 
some and  charming  young  bandleader 
was  invariably  the  principal  topic  of  the 
girls'  conversation.  "I  bet  I  could  get  a 
date  with  him  and  have  him  take  me 
out  to  dinner,"  teased  Fern  Renner,  a 
slim,  pretty  brunette  who  was  the  lone 
holdout  among  the  girls,  refusing  to  suc- 
cumb to  the  general  excitement. 

Next  day,  Fern  accompanied  her  friends 
to  the  broadcast.  But,  when  Welk  actually 
noticed  her,  came  round  to  join  the 
crowd  after  the  show,  and  asked  to  be 
introduced  to  the  shy,  attractive  girl,  Fern 
got  cold  feet  and  refused  him   a  date. 

"All  the  girls  were  making  such  a  fuss 
over  him,"  she  says  now.  "I  took  it  for 
granted  he  must  be  pretty  conceited.  And 
the  way  he  traveled  around,  I  figured  he 
must  have  a  girl  in  every  town — and  I 
didn't   want   to   be    one    of   them." 

Intrigued  by  her  coolness,  Lawrence  be- 
came all  the  more  attracted.  He  began 
making  inquiries  about  Fern  and  seek- 
ing other  opportunities  to  meet  her.  Miss 
Renner,  however,  remained  impervious 
to  his  charm.  In  his  frustration,  Welk 
finally  hit  upon  the  desperate  expedient 
of  having  himself  hospitalized  in  order 
to  become  better  acquainted  with  the  un- 
cooperative nurse. 

"I'd  had  my  tonsils  out  once  before," 
he  recalls,  "but  a  little  piece  had  grown 
back.  I  thought  this  was  as  good  a  time 
as  any  to  have  that  clipped,  too." 

The  operation  was  performed  by  a 
friend  of  his,  Dr.  Ephraim  Ebts,  who 
obligingly  arranged  for  a  room  on  Nurse 
Renner's  floor,  giving  instructions  that 
she  personally   look  after  his  patient. 

Reporting  for  duty  that  evening,  Fern 
found  the  once  debonair  and  voluble  Welk 
sadly  transformed.  He  had  hemorrhaged. 
He  had  surgical  clamps  on  his  mouth  and 
could  speak  only  with  great  pain.  Melt- 
ing at  last,  Fern  put  a  cool  hand  on  his 


forehead.  "Don't  say  a  word,"  she  cau- 
tioned. "I'm  going  to  take  care  of  you." 

She  did — and  she  has  ever  since. 

Following  his  act  of  heroism,  Lawrence 
still  had  to  employ  all  of  his  considerable 
powers  of  persuasion  before  Fern  agreed 
to  marry  him.  But  marry  they  did,  the 
following  spring,  and  neither  of  them  has 
ever  regretted  it. 

"Lawrence  has  always  known  what  he 
wants  and  gone  after  it,"  says  Mrs.  Welk, 
still  youthful  and  pretty  despite  her  pre- 
maturely gray  hair.  "And  he  was  born 
under  a  lucky  star.  He's  always  brought 
nothing  but  luck  and  happiness — not 
just  to  himself,  but  to  everybody  around 
him,   too." 

For  the  first  year  after  they  were  mar- 
ried, however,  Fern  Welk  had  some  mis- 
givings about  her  own  ability  to  attract 
luck.  "I  was  a  regular  jinx  for  Lawrence," 
she  says. 

Up  to  the  day  he  was  married,  Lawrence 
Welk  had  always  been  lucky.  He  was 
lucky,  to  begin  with,  in  the  kind  of 
parents  he  had;  lucky  in  being  one  of  a 
large,  bustling,  affectionate  family  of  four 
boys  and  four  girls;  lucky  in  growing 
up  on  a  North  Dakota  farm  which  gave 
him  a  sound  body  and  an  even  sounder 
sense  of  values. 

His  father,  Ludwig  Welk,  had  left  his 
native  Alsace-Lorraine  in  1878,  after  it 
was  annexed  by  Germany,  and  came  to 
this  country  with  his  wife,  settling  on  a 
fertile  plot  of  land  near  Strasburg,  North 
Dakota.  Among  his  treasured  possessions 
— and  practically  his  only  one — was  an 
old-fashioned  accordion  which  had  been 
handed  down  to  him  by  his  grandfather. 
A  musician  at  heart  though  a  farmer 
by  trade,  the  elder  Welk  loved  nothing 
so  much  as  to  sit  down  after  the  day's 
chores  were  done  and  play  the  tunes  and 
dances  he'd  learned  in  the  old  country. 
Larry,  the  next  to  youngest  of  his 
children,  soon  became  fascinated  by  the 
instrument  and  never  left  his  father's 
side  when  he  played  it,  watching  and  ob- 
serving   him    constantly. 

By  the  time  Larry  was  thirteen,  he 
played  the  instrument  passably — well 
enough,  at  least,  to  play  occasionally  at 
community  dances,  on  school  programs 
and  in  church.  Next  year,  his  father 
scraped  together  four  hundred  dollars, 
which  he  advanced  Larry,  to  be  worked 
off  in  time,  to  buy  his  own  accordion. 

"If  I  live  to  be  a  hundred,  I'll  never 
forget  the  day  it  arrived,"  Lawrence  re- 
calls. "It  had  sparkling  rhinestones  and 
the  new-type  piano  keyboard.  I  was 
thrilled — and  started  practicing  like  mad." 

At  twenty-one,  he  left  his  father's  farm, 
determined  to  earn  his  livelihood  as  a 
musician  despite  dire  predictions  of  fail- 
ure. Although  by  then  he  had  played  for 
pay  for  some  years — usually  together  with 
his  father  and  one  brother  who  played 
the  violin — none  of  his  family  had  even 
considered  music  more  than  a  pleasant 
and,   at   times,   mildly   profitable   sideline. 

But,  at  the  end  of  his  first  year  as  a 
full-time  musician,  Lawrence  thought  he 
might  have  to  give  up  and  go  back  to 
the  farm,  after  all.  While  he  played  the 
accordion  very  well,  it  wasn't  easy  for 
him  to  get  jobs  in  bands  because  he'd 
never  learned  to  read  music.  Another — 
and  more  serious — pitfall  of  his  early 
career  was  the  regrettable  fact  that  he 
frequently  didn't  get  paid  for  his  services. 
In  a  last-stand  effort  to  overcome  the 
twin  evils  of  not  geting  hired  and  not 
getting  paid,  young  Welk  decided  to  form 
his  own  band.  For  his  debut,  he  accepted 
a  Fourth  of  July  engagement  at  Scatter- 


wood  Lake,  a  picnic  and  resort  area  near 
Aberdeen,  North  Dakota.  Instead  of  a 
fixed  fee,  he  had  to  agree  to  take  a  per- 
centage of  the  gross. 

However,  he  was  in  luck.  By  three 
in  the  afternoon,  the  sky  began  to  cloud 
over  and  within  an  hour,  it  started  to 
pour.  Seeking  shelter,  the  crowd  packed 
into  the  dance  hall  where  a  happy  Law- 
rence Welk  and  his  four-piece  band 
played  for  them  until  the  early  hours  of 
the   morning. 

Totaling  up  the  receipts  next  day,  he 
found  that  his  net  share  of  the  profits 
came  to  $260.00— approximately  one-third 
his  earnings  for  the  entire  previous  year. 
He  thereupon  traded  his  jalopy  for  a 
brand-new,  shiny  Model-T  Ford  and 
drove  back  to  his  home  town  of  Stras- 
burg,  returning  in  triumph  instead  of 
defeat. 

From  that  point  on,  Lawrence  Welk's 
career  proceeded  smoothly  for  the  next 
few  years.  Working  almost  without  a 
break,  he  built  up  an  enviable  reputation 
throughout  the  Midwest  as  an  engaging 
and  personable  young  man  with  a  pleasant 
manner  who  somehow  managed  to  infuse 
his  musicians  with  his  own  enthusiasm 
and  played  the  most  danceable  music  this 
side  of  Guy  Lombardo.  His  band,  in- 
creased to  six  pieces  by  then,  became 
known  as  "the  biggest  little  band  in 
America."  It  was  enormously  popular  and 
never  lacked  for  work.  While  he  wasn't 
"big  time,"  he  nevertheless  did  very  well 
indeed,  especially  for  a  young  man  still 
in  his  twenties.  Along  with  talent,  am- 
bition and  energy,  he  also  had  that  famous 
luck.  But  his  luck  seemed  to  break 
exactly  the  day  after  he  and  Fern  were 
married  in  Sioux  Falls,  South  Dakota,  on 
April  18,  1931. 

They  were  about  to  head  East  that  day 
for  a  long  engagement  at  the  De  Witt 
Clinton  hotel  in  Albany,  New  York,  and 
were  looking  forward  to  spending  their 
honeymoon  in  comfort  and  luxury,  plan- 
ning to  visit  Niagara  Falls  en  route.  Just 
as  they  were  leaving  their  hotel  room, 
the  telephone  rang.  Fern  picked  it  up  and 
handed  it  to  Lawrence.  His  face  fell  as  he 
listened.  The  engagement  was  cancelled. 
There  was  nothing  else  in  sight  except 
a  few  one-night  stands. 

He  had  no  way  to  avoid  telling  his 
bride  the  truth — she  had  stood  right  next 
to  him.  Sadly,  they  left  on  what  had 
promised  to  be  the  most  wonderful  trip 
of  their  fives. 

Back  in  Chicago,  after  a  period  of  idle- 
ness, Welk  managed  to  secure  another 
booking  for  his  band  at  Twin  Lakes,  Wis- 
consin. The  total  pay  for  the  six-man 
band  was  $200.00  a  week— less  than  $35.00 
for  each — plus  room  and  board.  When  he 
saw  the  "bridal  suite"  assigned  them  by 
the  hotel,  Lawrence  felt  like  quitting,  for 
the  first  time  in  his  life.  "I  felt  terrible," 
he  recalls.  "We  had  a  cubbyhole  in  back 
of  the  ballroom.  It  was  littered,  untidy,  full 
of  dust  and  cobwebs." 

Mrs.  Welk,  however,  proved  herself 
to  be  as  good  a  trouper  as  her  husband. 
Without  a  word  of  complaint,  she  went 
to  work  with  brushes,  mops,  disinfectants 
and  plenty  of  hot,  soapy  water,  trans- 
forming their  honeymoon  abode  into  at 
least  clean,  if  not  luxurious,  quarters. 

Another  surprise  awaited  them  that 
fall,  as  they  pulled  into  Phoenix,  Arizona, 
for  a  four  weeks'  engagement  at  one  of  the 
big  clubs.  While  they  were  merrily  on 
their  way,  the  club's  creditors  had  closed 
and  padlocked  its  doors,  leaving  Welk  and 
his  band  stranded  upon  arrival.  It  was  in 
this  desperate  situation  that  Lawrence 
Welk  was  to  prove  his  mettle  to  his  bride 
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step,  in  order  to  provide  eating  money 
for  the  seven  people  dependent  upon 
him,  Welk  then  made  his  rounds  from 
creditor  to  creditor,  twenty  in  all,  per- 
suading them  to  reopen  the  club  and  let 
him  play.  At  length,  he  succeeded — not 
only  in  having  the  club  re- opened  but 
also  in  pulling  its  operations  back  into 
the  black. 

"This  was  our  hardest  year,"  says  Mrs. 
Welk,  "but  it  gave  me  boundless  confidence 
in  Lawrence's  ability  and  resourcefulness. 
I  never  worried  about  finances  after  that." 

By  the  time  "  their  daughter  Shirley 
was  born  in  Dallas,  Texas,  the  following 
spring,  Lawrence  had  the  situation  once 
again  firmly  in  hand,  despite  the  De- 
pression, which  was  getting  steadily  more 
severe  each  day.  "Shirley  was  the  turn- 
ing point,"  he  says.  "I  couldn't  get  over 
the  miracle  of  having  fathered  such  an 
exceptional  creature.  And  she  brought 
my  luck  back   again." 

Buoyed  by  fatherhood,  more  popular 
than  ever,  and  confident  of  finding  plenty 
of  work  for  his  band  in  and  around 
Dallas  and  Fort  Worth,  Welk  decided  to 
invest  in  a  small  residential  hotel,  re- 
named "The  Lawrence,"  where  Mrs.  Welk 
made  the  first  permanent  home  for  the 
family.  But,  because  a  bandleader's  life 
is  necessarily  peripatetic,  the  word 
"permanent"  turned  out  to  be  purely  a 
relative  term  for  the  Welk  family.  Dur- 
ing the  twenty -odd  years  that  have 
elapsed  since  then,  they've  had  other 
homes — always  meant  to  be  "permanent" 
— in  Yankton,  South  Dakota,  and  Omaha, 
Nebraska,  Pittsburgh,  Pennsylvania,  and 
for  twelve  years — the  closest  approxi- 
mation to  their  dream  of  stability — in  the 
River  Forest  section  of  Chicago.  At  pres- 
ent, and  for  the  past  three  years,  they 
live  in  the  Brentwood  section,  one  of  the 
most  beautiful  in  the  Los  Angeles  area. 
"God  willing,  I  hope  to  spend  the  rest  of 
my    life    right   there,"    says    Welk. 

1  heir  house  is  not  grand — neither  of 
them  likes  anything  smacking  of  preten- 
tiousness— but  it  is  roomy  and  com- 
fortable, with  a  beautiful  garden  and 
terrace  (and,  incidentally,  no  swimming 
pool).  Mrs.  Welk  takes  care  of  it  herself, 
with  only  occasional  help,  and  she  still 
does  all  her  own  cooking.  She  missed  her 
friends  and  her  former  home  in  Chicago 
after  she  moved  to  California,  but  she, 
too,  is  now  happy  to  be  there.  For  being 
in  California  means  at  last  an  end  to  the 
long,  lonely  separations  that  Lawrence 
and  Fern  Welk  had  to  endure  during  the 
first  twenty  years  of  their  marriage. 

A  bandleader  must  go  where  his  work 
takes  him.  He  is  responsible  not  just  for 
himself  and  his  own  family,  but  for  his 
musicians  and  their  families,  as  well.  If 
necessary,  he  must  accept  a  season  of 
one-night  stands  or  of  protracted  engage- 
ments away  from  home  base.  It  is  the 
bane  of  a  musician's  career  permitting 
him  no  orderly,  well-regulated,  normal 
home  and  family  life.  Fern  Welk  might 
have  hired  a  nurse,  of  course,  and  let 
her  take  care  of  the  children  while  she 
herself  traveled  with  her  husband.  But 
both  Welks  agreed  that  the  welfare  of 
their  children  was  their  first  concern  and 
that  no  substitute  mother  could  do  as 
well  by  them  as  Fern  herself.  So  she 
stayed  home  with  them,  and  both  she  and 
her  husband  were  lonely  for  each  other 
much   of  the  time. 

They  tried  to  pick  their  homes  close  to 
his  principal  field  of  activity.  When  they 
lived  in  Chicago,  Lawrence  usually  had 
long  engagements  at  the  Trianon  and 
Aragon  ballrooms,  permitting  him  to 
spend  several  months  of  the  year  at  home. 
But,  even  then,  there  were  often  long 
spells  when  he  had  to  be  away  from  home. 


At  one  time,  toward  the  end  of  the  war, 
a  continuous  round  of  repeat  engage- 
ments kept  him  in  the  San  Francisco 
area    for    thirteen    consecutive    months. 

Like  so  many  other  men,  Lawrence 
Welk  was  caught  in  the  treadmill  of 
success.  He  was  doing  well,  extremely 
well,  but  he  had  to  pay  his  price  for  it  in 
heartache  and  loneliness.  Only  four  years 
ago  did  he  finally  get  his  chance  for  a 
continuous  run  at  the  Aragon  in  Santa 
Monica,  California,  and  these  past  four 
years  have  been  the  happiest  and  most 
successful  of  his  entire  life.  Though  he 
gets  home  at  three  A.M.,  instead  of  six 
P.M.,  like  other  men,  he  feels  that  he  has 
settled  down  at  last  and  is  enjoying  a 
normal,  happy  family  life. 

It  reflects  great  credit  upon  both  Law- 
rence and  Fern  Welk's  unusual  strength 
of  character  and  devotion  to  each  other 
that,  despite  all  obstacles,  they  have  man- 
aged to  establish  and  maintain  a  closely 
knit  and  warmly  affectionate  family  re- 
lationship through  all  these  years.  Aside 
from  their  love  for  each  other,  the  love 
for  their  three  children,  Shirley,  Donna 
and  Lawrence  Jr.,  is  the  cement  that  has 
held  them  firmly  together.  "They're  three 
wonderful  youngsters,"  Welk  smiles 
proudly.  "It's  by  far  the  best  thing  I've' 
ever  done  in  my  life." 

.Being  an  absentee  father  much  of  the 
time  had  its  compensations  for  Lawrence 
Welk,  in  that  it  gave  him  much  of  the 
fun  and  all  the  pride,  yet  few  of  the 
irritations  that  usually  go  with  father- 
hood. He  enjoyed  his  children  when  he 
came  home,  giving  them  a  good  deal 
more  attention  than  the  average  full- 
time  father  can  usually  afford  to  spare. 
He  played  with  them,  took  them  places 
and  bought  them  all  the  ice  cream  and 
sodas  they  wanted.  They,  in  turn,  were 
invariably  on  their  best  behavior  when 
Dad  was  around.  If  he  indulged  them, 
Mrs.  Welk  wisely  figured  that  there  was 
plenty  of  time  later  on  to  dis-indulge 
them  again.  Being  away  much  of  the 
time  also  happily  relieved  him  of  the 
necessity    of    being    family    disciplinarian. 

Mrs.  Welk  recalls  just  one  time  when 
her  husband  felt  called  upon  to  punish 
Donna  and  Larry,  the  two  younger  ones. 
They  had  been  squabbling  and  fighting 
and  didn't  stop  when  they  were  told  to 
stop,  whereupon  father  Welk  took  a  ruler 
and  rapped  each  of  them  gently,  very 
gently,  across  the  fingers.  "They  were  so 
surprised,  they  started  to  cry  as  though 
their  little  hearts  were  breaking,"  she 
recalls.  "Lawrence  was  completely  over- 
whelmed by  this  reaction.  He  hugged  and 
kissed  them,  all  but  apologized,  and  gave 
them  fifty  cents  apiece  by  way  of  com- 
pensation. Later  they  came  to  me  say- 
ing, 'We  like  being  punished  by  Daddy.' " 

Another  time  Welk's  "disciplinarian" 
instincts  were  aroused  was  when  his  first- 
born, Shirley,  then  a  teenager,  went  out 
on  one  of  her  first  dates — with  a  boy  from 
Omaha  who'd  been  introduced  to  her  by 
letter  through  a  mutual  friend.  When  the 
Welks  reached  Omaha  during  one  of  their 
usual  summer  jaunts,  the  boy  quite 
naturally  called  Shirley  and  asked  her  for 
a  date.  Although  Mrs.  Welk  fully  ap- 
proved, her  husband  had  strong  misgiv- 
ings about  entrusting  Shirley,  the  apple 
of  his  eye,  to  a  young  man  whom  he  did 
not  even  know. 

After  watching  them  like  a  hawk  all 
through  the  dance,  he  returned  to  the 
hotel  as  soon  as  he'd  finished  playing  and 
was  considerably  upset  to  find  that  Shirley 
and  her  date  had  not  yet  returned.  He 
waited  for  about  five  minutes  and  then, 
grim-faced,  got  into  his  car  to  look  for 
them.  After  cruising  around  without  find- 
ing them  for  some  time,  he  finally  stopped 


at  an  all-night  diner.  And  that's  where 
they  were — eating  scrambled  eggs.  He  re- 
turned home  rather  sheepishly. 

It  was  on  trips  such  as  this  one  that  the 
Welks  really  functioned  as  a  family  unit. 
Each  summer,  when  school  was  over  and 
the  children  were  free  to  travel,  Mrs. 
Welk  packed  herself  and  the  children 
into  the  car,  following  her  husband  on 
his  engagements  wherever  he  went, 
whether  it  was  for  one  night  or  a  week. 
During  these  two  vacation  months,  they 
got  to  know  each  other  as  people  do  only 
when  they're  traveling  together,  living 
out  of  suit  cases  in  hotels  and  motor 
courts.  And  they  had  a  lot  of  fun.  "Sum- 
mers used  to  be  a  lot  more  exciting  be- 
fore we  moved  to  California,"  says  fif- 
teen-year-old Larry.  "We  used  to  live  all 
year  for  these  two  months  of  trouping 
around  the  country  with  Dad.  Nowadays, 
summers  are  nothing  special." 

Rarely,  if  ever,  have  the  Welk  offspring 
heard  an  unkind,  or  even  a  sharp  word 
from  one  of  their  parents.  Their  mother 
is  firm  without  ever  raising  her  voice, 
and  their  father  is  too  obviously  proud 
and  brimming  with  love — or  too  kindly, 
for  that  matter — to  hurt  anyone.  And, 
although  he's  in  an  income  bracket  where 
children  can  all  too  easily  turn  into 
spoiled  brats,  that  is  decidedly  not  true 
for  his  own  children. 

Larry,  the  youngest,  for  instance,  gets 
no  regular  allowance  but  earns  every 
penny  he  needs  for  spending  money.  He 
keeps  his  father's  Dodge  cars  shiny  (Welk 
owns  three  of  them — one  each  for  his 
wife  and  himself,  and  a  spare  for  emer- 
gencies), does  odd  chores  around  the 
house,  and  works  each  Saturday  as  a 
bandboy  for  his  father  at  the  ABC-TV 
television  studio.  Shirley,  the  oldest,  is 
married  to  a  young  doctor  still  in  resi- 
dency in  Washington,  D.  C,  and  is  man- 
aging very  well  indeed  living  on  a  neces- 
sarily tight  budget.  And  none  of  them  is 
in  any  way  aware  of  basking  in  the  re- 
flected   glory    of    their   father's    fame. 

Donna,  who  is  now  a  freshman  at  St. 
Mary's  College  in  Oakland,  California,  is 
the  only  one  to  have  once  fallen  victim 
to  her  father's  prominence.  When  she 
broke  a  date  with  one  boy  friend  and 
went  dancing  at  the  Aragon  with  an- 
other, her  father,  seeing  her  in  the  crowd 
during  his  telecast,  invited  her  up  to  the 
bandstand  and  introduced  her  to  the  tele- 
vision audience. 

"I  was  mortified,"  Donna  relates.  "Daddy 
is  such  a  tease,  I'm  sure  he  knew  about 
my  predicament."  To  which  her  father 
weakly  replies  that,  really,  he  didn't. 

Like  most  wives,  Mrs.  Welk  worries 
about  her  husband's  working  too  hard 
and  not  getting  enough  sleep,  rest  and 
relaxation,  and  dreams  of  a  long  vaca- 
tion in  Europe — which  her  husband  has 
promised  that  they'll  take  next  summer, 
by  way  of  celebrating  their  twenty-fifth 
wedding  anniversary.  Meanwhile,  how- 
ever, Lawrence  Welk  seems  to  thrive  on 
hard  work  and  success.  He  needs  only 
five  to  six  hours  of  sleep,  using  all  the  re- 
maining hours  of  the  day  for  his  crowded 
schedule  of  recordings,  rehearsals,  per- 
formances and  other  business  matters, 
with  little  time  for  golf,  which  he  plays  in 
the  seventies.  But  he  doesn't  drink  or 
smoke,  has  been  the  same  weight  for 
years,  and  sees  his  doctor  regularly  for 
check-ups.  "Thank  God,"  says  Mrs.  Welk, 
"he's  in  very  good  shape." 

To  which  her  husband  adds  a  silent 
"Amen."  For  he  knows  that  luck  can 
shower  no  greater  blessings  on  any  man 
than  it  has  on  him. 


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(Continued  from  page  51) 
the      existence      of      the      opposite      sex. 

Like  many  another  shy  lad,  Johnny  felt 
certain  he  had  found  the  sure-fire  solution 
to  his  problem  the  day  he  flipped  the  pages 
of  a  magazine  and  read:  Be  Popular  at 
Parties — Learn  Magic!  "It  was  that  prom- 
ise of  being  popular  that  got  me,"  Johnny 
says  with  a  boyish  grin.  "I  sent  my  dollar 
and  held  my  breath  until  the  postman  de- 
livered my  package.  Then  I  read  the  in- 
structions, learned  the  jokes  that  came 
with  the  kit  and  began  practising." 

He  expected  a  miracle,  of  course,  but  he 
admits  results  were  far  from  instantane- 
ous: "In  the  beginning,  at  least,  I  wasn't 
invited  to  many  parties."  That  failed  to 
daunt  so  determined  a  youth  as  Johnny. 
He  continued  to  work  at  the  tricks  and  to 
study  the  mail-order  catalogue,  which  of- 
fered everything  from  disappearing  hand- 
kerchiefs to  equipment  for  sawing  a 
woman  in  half.  Money  to  buy  such  wonders 
came  from  his  assorted  jobs.  His  father 
paid  him  seven  dollars  a  week  to  clean  the 
utility  company's  plant.  At  other  times, 
Johnny  worked  at  a  furniture  store  and  a 
grocery   and  was   a  car  hop. 

As  deft  of  hand  as  he  was  of  mind, 
Johnny  began  inventing  his  own  tricks 
and  constructing  the  equipment  needed  to 
do  them.  Eventually,  too,  he  mastered  the 
great  trick  of  getting  the  other  kids  to 
watch  and  be  mystified.  He  turned  pro- 
fessional the  night  a  young  men's  club 
asked  him  to  entertain  and  paid  him  the 
princely  sum  of  three  dollars. 

He  denies,  as  "a  press  agent's  dream," 
the  story  that  he  once  broke  up  a  milking 
contest  by  making  a  cow  talk  back.  "I 
didn't  do  much  about  ventriloquism  until 
I  was  on  Guam.  There  I  had  plenty  of 
slack  time  in  which  to  practice."  .  .  .  He 
is  too  modest  to  add,  "between  battles." 
Johnny,  in  1943,  became  one  of  those 
"prairie  sailors"  who  joined  the  Navy  be- 
fore he  had  ever  set  foot  in  anything 
bigger  than  a  rowboat.  He  attended  mid- 
shipmen's school  at  Columbia  University 
in  New  York  and,  upon  being  commis- 
sioned, was  assigned  to  the  17.  S.  S.  Penn- 
sylvania. It  was  to  entertain  his  shipmates 
that  he  ordered  from  the  States  his  first 
ventriloquist's  figure,  the  forerunner  of 
his  present  "Eddy." 


The  old  mail-order  ad's  promise  of  pop- 
ularity paid  a  dividend  in  1945,  when  the 
handsome  young  hero  came  home  from  the 
Navy  and  enrolled  at  the  University  of 
Nebraska  to  major  in  radio  and  speech. 
In  addition  to  his  magic  and  ventriloquism, 
he  had  developed  a  skill  for  keeping  any 
show  rolling.  It  brought  him  a  part-time 
announcing  job  at  one  of  the  radio  stations 
in  Lincoln  and  it  also  brought  him  the 
honor  of  being  the  first  male  ever  to  be  in- 
vited to  emcee  the  women  students'  annual 
revue,  "The  Coed  Follies." 

That  campus  production  became  the 
most  important  show  of  his  fife  for  it  was 
there  that  he  met  his  Jody — Joan  Wolcott 
of  North  Platte,  Nebraska.  With  the  appre- 
ciation of  a  husband  who  is  still  very 
much  in  love,  Johnny  recalls:  "She  was  in 
a  sorority  skit,  and  by  far  the  prettiest  girl 
in  the  show.  She  still  is.  She's  small  and 
dark-haired,  just  five-foot-one,  and  weighs 
exactly  a  hundred  pounds." 

Love  at  first  sight  had  led  to  their  en- 
gagement by  the  time  Johnny  received  his 
degree  and  went  to  work  for  Station  WOW 
in  Omaha.  "Even  though  we  were  430 
miles  apart,  that  was  a  romantic  summer." 
Johnny  recalls.  "Her  family  had  a  cottage 
at  the  lake  and,  when  I  finished  at  the  sta- 
tion at  1:00  A.M.,  I'd  start  driving.  The 
major  highways  in  Nebraska  are  straight 
and  wide.  With  little  traffic,  I  could  cover 
the  distance  by  4:00  A.M. — and,  at  dawn, 
reach  Jody  and  the  lake.  Both  of  them 
were  beautiful  in  the  sunrise." 

Johnny  and  Jody  were  married  October 
1,  1949.  The  happy  bridegroom  describes  it 
as  "a  big,  white-satin  sort  of  wedding, 
with  everyone  in  town  coming  to  the  re- 
ception at  her  folks'  house." 

As  they  settled  down  in  Omaha,  Jody 
soon  learned  she  had  to  share  her  hus- 
band's time  with  television.  A  fellow  grad- 
uate of  WOR-TV,  Dan  Petrie — who  now  is 
one  of  the  Theater  Guild's  directors  on 
The  United  States  Steel  Hour — remembers 
that  Johnny  was  always  on  the  run:  "He 
was  a  whiz,  even  then.  All  the  sponsors 
wanted  him  to  do  their  shows.  We  knew  it 
was  only  a  question  of  time  until  he  went 
to  a  network." 

That  opportunity  occurred  in  1951,  when 
Johnny  and  Jody  spent  their  vacation  in 
California    and    he    learned    that    an    an- 


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nouncer's  job  would  soon  be  open  at  Sta- 
tion KNXT.  Soon  after  he  got  it,  Johnny 
put  on  a  local  comedy  program  which  he 
both  wrote  and  performed.  Network  pro- 
ducers at  CBS  liked  his  easy  way  in  front 
of  the  camera  and  made  him  emcee  of  a 
summer  series,  Earn  Your  Vacation.  He 
sampled  New  York  television,  too,  by  fill- 
ing in  during  vacation  hitches  on  The 
Morning  Show  and  The  Robert  Q.  Lewis 
Show. 

Off  screen,  Johnny  is  quiet  and  soft- 
spoken.  His  interests  and  activities  focus 
around  Jody  and  the  boys.  Christopher — 
who,  of  course,  is  called  "Kit"  Carson  like 
his  grandfather — was  born  November  7, 
1950,  Richard  on  June  18,  1952,  and  Cory 
on  November  2,  1953. 

Their  biggest  problem  has  been  that  of 
outgrowing  their  houses,  but  now,  Johnny 
says,  "I  think  this  new  one  is  going  to  hold 
us  for  a  while.  It's  at  Encino,  in  the  San 
Fernando  Valley.  It's  built  ranch-style 
and  we  did  the  decorating  ourselves,  using 
'ranch  modern'  furniture.  It's  practical  for 
us  now,  while  the  boys  are  small.  There 
are  four  bedrooms,  a  den,  and  the  usual 
kitchen,  dining  room,  living  room.  But 
what  we  like  best  is  the  pool  and  the  big 
yard." 

The  boys,  officially,  are  co-owners.  That 
resulted  from  one  of  Johnny's  first  net- 
work programs,  in  which  he  did  a  take-off 
on  Edward  R.  Murrow  and  combined  film 
and  live  scenes  so  that  he  himself  could 
"visit"  the  Carson  family  a  la  Person  To 
Person.  An  actress  took  Jody's  part,  but 
the  boys  had  their  real-life  roles.  "That 
meant  they  had  to  be  paid  union  scale, 
take  out  Social  Security  cards,  and  also 
pay  taxes.  When  their  taxes  were  reported 
in  my  tax  return,  each  one — since  he  was 
a  minor  who  had  not  reached  the  mini- 
mum— received  a  refund  of  thirteen  dol- 
lars." 

Jody  and  Johnny  made  a  little  ceremony 
of  adding  those  checks  to  the  purchase 
fund  for  the  new  house.  "We  told  the  kids 
that  with  those  checks  they  paid  for  part 
of  the  house  and  that  each  one  actually 
owns  part  of  his  own  home." 

The  pool  and  yard  were  major  factors 
in  their  selection  of  the  house.  "Jody  and 
I,"  says  Johnny,  "wanted  the  boys  to  have 
the  same  chance  to  run  about  that  we  had 
when  we  were  kids.  We  do  most  of  our  liv- 
ing outdoors.  Our  best  friends  are  Jack  and 
Mary  Lou  Narz.  They  have  four  children 
— and,  when  their  gang  joins  up  with  ours, 
believe  me,  no  house  would  hold   them!" 

He  finds  the  boys  unfailingly  interesting. 
He  is  particularly  intrigued  by  their  atti- 
tude toward  Eddy,  the  ventriloquist's  as- 
sistant of  whom  Johnny  quite  carefully 
says,  "We  never  call  him  a  'dummy.'  At 
least,  not  in  front  of  the  boys." 

Kit  and  Ricky  are  beginning  to  wonder 
just  what  Eddy  is.  Johnny  says,  "They're 
now  realizing  he  is  different  from  them. 
They  also  know  he  lives  in  a  suitcase,  but 
they'll  go  to  it  and  talk  to  him  and  ask  him 
to  come  out  to  play.  Eddy  has  such  defi- 
nite character  around  our  house  that 
sometimes  even  Jody  and  I  think  of  him  as 
sort  of  a  fourth  son." 

The  boys  also  give  Johnny  a  ready 
source  of  comedy  ideas.  "We  did  one  pro- 
gram as  a  satire  of  the  child-care  advisor. 
Needless  to  say,  the  kids  practically  wrote 
that  one  for  me." 

Altogether,  the  Carsons  form  a  happy, 
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antidote  for  any  enlargement  of  the  ego 
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Together  Is  the  Key  Word 


(Continued  from  page  26) 
been  in  two  movies  before  the  present  big 
one   about  Benny   Goodman.    How   many 
people  remember  Steve  as  a  disc  jockey  in 
"I'll  Get  By"  or  "Down  Memory  Lane"? 

Now,  everybody  knows  Steve  Allen. 
Half  of  the  small  bric-a-brac  in  his  home 
has  been  sent  by  fans.  The  very  coat  he 
wears  (a  woolly  greatcoat)  bears  witness 
to  his  popularity.  It  was  a  gift  from  fans 
in  Minnesota.  Steve  Allen  is  an  enter- 
prise, a  national  habit,  an  actor,  author, 
singer — you  name   it! 

The  tall,  serious-faced  man  who  steps 
out  of  the  elevator  on  the  ninth  floor  of  a 
Park  Avenue  apartment  building  seems  to 
be  anything  but  a  show-business  luminary. 
There  is  none  of  the  swagger  of  the  usual 
performer.  Basically,  Steve's  the  kind  of 
man  who  is  the  quiet  fellow  at  the  party — 
the  one  who  can  play  the  piano  and 
wouldn't  mind  doing  it,  if  you  care  to 
listen — who  has  a  pretty  good  sense  of 
humor  and  would  like  to  make  you  laugh, 
if  you're  interested. 

Tall,  yes.  This  is  a  big  man — six-foot- 
three — but  he  moves  gracefully,  as  if  he 
were  used  to  being  a  big  man  and  is  quite 
comfortable  in  the  frame.  "Which,  of 
course,  I  am,"  he  might  say,  in  surprise, 
"so  why  mention  it?"  Steve  Allen  gets 
impatient  with  the  obvious.  The  living 
room  of  their  apartment,  planned  and 
decorated  by  Jayne  Meadows  Allen  her- 
self, is  a  beautiful  one  in  shades  of  dark 
gray,  light  beige  and  touches  of  chart- 
reuse. It  is  also  a  suitable  room  for  the 
man  of  the  house,  because  the  furniture 
is  grouped  far  enough  apart  for  long  legs 
to  stretch  out,  and  the  pieces  are  ample 
enough  for  a  tall  man  to  be  comfortable. 

A  serious-faced  man?  "Why,  I  am  com- 
pletely serious,"  he  could  tell  you.  "Serious 
about  TV,  serious  about  movies,  serious 
about  writing.  How  could  I  seriously  enjoy 
any  of  it,  if  I  wasn't?" 

If  there  were  a  clock  with  chimes,  it 
would  probably  be  tolling  two  in  the  morn- 
ing. The  light  in  the  Allen  apartment 
would  be  the  only  one  in  the  building.  It 
comes  from  the  study  where  Steve  Allen 
sits  at  a  typewriter  putting  down  some 
thoughts  on  comedy  and  comedians,  one 
of  the  few  thousand  ideas  that  interest 
him.  Jayne  has  brought  in  some  coffee 
and  sips  it — keeping  him  company. 

His  first  two  books,  "Bop  Fables"  and 
"Fourteen  for  Tonight,"  have  already  been 
successfully  written,  published  and  re- 
viewed. "I  never  really  relaxed  about  my 
books  until  I  read  the  reviews,"  he  has 
confessed,  "because  I  know  that  reviewers 
are  unlikely  to  care  if  a  writer  is  a  TV 
performer  or  not,  and  they  have  a  way  of 
being  honest."  It  can  honestly  be  said  that 
the  reviewers  honestly  liked  Steve's  books. 

If  two  o'clock  seems  late  to  be  working 
on  another  book,  after  a  full  evening's 
work  before  the  cameras,  Steve  Allen 
would  only  say:  "I  don't  work  very  hard 
in  front  of  the  cameras,  and  my  day  just 
starts  later  and  ends  later,  so  there's 
really  nothing  for  anyone  to  worry  about." 

Jayne  worries  about  this,  though.  She 
thinks  her  husband  works  hard  enough  for 
two  men,  and  insists  on  taking  care  of  him. 
"Steve  is  relaxed — maybe,"  she  says,  with 
a  smile  many  another  wife  would  under- 
stand. "But  he  requires  taking  care  of,  so 
that  he'll  stay  that  way."  Jayne,  who  is  a 
successful  actress  and  one  of  the  stars  of 
the  highly  rated  TV  panel  show,  I've  Got 
A  Secret,  realizes  that  no  performer  is 
invulnerable — not  even  Steve. 

Steve  doesn't  ask  much  of  his  audiences, 
but  there's  one  thing  he  appreciates:  Re- 
spect. It's  a  quality  which  Steve  himself 
has  in  abundance.    Whether  the  guest  on 


his  show  is  a  famous  poet  like  Carl  Sand- 
burg (who  once  stayed  a  whole  half-hour 
past  his  expected  time  on  the  program), 
or  a  man  who  sells  stocks  in  a  corporation 
to  "develop  the  moon,"  Steve  is  always 
careful  of  his  feelings.  He  believes  in 
sharing,  without  if's  or  but's. 

"One  of  the  things  that  make  our  mar- 
riage a  good  one,"  Jayne  observes,  "is  our 
ability  to  share  each  other's  lives.  We've 
both  been  married  before,  and  in  each 
there  was  certainly  a  lot  of  heartbreak  in 
divorce.  But  we  learned  from  the  ex- 
perience. And  Steve  has  three  children 
whom  he  loves  very  much.  The  wonder- 
ful part  of  it  is  that  I  do,  too." 

The  first  summer  Steve  and  Jayne  were 
married,  she  took  a  house  on  Long  Island 
so  that  the  three  boys,  who  spend  their 
summers  with  Steve,  would  have  plenty 
of  room  to  play.  Jayne  did  most  of  the 
cooking,  too.  Steve's  only  complaint  is 
that  she  spoils  the  boys. 

When  David  came  to  their  apartment 
for  a  visit,  shortly  after  Jayne  had  her 
bedroom  re-carpeted,  she  insisted  that  the 
youngest  Allen  learn  to  roller-skate  on 
this  smooth  surface,  rather  than  the  side- 
walks, because  she  didn't  want  him  to  fall 
on  the  hard  New  York  pavement.  "The 
white  carpet  was  a  mess,"  she  laughs.  "But 
David  wasn't,  and  that's  all  that  mattered!" 

It  is  likely  that,  in  the  near  future,  Steve 
and  Jayne  will  move  to  the  West  Coast 
permanently,  and  three  of  the  main  rea- 
sons will  be  those  Allen  boys. 

Jayne  realizes  that,  if  the  Aliens  settle 
in  California,  she  will  have  to  give  up  her 
I've  Got  A  Secret  assignment.  "I'll  miss 
the  show,"  she  admits.  "But,  somehow, 
since  Steve  and  I  have  been  married,  I 
feel  less  driven  toward  my  career.  That 
doesn't  mean  I  would  turn  down  a  good 
movie  part  or  a  TV  show — or  that  I 
won't  continue  to  work  with  Steve  on  our 
own  projects.  But  the  assignments  will 
have  to  be  near  home.  My  marriage  comes 
first." 

If  Jayne  is  Steve's  watchbird,  Steve  is 
Jayne's  "follow-througher."  She's  apt  to 
have  millions  of  ideas,  and  just  let  them 
float  by.  Every  once  in  a  while,  Steve 
grabs  one  of  them  and  makes  her  work 
on  it.  One  of  Jayne's  ideas  was  The 
Psychiatrist,  a  series  of  TV  programs 
based  on  psychoanalysis.  Steve  made  her 
work  on  that  one,  and  he  worked  with  her. 
The  result  is  that  there's  a  very  good 
chance  this  series  will  soon  be  seen  regu- 
larly on  TV.  Steve  premiered  the  first  two 
chapters  on  Tonight  and  they  were  received 
with  raves. 

Another  joint  venture  is  a  new  record 
called — aptly  enough — "What  Is  a  Hus- 
band?" and  "What  Is  a  Wife?"  The  Aliens 
will  probably  collaborate  on  other  records, 
now  that  this  one  is  such  a  success.  "As 
a  matter  of  fact,"  says  Jayne,  "I  feel  that 
nothing  can  stop  us — together.  Together 
is  the  key  word." 

One  thing  has  already  been  proved: 
Nothing  can  stop  Steve  Allen.  Steve  can 
do  just  about  anything  he  sets  out  to  do, 
and  do  it  well.  Each  new  job  he  takes  on 
only  adds  to  his  list  of  accomplishments. 

"But  I  want  to  get  one  thing  straight,"  he 
quips.  "In  that  picture,  Benny  Goodman 
does  the  clarinet  playing!" 

Well,  there's  no  question  about  the 
clarinet  and  Benny's  special  claim  to  it. 
But,  when  Hollywood  gets  around  to  doing 
"The  Steve  Allen  Story,"  how  are  they 
going  to  decide  which  one  of  Steve's 
special  claims  to  fame  they'll  concentrate 
on?  With  all  his  talents — plus  Jayne's, 
too! — it's  going  to  be  hard  to  find  a  simple 
story-line. 


True  Happiness  for  Helen  Trent 


(Continued  from  page   63) 
became  more  conducive  to  outdoor  work. 

She  was  still  thinking  about  the  things 
she  would  be  planting,  especially  in  the 
new  flower  garden  at  the  back  of  the 
house.  Already  she  could  see  it  taking 
shape  in  her  mind,  filling  every  window 
with  bright  beauty.  But  now  she  glanced 
through  the  wide,  wide  expanse  of  glass 
windows  in  the  living  room,  out  past  the 
redbricked  terrace  that  is  awninged  in 
summer,  out  to  the  frozen  pond  where  a 
few  months  from  now  they  will  be  diving 
and  swimming  and  having  beach  parties, 
and  back  to  the  three-sided  fireplace  that 
was  keeping  the  room  cozy  and  warm. 
Outside,  the  snow  clung  everywhere — to 
the  evergreens  fringing  the  pond,  to  all  the 
soft  browns  and  grays  and  tawny  yellows 
of  a  winter  landscape. 

"You  can  change  your  whole  way  of 
life,"  Julie  was  saying.  "You  can  become 
interested  in  all  sorts  of  new  things.  I 
know  that  now.  Before  I  was  married,  it 
was  dating  and  dancing  that  seemed  im- 
portant. And,  of  course,  being  an  actress — 
the  very  best  I  knew  how  to  be.  That  al- 
ways came  first. 

"After  I  was  married,  on  our  honeymoon, 
Charles  and  I  drove  past  this  property 
we  now  own.  He  showed  it  to  me  and 
wondered  if  some  time  we  could  own  a 
little  piece  of  it,  maybe  five  acres  to  start, 
and  build  on  it.  I  wasn't  sure.  I  had  never 
owned  property,  and  I  thought  of  myself 
as  a  city  girl  and  career  woman  who  had 
to  live  in  New  York  to  combine  her  work 
with  her  family  life.  Yet,  here  I  am  now, 
still  working  in  the  city,  commuting  daily 
except  for  weekends,  still  loving  my  work, 
but  living  in  the  country  and  loving  that, 
too.  Wanting  to  be  a  definite  part  of  the 
community,  wanting  to  serve  it  in  some 
way,  however  small,  to  make  more  friends 
among  the  people  who  live  here,  to  partici- 
pate in  more  activities.  It's  a  whole  new 
life.    A  happy  life." 

1  he  Underhills  (Charles  being  Charles 
Underhill,  an  executive  of  United  States 
Steel  who  handles  public  relations  with 
radio,  TV  and  the  movies)  might  never 
have  carried  through  their  plans  to  build 
on  the  property — except  for  the  weekend 
prefabricated  cabin  they  first  put  up — if  it 
had  not  been  for  Nancy.  They  decided  she 
must  not  grow  up  in  a  big  city  like  New 
York  and  miss  all  the  fascinating  things 
a  child  can  do  and  learn  in  the  country. 
Julie  worried  most  about  Nancy's  play 
time.  In  the  country,  the  little  girl  would 
be  able  to  roam  quite  freely  as  she  got 
older,  while  in  New  York  there  would 
have  to  be  constant  supervision,  constant 
watchfulness.    It  didn't  seem  fair. 

A  permanent  home  in  the  country  was 
the  answer — or  so  they  thought  until  they 
began  to  run  into  snags.  To  Charles,  a 
permanent  home  meant  a  big,  roomy  farm- 
house, with  modern  conveniences  but  with 
the  look  of  belonging  to  the  gentle  hills 
and  fields  and  the  outcroppings  of  lime- 
stone rock  that  would  surround  it.  Charles 
was  an  outdoor  fellow  who  had  been 
brought  up  in  small  communities,  although 
his  background  was  far  from  rural.  His 
father  was  a  well-known  educator,  who 
had  a  fine  camp  for  boys  in  Maine  during 
the  summers,  and  Charles  had  spent  his 
early  years  learning  practical  skills  and, 
later,  as  a  counselor,  teaching  them  to 
younger  boys. 

Later,  too,  Charles  had  worked  in  an 
architect's  office  for  a  while,  before  enter- 
ing Harvard,  and  he  thought  he  knew  ex- 
actly the  kind  of  house  Julie  would  like. 
So  they  set  out  to  make  their  own  plans. 

Only,   when  they   finally  took   it  to   an 


architect  and  began  to  talk  about  costs, 
it  began  to  fall  apart.  Everything  they 
had  decided  upon  was  "special"  and  had 
to  be  made  to  order.  Even  the  regular 
costs  were  prohibitive.  The  architect  sug- 
gested a  compact,  modern  house  with 
simple  exterior  and  interior,  and  few  frills. 
"We  were  really  sunk  at  first,  and  al- 
most abandoned  the  whole  idea,"  Julie 
recalled.  "Until  we  reminded  ourselves  of 
the  life  we  wanted  for  our  little  girl.  I 
knew,  too,  it  was  what  Charles  wanted — 
and  I  guess  I  wanted  it,  too,  although  I 
wasn't  so  sure,  even  yet.  All  I  can  say  is 
that  I'm  glad  the  big  house  never  material- 
ized. A  small  one  takes  much  less  care. 
From  Monday  to  Friday,  I  have  our  won- 
derful Pearl,  who  took  care  of  me  before 
I  was  married  and  who  takes  care  of  all 
three  of  us  so  beautifully  now.  I  have 
Hattie,  who  comes  in  weekends  to  give 
Pearl  a  rest.  But  there  is  still  plenty  to 
do  on  a  place  like  ours.  And,  if  necessary, 
I  could  take  care  of  this  house  myself. 
Someday,  we  plan  to  open  up  a  couple  of 
rooms  and  make  one  huge  one,  and  then 
add  a  wing,  but  it's  comfortable  and  ade- 
quate as  it  is  now." 

1  he  exterior  is  wood,  painted  a  soft 
gray-green  which  blends  into  the  greens 
of  the  landscape.  The  trim  is  white. 
Charles  and  Julie  cleared  the  land  them- 
selves, riding  the  bulldozer  through  woods 
of  pine  and  spruce  and  cedar,  cutting 
through  wild  grape  and  swamp  willow, 
draining  off  the  lowland  waters  to  reveal 
broad  meadows  which  can  be  made  pro- 
ductive and  beautiful.  They  built  their 
own  beach  on  the  far  side  of  their  acre- 
and-a-half,  spring-fed  pond,  put  in  a  div- 
ing board,  built  a  barbecue  near  by.  To- 
gether, they  made  the  flagstone  path  and 
the  steps  that  lead  down  from  the  hill  on 
which  the  house  stands  to  the  garage  area 
below.  They  even  had  to  put  in  a  road 
so  the  power  company  could  bring  in 
electricity.  Telephone  poles  nearest  the 
house  are  their  own  property,  provided  by 
them  so  lines  could  be  brought  in.  And  it 
was  a  city  girl,  who  wanted  no  more  out- 
side responsibilities  or  entanglements  than 
she  could  avoid,  who  helped  do  all  this! 

She  admits  there  were  a  few  weeks  in 
the  beginning  when  she  felt  completely 
uprooted.  Charles  had  to  be  away,  longer 
than  he  expected,  on  a  business  trip  to  the 
West  Coast.  Julie  had  an  accident  with 
the  car.  Pearl  had  to  be  away.  She  won- 
dered if,  after  all,  they  had  done  the  right 
thing  in  cutting  loose  from  all  their  city 
ties.  "But  I  found  out  I  could  adjust  my- 
self, that  everything  worked  out  when  I 
was  patient  enough  to  let  it.  And  I  never 
felt  uprooted  again,  after  that  first  adjust- 
ment." 

The  architect  had  encouraged  them  to 
leave  the  living-room  area  as  they  had 
planned  it  for  the  larger  house.  It's  an 
L-shaped  room,  partly  finished  in  light 
pickled  pine,  partly  wallpapered  in  a  soft 
green  design  with  ferns.  It  seemed  to  re- 
quire a  three-sided  fireplace,  so  Charles 
designed  one  of  white  brick,  with  a  black 
metal  hood,  which  is  quite  stunning  end 
equally  practical,  because  it  radiates  heat 
in  every  direction.  A  niche  on  one  side 
is  waiting  for  the  bookshelves  Charles 
plans  to  build,  with  room  for  hi-fi,  the  TV 
screen  and  radio. 

At  one  end  of  the  living  room  is  one  of 
their  prized  pieces  of  furniture,  an  antique 
cherry  wood  desk,  complete  with  fascinat- 
ing secret  compartments,  handed  down  in 
Charles's  family  from  the  year  1804.  Light- 
ing it  is  a  huge  round  white  Japanese 
lantern,  suspended  from  the  black -beamed 
white  ceiling.    Charles  designed  some  in- 


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direct  lighting  around  the  window  cornice, 
and  there  are  softly  glowing  lamps  scat- 
tered about.  A  cupboard,  built  into  a 
niche,  holds  Julie's  precious  Crown  Derby 
chocolate  set,  sprigged  with  rosebuds. 

The  little  terra  cotta  and  white  kitchen 
is  off  that  end  of  the  living  room,  as  are 
Pearl's  room  and  bath.  Nancy's  room  is 
at  the  other  end  of  the  house,  next  to  her 
parents'.  Her  walls,  half-way  up,  are  dark 
green  "blackboard"  paint  on  which  she  can 
scribble  and  draw  to  her  heart's  content, 
then  wipe  it  all  off  and  begin  again.  Above, 
the  wallpaper  is  patterned  with  nursery- 
rhyme  characters.  Charles  made  the  head 
and  foot  boards  of  Nancy's  bed  into  deep 
storage  boxes  for  toys,  so  she  is  learning 
neatness  as  a  matter  of  course.  It's  so 
convenient  to  reach  out  and  get  a  favorite 
toy  and  know  it  will  be  in  its  expected 
place!  Her  parents'  room  is  bright  in  yel- 
lows and  tans  and  browns  and  white. 

Nancy  is  a  lucky  little  girl,  for  many 
reasons.  She  is  the  reigning  princess  of 
the  more  than  eighteen  acres  that  the 
property  has  grown  to,  with  an  island  of 
her  very  own  in  the  big  ten-acre  lake  on 
which  part  of  their  land  borders.  They 
row  out  on  the  lake  and  are  planning  to 
build  her  a  tree  house  on  her  island.  She's 
going  to  have  another  little  house  of  her 
own,  in  the  combination  barn  and  bunk- 
house  her  parents  are  building.  One  side 
will  be  for  tools  and  storage,  but  the  other 
will  be  completely  separate,  equipped  with 
four  bunks  for  overnight  guests,  a  big 
fireplace,  and  plenty  of  room  for  such 
jamborees  as  Halloween  parties  and  after- 
noon tea  sessions. 

She  helped  do  the  building,  too — fell 
into  the  trenches  twice  in  one  day,  got 
spattered  liberally  with  cement  for  the 
foundation,  and  had  a  wonderful  time. 
"Charles  has  a  great  deal  more  patience 
than  I  have  with  things  like  this,"  Julie 
says.  "He  lets  Nancy  help  with  everything, 
even  when  it's  a  great  hindrance.  He 
understands  that  she  wants  to  be  a  part 
of  all  that  goes  on,  and  he  wants  her  to 
learn  many  skills.  Charles  teaches  her 
about  the  animals  we  sometimes  see  in 
our  woods  or  in  the  country  near  by,  the 
deer  and  raccoon  and  opossum,  the  ducks 
and  pheasants  and  the  blue  heron." 

V  or  all  her  talk  about  Charles  being 
the  patient  parent,  Julie  does  her  part. 
She  planted  daffodils  and,  of  course,  Nancy 
wanted  to  help.  So  Julie  dug  each  hole, 
and  Nancy  put  in  each  bulb.  Julie  covered 
the  bulb  with  earth  and  Nancy  stamped 
on  it.  Their  teamwork  went  fine  and,  as 
the  daffodils  make  their  appearance  this 
spring,  Nancy  will  feel  they  are  partly 
hers.   Didn't  she  help  plant  every  one? 

Until  this  year,  Julie  had  concentrated 
on  growing  vegetables,  but  most  of  them 
came  up  just  about  the  time  Charles  got 
his  vacation,  and  off  they  would  go  to 
some  place  like  Cape  Cod.  They  would 
come  back  in  time  to  find  the  raccoons 
had  eaten  all  the  corn  and  the  crows  had 
pecked  away  at  the  rest  of  their  crop. 
"We  decided  that  a  vegetable  garden,  at 
this  point  in  our  lives,  made  no  sense. 
There  is  a  fine  vegetable  stand  down  the 
road  where  prices  are  moderate.  Those 
people  live  with  their  gardens  and  have  all 
the  know-how.  Pearl  and  I  are  working 
on  flower  gardens  now,  with  Nancy's  help, 
and  eventually  I  want  a  greenhouse." 

The  Underhills  have  another  project 
a -growing.  Some  boys  down  the  road  have 
been  selling  trees  and  flowering  bushes  but 
haven't  had  enough  land,  or  capital,  to 
put  in  as  many  new  seedlings  as  their 
business  requires.  The  Underhills  have 
the  land  and  are  investing  in  pine  seed- 
lings, to  start.  Charles  drained  a  swamp 
and  plans  to  put  in  about  four  or  five 
thousand  of  the  seedlings,  so  already  they 


find  themselves  partners  in  a  potential 
nursery  business. 

Country  living  has  stimulated  Julie's  in- 
terest in  cooking.  She  had  been  so  sure 
she  wanted  to  be  an  actress,  from  early 
childhood,  that  she  never  became  very  in- 
terested in  domestic  chores  at  home,  ex- 
cept that  she  had  to  take  care  of  her  own 
room  and  set  the  table  and  such  things. 
But  cooking  she  by-passed,  feeling  that  it 
took  time  from  other  things.  "Now  I  have 
discovered  that  cooking  is  a  creative 
thing,"  she  says,  "I  try  out  new  recipes 
and  plan  new  menus,  and  Pearl  puts  up 
with  my  puttering  around  the  kitchen, 
although  she  can  do  better  in  half  the  time. 
I  didn't  realize  that  I  wasn't  a  really  well- 
rounded  woman  until  I  learned  to  cook, 
and  I  want  Nancy  to  learn  as  she 
grows  up." 

Strictly  under  the  head  of  fun  and  re- 
laxation is  a  new-found  interest  in  golf, 
because  Charles  plays  and  they  have 
joined  a  nearby  country  club.  Next  win- 
ter, strictly  for  fun  and  relaxation,  they 
plan  to  build  their  own  ski  run  on  a  lovely 
hill  near  the  house.  Nancy  loves  games — 
"spin"  games  and  card  games  like  Old 
Maid.  Her  parents  read  to  her,  and  some- 
times they  all  sit  around  the  fire  and  listen 
to  records,  or  Julie  and  Nancy  go  to  the 
little  spinet  piano  and  run  over  the  tunes 
they  love,  the  old  hymns  and  all  their 
favorite  songs,  both  new  and  old. 

It's  a  good  life,  Julie  knows.  She  was 
content  in  the  years  before  she  married 
Charles,  building  her  career— starring  in 
The  Romance  Of  Helen  Trent,  and  before 
that  on  the  stage,  in  motion  pictures,  in 
other  important  radio  roles,  and  on  televi- 
sion for  about  six  months  as  Lorelei,  in 
Big  Town.  Now  she  concentrates  on  play- 
ing Helen  Trent,  hopes  to  do  an  occasional 
TV  show,  doesn't  want  the  career  to  get 
in  the  way  of  her  home  life  and  all  the 
rich  new  interests  life  in  the  country  has 
added. 

"All  our  friends  thought  I  couldn't  pos- 
sibly move  so  far  away  and  change  my 
life  so  completely,"  she  says.  "They  were 
wrong.  I  love  being  Helen,  and  I  want  to 
continue  as  Helen  for  a  long  time.  While 
some  of  the  cast  of  our  show  has  changed 
over  the  long  period  of  years — almost 
twelve  that  I  have  been  on  the  program — 
the  nucleus  has  remained  the  same.  We 
know  all  about  each  other  by  this  time, 
and  we  still  are  fond  of  each  other.  We 
work  well  together.  We  have  fun.  But 
now  something  has  been  added. 

"Charles  and  I  are  property  owners  and 
taxpayers,  and  we  feel  a  responsibility 
towards  the  community.  I  thought  I  liked 
being  a  'free  agent'  and  that  I  had  dis- 
charged my  duties  when  I  voted,  but  now 
I  know  there's  more  to  it  than  that.  As 
Nancy  grows  out  of  nursery  school  and 
begins  her  real  school  life,  I  want  to  be 
close  to  all  the  things  that  interest  her,  to 
know  her  friends  and  her  friends'  mothers, 
to  help  with  some  project  in  which  the 
other  mothers  are  interested.  Right  now, 
I  think  it  might  be  helping  part-time  in 
the  library — perhaps  on  Saturdays  when 
I  don't  have  to  go  into  New  York — but  it 
can  be  anything  in  which  I  might  be 
useful." 

Not  long  ago,  Julie  came  across  an  old 
diary,  and  skimming  its  pages  she  saw 
entries  about  dancing  half  the  night  away 
at  the  Stork  Club  and  El  Morocco,  and 
party  and  theater  dates  week  after  week. 
Now,  such  engagements  are  rather  extra- 
special  in  her  life.  "If  we're  up  later  than 
midnight,  I  look  at  Charles  and  say,  'This 
is  terrible' — thinking  of  all  the  things  I 
have  to  do  the  next  day,  all  the  things  I 
can  hardly  wait  to  get  started.  Yes,  my  life 
has  changed,  and  I  like  it.  I  like  it  very 
much!" 


The  Turning  Point 


(Continued  from  page  56) 
help  to  me  whenever  I  have  tried  to  fol- 
low them,"  she  says.  "Whenever  I  have 
stopped  straining  to  force  a  change  in  out- 
ward conditions  and  tried  instead  to  im- 
prove and  change  myself.  It  was  a  wonder- 
ful thing  for  a  young  girl,  just  starting 
out,  to  be  reminded  that  each  person's 
world  begins  with  himself  and  that  his 
chances  for  successful  living  must  also 
begin  within  himself." 

Right  now,  the  world  of  Alice  Frost  in- 
cludes a  highly  successful  career  in  radio, 
television  and  on  the  stage,  a  pleasant 
apartment  in  New  York,  and  many  friends 
and  many  interests.  Currently  (and  for  the 
past  four  years),  she  is  Marcia,  in  the 
CBS  Radio  daytime  drama,  The  Second 
Mrs.  Burton.  It's  a  role  which  has  re- 
quired a  deep  and  sympathetic  under- 
standing of  a  high-strung,  spirited  and 
often  foolishly  impulsive  woman.  Current- 
ly (and  for  the  past  three  years),  she 
is  also  Aunt  Trina  on  the  Friday  evening 
television  program,  Mama.  As  Aunt  Trina 
she  ■  is  gentle,  sweet  and  soft-spoken,  a 
young  wife  and  mother  of  Norwegian 
descent — very  different  from  Marcia  in  all 
her  reactions  to  life. 

On  the  stage,  this  past  summer,  she 
played  the  demanding  role  of  the  mother 
in  "Bad  Seed"  that  tense  Broadway  drama 
about  a  child  who  commits  murder.  She 
took  over  the  role  for  a  month,  when  the 
star  of  the  show,  Nancy  Kelly,  was  on 
vacation  and  when  she  was  ill,  and  acted 
as  Miss  Kelly's  alternate  and  stand-by  un- 
til rehearsals  for  this  season's  hit  play,  "A 
Roomful  of  Roses,"  forced  her  to  bow  out. 
(Patty  McCormack,  the  little  girl  who  was 
her  stage  daughter  in  "Bad  Seed,"  is  the 
same  little  girl  who  plays  Ingeborg,  her 
daughter  on  the  Mama  show!) 

In  private  life,  Alice  has  been  Mrs.  Bill 
Tuttle  for  fourteen  years,  and  home  has 
been  their  apartment  in  a  fine  residential 
section  of  New  York  which  is  convenient- 
ly close  to  the  CBS  studios  and  to  tower- 
ing business  skyscrapers,  yet  surrounded 
by  a  tranauility  of  its  own,  on  a  street 
facing  the  East  River.  A  few  blocks  away 
are  the  imposing  structures  of  the  United 
Nations.  Across  the  street  is  a  tiny  park 
where  nursemaids  and  young  mothers 
bring  small  children  to  dig  in  the  sandbox 
or  play  frontiersmen. 

Inside  the  apartment  there  is  restfulness 
and  an  invitation  to  drop  the  everyday 
cares  and  relax.  And  Fanny  Anderson,  her 
long-time  housekeeper,  is  there  to  see  that 
it  stays  that  way.  A  tan  and  white  cocker 
spaniel,  named  Chris's  Boy  Laddie,  makes 
you  welcome.  A  wild  little  parakeet  named 
Kate  (for  the  rebellious  heroine  in  "The 
Taming  of  the  Shrew")  quiets  down  when 
Alice  talks  to  her. 

The  key  color  of  the  living  room  is 
greige — that  mixture  of  gray  and  beige 
which  takes  on  a  warmth  lacking  in  most 
grays.  The  carpeting  is  a  darker  gray. 
Hunter  green,  chartreuse  and  watermelon 
pink  appear  in  the  fabrics  covering  a  half- 
circular  sofa  and  deep  comfortable  chairs 
which  are  grouped  around  the  fireplace.  A 
circular  coffee  table,  in  antiqued  white 
and  gold,  holds  an  ironstone  tureen  filled 
with  red  roses  on  its  mirrored  top.  The 
mirror  over  the  fireplace  is  framed  in 
antiqued  white. 

Wall  sconces  hold  white  candles,  and 
little  golden  angels  lift  up  white  candles 
to  light  up  the  keyboard  of  the  piano  at 
one  end  of  the  room.  Bookshelves  fill  a 
niche  at  the  other  end.  Opposite  the  fire- 
place is  a  pastel  portrait  of  Alice,  blonde 
hair  softly  framing  a  gentle  face  in  which 
only  the  eyes  give  a  clue  to  the  strength 
that  lies  beneath  the  surface. 


The  small  dining  room  is  white,  with 
black  wrought-iron  furniture,  a  mirrored 
wall,  touches  of  color  in  drapes  and  ac- 
cessories. The  bedroom  is  in  tones  of 
gray,  with  a  pink  ceiling.  There  are  accents 
of  gray  chintz  with  roses,  ivory  lamps,  a 
violet  velvet  chair,  and  stool  for  the 
French  desk. 

The  library  is  a  stunning  room  in  itself, 
with  cocoa  walls  and  light  woods  and 
beige  rug,  but  in  addition  it  houses  an 
"Alice  in  Wonderland"  collection  which 
has  already  grown  to  somewhat  fabulous 
proportions  and  is  being  added  to  every 
year.  It  began  with  a  handsome  Luis  Van 
Rooten  map  of  Wonderland,  now  framed 
on  one  wall.  Copies  of  two  of  the  original 
Tenniel  illustrations  for  "Alice  in  Won- 
derland" were  made  by  Madeleine  Pierce, 
a  friend  and  a  talented  actress  who  now 
specializes  in  doing  most  of  the  baby 
cries  and  small  children  you  hear  on 
television  and  radio.  There  are  rare  bone 
china  figurines  of  the  little  heroine  her- 
self, of  the  Ugly  Duchess,  the  Mad  Hatter 
and  the  White  Rabbit,  and  wood  carvings 
of  other  characters.  There's  the  pig  that 
looked  like  a  baby,  the  rabbit  and  his 
watch,  his  little  gloves,  the  tiny  fan.  There's 
a  lovely  Alice  cup,  an  Alice  doll,  the  Tear 
Pool,  tiny  Alice  playing  cards  (this  scene 
lines  an  ash  tray),  a  ceramic  walrus  which 
a  young  fan  made  and  sent  to  Miss  Frost. 
Even  the  lamps  are  made  from  favorite 
pages,   shellacked  to  parchment  shades. 

Ihe  youngest  of  four  children,  Alice 
Frost  went  to  high  school  in  the  little 
town  of  Mora,  Minnesota,  where  her  father 
was  the  Lutheran  minister  for  five  years, 
after  retiring  from  a  large  parish  in  St. 
Paul.  Her  mother  played  the  organ  in  the 
church,  and  the  whole  family  was  musical. 
Alice  made  her  singing  debut  with  the 
little  song,  "Jesus  Wants  Me  for  a  Sun- 
beam," when  she  was  four  years  old,  and 
her  rendition  brought  down  the  congre- 
gation. Later  she  sang  duets  at  church 
with  her  mother. 

"My  mother  wanted  to  be  a  professional 
singer,"  Alice  says,  "and  from  her  I  prob- 
ably got  my  urge  to  perform  in  public, 
although  no  one  in  the  family  ever  had 
theatrical  ambitions.  However,  when  I 
won  a  state  declamatory  contest  and  a 
scholarship  to  the  McPhail  School  of  Mu- 
sic in  Minneapolis,  I  was  interested  in 
both  music  and  acting. 

"My  parents  believed  that  every  child 
should  work  a  year  before  going  to  col- 
lege, and  in  that  way  learn  what  was 
wanted  from  a  college  education  and  have 
a  better  idea  of  its  value.  I  got  a  job,  and 
used  my  scholarship  to  attend  evening 
classes.  As  far  as  the  drama  class  was  con- 
cerned, that  was  the  best  time — because 
teachers  came  to  these  classes  for  further 
credits  and  training  and  I  was  surrounded 
by  'pros'.  And  I  got  the  leads  in  the  plays, 
because  I  was  the  youngest." 

It  was  in  drama  class  that  she  came 
under  the  influence  of  Dr.  Garns.  "He 
encouraged  me  to  go  on  with  my  work 
and  become  a  professional.  And  then  the 
first   opportunity   came   along."  t 

A  Chautauqua  group  was  putting  on 
"Gentlemen  Prefer  Blondes,"  and  she  was 
offered  the  part  of  Lorelei.  Her  mother 
encouraged  her  to  take  it,  because  Alice 
was  feeling  unhappy  over  the  death  of  a 
young  boy  she  knew  who  had  been  killed 
in  a  garage  hold-up.  A  leave  of  absence 
and  a  change  of  environment  seemed  to  be 
the  solution.  Suddenly,  Alice  was  at  least 
a  semi-professional  actress,  on  tour  with 
a  theatrical  company,  living  the  life  of  a 
real  trouper,  and  loving  every  minute. 

When   they   were   in    Chicago,   she   was 


You  Can  Play 


ANY  INSTRUMENT 

.  •  .  even  it  you  don't  know 
a  single  note  of  music  now! 

TMAGINE!  Even  if  you  never  dreamed  you  could  play 
x  .  .  .  you  can  soon  surprise  your  friends  with  your 
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encouraged  by  a  new-found  friend,  Sum- 
ayeh  Attiyeh,  a  woman  lecturer  who  had 
long  experience  in  the  art  of  interesting 
people  and  holding  their  interest.  "Why 
don't  you  try  some  of  the  stock  com- 
panies operating  out  of  Chicago?"  she 
asked  Alice.  "I  know  someone  will  give 
you  a  job  when  they  hear  you  read."  So 
Alice  made  the  rounds,  but  put  off  the 
readings  until  she  could  go  back  to  Min- 
neapolis to  see  her  mother  and  resign  her 
job.  Her  father  had  passed  on  before  the 
Chautauqua  tour,  and  now  Alice  burned 
all  her  bridges  behind  her  and  concen- 
trated on  becoming  an  actress.  She  went 
back  to  Chicago,  read  for  a  role  and  got 
it. 

The  company  played  Miami,  Florida, 
that  season,  and,  when  one  of  the  back- 
ers suddenly  passed  on  and  they  were 
left  with  inadequate  funds,  they  all  de- 
cided to  stick  it  out  and  work  for  mini- 
mum pay.  "We  loved  the  climate,  and  we 
were  having  fun,"  Alice  recalls.  "It  was 
like  having  Christmas  in  July." 

When  the  season  was  over,  and  the  need 
for  a  job  became  a  pressing  problem,  a 
legacy  of  $1300  from  an  uncle  made  Alice 
feel  like  a  millionaire.  "I  went  home  and 
brought  my  mother  back  to  New  York 
with  me.  Then  I  started  to  pound  pave- 
ments, although  I  must  say  I  didn't  set 
New  York  on  fire  and  it  was  almost  a  year 
before  much  happened.  In  the  first  place, 
the  Depression  years  were  barely  over. 
Besides,  I  was  shy  and  reticent,  and  al- 
most painfully  honest  about  my  inexperi- 
ence. 

"One  producer  went  so  far  as  to  tell  me 
to  'come  back  ten  years  from  now,  and 
you  will  look  old  enough  for  your  height.' 
I  was  told  so  often  that  I  was  too  tall  that  I 
began  to  get  a  complex  about  it,  although 
I  am  only  five-feet-seven  in  my  stocking 
feet.  At  that  time,  this  was  considered  tall 
for  an  actress.  It  isn't  now.  My  height  and 
blondeness  seemed  like  handicaps  to  me. 
Once,  I  remember,  a  casting  director  told 
me,  'We're  not  casting  any  showgirls  to- 
day.' I  drew  myself  up  and  said — rather 
forcefully  for  me — 'But  I  am  an  actress!' 
It  didn't  seem  to  make  much  difference." 

Gradually  it  began  to  dawn  on  Alice 
that  her  approach  to  her  work  was  too 
negative.  She  was  trying  not  to  look  too 
tall,  not  to  seem  too  blonde,  not  to  act 
nervous,  not  to  have  that  desperate  feel- 
ing about  what  would  happen  if  she 
didn't  get  a  job  soon. 

She  began  to  "pray  over"  her  problems, 
as  had  been  her  training,  and  to  build  a 
more  positive  attitude.  She  remembered 
that  she  couldn't  change  the  world,  but 
that  she  could  change  herself.  The  panic 
she  felt  whenever  she  entered  a  casting 
office  began  to  ease  up.  The  awful  feeling 
that  she  might  never  get  another  acting 
opportunity  began  to  leave  her. 

Best  of  all,  things  began  to  happen.  She 
got  a  role  in  a  stage  play  shortly  there- 
after. The  play  was  "Green  Grow  the 
Lilacs,"  with  Franchot  Tone  and  Helen 
Westley,  and  the  part  was  given  to  Alice 
because  she  was  tall  and  blonde  and  fitted 
it  perfectly.  They  left  New  York  to  go  on 
tour — although  they  were  still  playing  to 
crowded  houses — because  there  were  prior 
commitments,  and  this  time  she  played  in 
most  of  the  big  cities.  Later  she  was  to 
appear  in  revivals  of  "That's  Gratitude," 
"It's  a  Wise  Child,"  "As  Husbands  Go," 
and  "The  Great  Lover."  She  played  Portia 
in  "Julius  Caesar"  with  Orson  Welles' 
Mercury  Theater  group  and  also  "Shoe- 
maker's Holiday,"  opposite  Joseph  Cotten. 

When  a  show  closed  and  Alice  was  at 
loose  ends  again,  an  actress  friend,  Alice 
Davenport,  who  was  on  the  radio,  asked 
her  to  come  along  to  the  studio.  The  friend 
had  not  been  well  and  suggested  that  she 


would  feel  better  if  she  knew  someone 
was  around  who  could  go  on  for  her  in  an 
emergency.  Alice  went,  and  one  night  her 
friend  did  feel  too  ill.  Alice  took  her  place 
that  night  and  again  later  when  Alice 
Davenport  went  on  the  road  with  a  show. 
"Fortunately,  they  liked  me,"  Alice  says. 
The  show  was  a  fifteen-minute  program 
dramatizing  news  items  of  the  day,  and  she 
played  everything  from  night-club  singers 
to  farm  women,  and  went  on  without  re- 
hearsals most  of  the  time. 

It  was  the  beginning  of  a  varied  and 
successful  radio  career.  Offers  to  appear 
on  other  shows  came  little  by  little — 
Crime  Club,  Suspense,  The  Clock.  And 
there  were  comedy  roles — which  she  hadn't 
done  since  her  stock  company  days — with 
Walter  O'Keefe;  with  Stoopnagle  and  Budd 
(she  sang  parodies  of  operatic  favorites 
and  comedy  songs,  a  far  cry  from  her 
early  musical  training);  with  Bob  Hope, 
Bob  Benchley,  Fanny  Brice,  Ken  Murray. 
She  did  impersonations  on  some  of  the 
programs.  And,  when  she  wanted  to  get 
back  to  dramatic  roles,  everybody  had 
typed  her  as  a  comedienne  and  mimic!  It 
wasn't  until  she  took  over  the  title  role  in 
the  daytime  serial,  Big  Sister,  that  people 
thought  of  Alice  again  as  a  serious  dra- 
matic  actress. 

Actually,  the  role  of  Pam  North,  in  Mr. 
And  Mrs.  North — a  part  she  played  for 
ten  years  on  radio— did  a  lot  to  prove  that 
Alice  could  do  both  drama  and  light- 
hearted  comedy  and  shift  from  one  to  the 
other  with  equal  ease.  It  was  a  role  she 
loved  and  she  was  sure  it  proved  her 
point,  but  there  were  still  diehard  pro- 
ducers who  remained  unconvinced.  "I  have 
heard  a  producer  say,  when  casting  a  role, 
'If  she  just  looks  the  part,  I  will  make  her 
act  it,'  but  this  seems  nonsense  to  me.  An 
actress — certainly  a  character  actress — can 
endow  herself  with  almost  any  quality 
and  become  any  type.  I  want  to  create  a 
character,  not  play  just  an  extension  of 
my  own  personality." 

The  chance  last  season  to  be  Nancy 
Kelly's  stand-by  came  when  Alice  was 
wishing  she  could  get  back  to  her  first 
love,  the  theater,  and  combine  it  with 
her  radio  and  TV  work.  It  might  have 
seemed  a  step  backward,  to  become  the 
understudy  for  a  star,  rather  than  the  star 
in  her  own  right,  but  Alice  decided  it  real- 
ly was  the  step  forward  she  had  been 
waiting  for,  the  opportunity  to  get  back 
into  the  theater.  She  never  dreamed  that 
she  would  have  the  chance  to  take  over 
the  role  for  a  full  month  while  Miss  Kelly 
took  a  vacation,  and  it  turned  out  to  be  a 
rewarding  and  wonderful  experience.  When 
she  gave  it  up,  it  was  because  it  had  led 
straight  to  a  role  in  "A  Roomful  of  Roses," 
a  new  play  by  Edith  Sommer  Soderberg 
on  Broadway  this  winter.  This  time,  a  com- 
edy part  again. 

As  for  Marcia  Archer,  in  The  Second 
Mrs.  Burton,  and  Aunt  Trina,  in  Mama, 
Alice  has  no  thought  of  deserting  them — 
nor  for  that  matter,  any  other  radio  or  TV 
opportunities  she  can  manage  to  squeeze 
in.  "Marcia  is  wonderful  to  play,"  she 
says.  "She  has  humor,  and  she  has  drama, 
the  two  qualities  that  are  a  challenge  for 
an  actress.  Aunt  Trina  is  just  as  interest- 
ing in  her  way,  a  gentle  girl  from  a  home 
background  which  I  understand,  because 
we  are  both  Scandinavians.  Aunt  Trina  is 
Norwegian,  and  I  am  Swedish,  and  even 
her  accent  is  easy  for  me.  I  love  being 
both  these  women." 

Most  of  all  she  loves  being  Alice  Frost 
Tuttle,  the  woman  who  learned  long  ago 
that,  even  if  you  can't  change  the  world — 
at  least  not  very  much  and  not  very 
quickly — you  can  change  yourself.  And 
then  your  own  world  will  change,  always 
for  the  better. 


Tony  Marvin  at  Home 


(Continued  from  page  40) 
of  what  you  may  hear,  however,  he  is  not 
a  six-footer.  He  is  exactly  five-feet,  elev- 
en-and-a-half-inches tall. 

"I  was  a  premature  baby,"  he  says.  "I 
figure  if  I  had  gone  the  full  nine  months 
I'd  be  a  six-footer." 

In  a  vague  way,  Tony  and  Dot  look 
enough  alike  to  be  taken  sometimes  for 
brother  and  sister.  Then  daughter  Lynda, 
fourteen,  tends  to  take  after  Tony.  But  the 
house  has  a  look  of  its  own.  It  is  a  simple, 
handsome,  colonial-style  building  of  paint- 
ed white  bricks  with  bland  yellow  trim- 
mings. The  house  is  in  Sands  Point,  Long 
Island,  which  is  a  forty-five  minute  drive 
from  Manhattan  but,  unlike  most  com- 
munities near  New  York,  has  a  feeling  of 
space  and  country. 

"It  took  a  long  time  to  find,"  Dot  says. 
"When  you  know  exactly  what  you  want 
and  exactly  how  much  you  have  to  spend, 
you  have  to  look  and  look  and  look — and 
then  be  a  little  lucky." 

Opposite  the  Marvins  live  the  Perry 
Como  family,  and  it  was  by  way  of  the 
Comos  that  Tony  heard  of  the  house.  He 
and  Perry  have  known  each  other  for 
years.  They  once  worked  together  on  a 
sustaining  network  show,  when  both  were 
"making  peanuts"  and  sweeping  up  the 
shells.  But,  just  a  few  years  back,  the 
Comos  and  Marvins  met  on  a  weekend  va- 
cation. Dot  met  Roselle  Como  and  they  be- 
came friends,  and  the  talk  turned  to 
homes.  Roselle  was  enthusiastic  about 
theirs  at  Sands  Point  and  invited  the  Mar- 
vins out. 

"It  was  beautiful,  and  I  thought  so  and 
said  so,"  Dot  tells,  "but  I  never  dreamed 
we  would  one  day  be  living  right  across 
the  road  from  them." 

It  is  certainly  a  tribute  to  the  Marvins 
that,  when  the  house  across  the  way  was 
vacated,  Perry  got  in  touch  with  Tony. 
What  greater  compliment  can  you  pay 
someone  than  to  suggest  that  you'd  like  to 
have  him  as  a  neighbor?  In  May  of  1954, 
the  Marvins  moved  in:  "We  knew  we 
wanted  the  house  instantly,  and  we  were 
as  charmed  with  the  outside  as  the  inside." 

There  are  many  trees — maples,  silver 
birch  and  a  wild,  wild  cherry  with  fruit 
much  too  sour  for  any  edible  purpose.  The 
front  terrace  is  kept  green,  and  the  walk 
into  the  house  is  edged  with  flowers  from 
early  spring  to  late  fall. 

To  the  side  of  the  house  there  is  a  rose 
garden,  but  it  is  in  back  that  the  family 
lives  during  the  summer.  Here  are  more 
trees,  particularly  a  rare  item  called  a 
gordonia  which  fills  with  huge  white  blos- 
soms. There  are  flower  beds  planted  with 
marigolds,    ageratum   and   sweet   alyssum. 

Tony  works  out  before  a  huge  outdoor 
barbecue  and  serves  in  a  glassed-in  porch 
which  is  furnished  with  wrought-iron 
chairs  and  a  glass-topped  dining  table. 
The  back  terrace  slopes  down  into  a  small, 
kidney-shaped  swimming  pool  with  a  div- 
ing board.  The  Marvins  are  all  expert 
swimmers.  On  that  South  American  cruise, 
Dot  and  Tony  took  all  prizes  in  swimming 
contests  aboard  the  ship.  As  a  matter  of 
fact,  Dot  was  a  swimming  instructor  at  a 
summer  camp  when  Tony  first  met  her. 
■  "The  pool  is  Tony's  job,"  Dot  tells  you. 
"He  doesn't  have  time  to  help  with  the 
gardening— that's  a  routine,  demanding 
job— but  he's  good  at  fixing  things.  And  I 
wouldn't  let  anyone  else  hang  a  picture 
for  me.  But,  as  I  said,  he  scrubs  down  and 
vacuums  the  pool  and  keeps  it  clean 
through  the  summer.  Believe  me,  he 
doesn't  look  much  like  a  fashion-plate 
when  he's  in  his  dirty  denims  and  that 
faded  terry-cloth  shirt." 


The  Marvins  are  "informalists."  Around 
the  house,  everyone  relaxes  and  everyone 
wears  the  pants — slacks,  Bermudas  or 
jeans.  But,  when  you  glance  into  the 
closets,  you  wonder  if  maybe  the  reason 
for  moving  into  a  large  house  wasn't 
merely  to  accommodate  Tony's  clothes. 

For  example,  in  the  hall  closet,  off  the 
foyer,  there  must  be  a  couple  dozen  of  his 
hats.  This  collection  includes  a  genuine 
tropical  pith  helmet,  two  plantation  straws, 
a  derby,  and  a  couple  of  hunting  caps. 
"But  he  seldom  wears  them,"  Dot  says, 
"except  for  the  golf  caps." 

ihe  closet  also  contains  a  twenty -five 
pound  dictionary,  two  women's  umbrella- 
hats  which  Tony  brought  his  gals  as  a  gag, 
a  number  of  topcoats  and  overcoats  and 
jackets,  and  an  opera  cape  which  he  wears 
once  every  two  or  three  years — plus  a 
music  stand,  a  couple  of  cameras,  a  flute 
and  a  saxophone.  The  flute  is  Lynda's. 
Tony,  who  used  to  blow  a  saxophone,  re- 
cently bought  himself  another,  after  an 
envious  evening  of  watching  neighbor 
Como  work  out  on  the  drums. 

But  now  to  Lynda  Ann,  who  prefers  to 
be  called  plain  Lynda.  She  is  fourteen  and 
attends  the  public  high  school  in  neigh- 
boring Port  Washington.  She's  bright,  in- 
dependent, and  winces  whenever  she  is 
introduced  as  "Tony  Marvin's  daughter." 
She  has  confided  to  her  mother  that  she 
wants  to  make  good  on  her  own.  Besides 
the  flute,  she  plays  the  piano  well — takes 
after  Dot  on  this  point.  Practicing  is  done 
in  the  living  room,  and  you  couldn't  find  a 
more  cheerful,  pleasant  place  for  it. 

It  is  a  sunken  living  room,  about  eight- 
een by  thirty.  As  you  step  into  it,  you  look 
the  length  of  the  room  into  a  fireplace 
which  is  flanked  by  beautifully  carved  old 
English  shell  cabinets.  The  furniture  is 
traditional,  French  and  English.  The  walls 
and  carpeting  are  grayed-blue.  The  drapes 
hanging  in  a  twelve-foot  bay  window  are 
a  cheerful  chartreuse,  and  it  is  by  this 
window  that  the  grand  piano  stands. 

Dot  wanted  two  long,  matching  consoles 
for  one  wall  but  couldn't  find  them  any- 
where. So  she  hit  on  the  idea  of  buying  an 
old,  beat-up  antique  table,  having  it  re- 
finished  and  sliced  down  the  middle  to 
make  a  pair  of  consoles. 

The  credenza,  made  of  burled  walnut, 
took  two  months  to  recondition,  but  it's  a 
beauty.  The  coffee  table  is  another  item 
first  developed  in  the  brain.  Dot  began 
with  two  panels  of  carved  teakwood.  She 
had  a  table  with  a  glass  top  built  around 
them.  A  teakwood  screen  was  cut  into 
eight  different  pieces,  each  with  a  carving 
of  its  own,  and  then  each  of  the  pieces  was 
framed  individually  and  all  were  hung  to 
make  one  rectangular  pattern  in  a  corner 
wall. 

"We  planned  to  use  the  room  for  enter- 
taining, but  we've  been  here  going  on  two 
years  now  and  still  haven't  had  time  to 
entertain,"  Dot  tells  you.  "The  phonograph 
is  here,  and  sometimes  we'll  stretch  out  in 
front  of  the  fireplace  and  listen  to  opera. 
You  know,  Tony  sang  with  an  opera  com- 
pany and  in  musical  comedies  before  be 
got  into  radio.  He's  a  basso  profundo. 
Sometimes  when  friends  drop  in,  he  sings 
for  us  and  I'll  accompany  him  on  the 
piano." 

The  dining  room  has  an  oval  hooked 
rug,  but  much  of  the  pegged -oak  floor  has 
been  left  bare  purposely  to  show  its  hand- 
some grain.  The  chairs  and  table  and  two 
big  hutches  are  Early  American  design  of 
heavy  cherry  wood.  There  are  a  couple  of 
Currier  &  Ives  fruit  prints  hanging  over  a 
service  table.  Not  quite  Early  American  is 
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symbolic  of  things  to  come.  Eventually, 
the  dining  room  will  be  in  'traditional,' 
like   the    other   rooms,   Dot  says. 

There  is  a  small  breakfast  nook  off  the 
dining  room,  then  a  large  kitchen.  Dot  has 
help  with  cleaning  and  gardening,  but  does 
all  her  own  cooking. 

"Tony's  easygoing  about  meals,"  she 
says.  "He  doesn't  have  to  be  served  at  spe- 
cific times  and  never  makes  a  fuss  about 
what  we're  going  to  have  or  not  have.  He 
enjoys  a  chicken  sandwich  as  much  as  a 
roast  turkey.  During  weekday  evenings, 
he  gets  home  at  irregular  hours,  so  I  can't 
often  plan  the  kind  of  menus  that  have  to 
be  served  on  time." 

The  family  always  has  a  big,  leisurely 
breakfast  together,  which  gives  them  all  a 
chance  to  catch  up  with  each  other  if  Tony 
was  working  late  the  night  before. 

Dot  gets  up  about  fifteen  minutes  after 
seven.  Tony  gets  up  a  half-hour  earlier 
and  at  the  same  time  wakes  Lynda.  Lynda 
has  a  signal  she  uses  occasionally:  If  she 
sticks  her  hand  out  of  the  blanket  with  all 
five  fingers  extended,  that  means  she  is 
requesting  five  more  minutes  of  shut-eye. 
And  he  gives  it  to  her,  although,  generally 
speaking,  he  is  a  serious  kind  of  father 
who  doesn't  believe  in  giving  in  to  every 
whim.  He  is  definite  in  teaching  Lynda  to 
be  polite  and  respectful  of  others,  and 
they  have  always  been  very  close. 

For  quite  a  few  years,  until  it  became  a 
little  too  tomboyish,  she  and  Tony  spent 
considerable  time  building  things  together 
and  wiring  up  trains.  Lynda,  like  Tony,  is 
good  at  hand  skills.  She  always  designs 
and  makes  her  own  greeting  cards  for  the 
family.  And,  like  Tony,  she's  not  bad  with 
words  and  makes  up  her  own  verses. 

"They  have  the  same  quality  of  stick-to- 
it-to-the-end,"  says  Dot.  "If  you  find 
Lynda  doing  a  jigsaw  puzzle,  you  can  bet 
it  will  be  one  with  a  thousand  pieces." 

They  all  like  to  do  crossword  puzzles. 
But  only  Tony  works  them  with  a  pen — 
he  never  has  to  erase.  He  is  instructing 
Lynda  in  golf,  and  they  play  some  pool 
together  in  the  cellar  game  room.  This  is  a 
large,  pine-panelled  room,  and  is  gen- 
erally reserved  for  Lynda  and  her  friends 
and    her    Girl    Scout    gatherings. 

"You  know,  both  Tony  and  I  are  New 
Yorkers  by  birth,"  says  Dot.  "Maybe  that's 
why  we  love  being  in  the  country  now. 
Tony  says  it's  the  extreme  opposite  of  the 
city  and  his  work,  and  out  here  he  feels  as 
if  he's  really  getting  away." 

Tony  is  a  golf  enthusiast  but  he  limits 
his  playing  to  Saturday.  However,  he 
starts  off  the  weekend  Friday  evening  by 
getting  home  early  for  dinner  and,  from 
the  moment  he  returns  from  the  club  on 
Saturday  until  he  leaves  for  the  show 
Monday  morning,  he  gives  all  of  his  time 
to  the  family. 

Tony  belongs  to  the  club  in  Sands  Point 
and  he  used  to  golf  frequently  with  Perry 
Como.  Now  that  Como  has  his  Saturday 
night  show,  Perry  gets  in  his  eighteen 
holes  on  Sunday. 

"But  we  still  see  Perry  on  Saturday," 
Tony  says.  "Never  miss  his  show,  even  if 
it  means  eating  dinner  in  front  of  the  tele- 
vision set." 

When  Tony  begins  to  watch  television, 
he  can't  get  enough.  On  Saturday  night, 
he  hangs  on  right  through  The  Late,  Late 
Show,  a  movie  that  runs  out  around  one- 
thirty  A.M.  Tony  may  take  a  catnap  now 
and  then,  but  he  stays  with  it  until  the 
screen  goes  black.  "But  I  never  catnap 
during  commercials,"  he  says,  loyal  to  his 
colleagues.  "The  commercials  are  the  best 
part  of  any  show." 

When  he  finally  goes  upstairs  to  sleep, 
he  enters  one  of  the  loveliest  bedrooms 
east  of  Milwaukee.  Dot  has  furnished  it 
with  the  same  discrimination  and  taste  she 


followed  on  the  lower  floors.  The  wall-to- 
wall  carpeting  is  an  off-white,  on  the 
cream  side.  The  walls  are  pink  and  some 
of  the  furniture,  the  huge  Provencal  bed 
and  dressing  table,  have  been  finished  in 
silver  gray  with  gold  touches. '  There  is  an 
old  French  writing  desk  and  two  fine 
French  chairs  made  of  papier-mache  with 
mother-of-pearl  inlay.  There  are  two 
small,  green  platform-rockers  and  plenty 
of  lamps,  for  both  Dot  and  Tony  are  read- 
ers-in-bed.  There  are  two  immense  fruit- 
wood  chests  against  the  wall. 

There  are  several  other  rooms  on  the 
second  floor.  Lynda's  is  white  and  rasp- 
berry red  with  cherry  wood  furniture,  has 
white  shutters  with  cafe  curtains  on  brass 
rods,  and  twin  beds  so  that  she  can  have 
friends  in  for  the  night.  There  is  one  guest 
room  with  early  American  furniture  and 
gold  carpeting.  There  is  a  second  guest 
room  that  is  deceptive,  for  it  is  made  up 
to  look  like  an  upstairs  living  room — 
which  it  is  until  friends  arrive. 

But  the  smallest  room  in  the  house  is 
the  most  popular.  It  is  on  the  first  floor, 
at  the  rear.  It  isn't  much  bigger  than  a  six- 
cylinder  car,  but  it  is  a  warm  room  with 
knotted-pine  panelling.  This  is  the  library, 
but  a  modern  library — for,  in  addition  to 
books,  it  has  a  television  set  built  in  one 
wall — by  courtesy  of  the  previous  tenants. 
Tony  has  a  special  lounge  chair  that  fits 
the  body's  contours,  and  there's  a  large 
sofa  and  another  chair  for  Dot  and  Lynda. 

Tony  says,  "We're  separated  so  much 
that  just  being  in  the  same  room  together 
is  a  treat." 

While  their  home  is  grand,  the  Marvins 
have  the  simplest  kind  of  pleasures.  Usu- 
ally, Tony  is  working  on  their  anniversary 
date.  But,  if  they  do  celebrate,  they  go  to 
the  theater.  Sundays  in  the  summer,  they 
swim.  Sundays  in  the  winter,  they  go  for 
walks  in  the  snow.  Tony  may  take  them 
out  for  a  Chinese  dinner  on  Sunday  eve- 
ning, if  it  doesn't  mean  getting  "dolled 
up."  He  is  thoughtful  and  remembers  an- 
niversaries and  birthdays.  He  remembers 
Dot  with  perfume  and  jewelry  and  candy 
— but  he  demands  that  she  share  the 
candy. 

It's  a  problem  finding  a  gift  for  Tony 
himself.  In  the  library  there  is  a  rack  of 
his  pipes,  some  of  them  from  Lynda  and 
Dot.  There  is  a  gag  "trophy  cup"  they 
bought  him  in  a  candy  store,  with  a  duffer 
swinging  a  broken  golf  club.  But  there  are 
any  number  of  things  in  the  house  that 
have  come  from  friends,  too. 

"People  who  get  to  know  Tony,"  says 
Dot,  "are  spellbound  by  his  warmth.  IVe 
seen  it  happen  so  many  times.  We  have 
planted  tulip  bulbs  that  came  from  a 
Dutch  businessman  who  became  friendly 
with  Tony  in  New  York.  And  the  carved 
elephant  on  the  library  mantel — well, 
Tony  got  to  talking  to  an  airlines  pilot  on 
a  trip,  and  that  was  all,  but  the  pilot  just 
followed  up  an  impulse  of  friendliness 
and  sent  Tony  a  gift.  People  like  to  do 
things  for  him.  There  is  a  handsome  ciga- 
rette lighter  in  the  living  room  made  of 
Meissen  china.  That  came  from  a  man  in 
Manhattan  who  was  wiring  some  lamps 
for  me.  Tony  offered  to  go  over  to  his 
shop  on  an  errand  one  day  to  save  me  a 
trip  into  Manhattan.  Well,  when  I  called 
for  the  lamps,  the  owner  showed  me  this 
lighter  he  had  made  personally — and  it 
was  a  gift  to  Tony." 

Dot  is  very  proud  of  him,  and  Tony  is 
no  less  proud  of  Dot  and  what  she  has 
accomplished  in  their  home  but  she  doesn't 
see  it  that  way. 

"There's  nothing  about  the  house  that  is 
particularly  me — or  Tony — or  Lynda,"  as 
she  sums  it  up.  "There's  too  much  of  a 
oneness  about  us,  to  make  any  such  dis- 
tinctions." 


A  Song  of  Faith 


(Continued  jrom  page  28) 
parish  since  her  marriage  in  1940.  .  .  .  The 
church,  she  explained  earnestly,  was  hav- 
ing a  Mission  all  that  next  week — and,  not 
only  was  she  to  be  in  her  usual  place  in 
the  choir,  but  she  h&d  solo  assignments. 

This  was  a  dilemma  no  one  had  foreseen, 
especially  with  such  important  prize  money 
at  stake.  Perhaps,  then — George  de  Witt 
suggested — someone  else  in  the  family 
could  come  to  New  York  and  take  her 
place  on  Name  That  Tune  for  the  one 
night?  Maybe  her  fourteen-year-old 
daughter,  Margaret?  If  not  Margaret,  then 
Gus,  her  husband,  about  whom  she  had 
spoken  so  glowingly? 

Quietly,  thirty -six -year- old  Estella 
Juenemann  explained  that  her  daughter 
Margie  couldn't  possibly  replace  her,  be- 
cause she  had  her  own  duties  as  church 
organist,  and  the  five  other  children  were 
too  young.  Gus  couldn't  replace  her  on  the 
program,  because  he,  too,  had  his  own  du- 
ties, as  choir  director.  Even  when  it  was 
later  suggested  that  an  opera  singer  might 
be  asked  to  go  to  Selden  to  take  Mrs. 
Juenemann's  place,  she  had  to  tell  them 
that  the  service  would  be  in  Latin  and  had 
been  carefully  rehearsed  «tfor  many  days. 
.  .  .  No,  she  could  not  possibly  let  anything, 
not  even  a  large  sum  of  money,  influence 
her  decision — much  as  money  meant  to  the 
Juenemanns  at  that  moment.  None  of  the 
folks  in  their  farm  community  had  a  crop 
that  season,  because  of  a  disastrous  hail 
storm  which  had  struck  suddenly.  (The 
Juenemanns  themselves  had  lost  their  en- 
tire wheat  crop,  the  result  of  two  years' 
work.)  The  parish  had  almost  decided  to 
cancel  the  Mission,  after  planning  it  far 
in  advance,  but  faith  had  won  out.  Now 
nothing  must  be  allowed  to  mar  this  day. 

Watching  the  show  that  night  on  a  TV 
screen,  comedian  Phil  Silvers  was  so  im- 
pressed by  Mrs.  Juenemann's  steadfastness 
that  he  offered  to  act  as  her  stand-in  the 
next  week,  teaming  up  in  her  place  with 
her  quiz  "partner"  Louis  Brugnolotti,  a 
New  York  taxicab  driver.  Between  them, 
Silvers  and  Brugnolotti  got  the  prize  mon- 
ey up  $10,000,  by  correctly  guessing  the 
titles  of  a  series  of  tunes.  The  Mission 
completed,  Mrs.  Juenemann  herself  re- 
turned, and  teamed  successfully  with  Mr. 
Brugnolotti,  for  three  succeeding  weeks,  to 
guess  the  additional  tunes  and  run  the 
prize  money  up  to  $25,000 — the  top  figure, 
and  the  very  first  time  it  had  been  reached 
by  any  contestants  on  the  show. 

Probably  Louis  Brugnolotti  is  still  won- 
dering if  it  really  happened  to  him.  Cer- 
tainly, Estella  Juenemann  . . .  back  on  their 
570  acres  of  Kansas  farmland,  back  to  be- 
ing a  farm  wife  whose  only  outside  inter- 
est is  her  church  work  .  .  .  must  often 
think  of  it  as  one  of  those  vivid  dreams 
which  stay  with  the  dreamer  long  after 
waking  up,  and  which  never  quite  fade 
from  memory  .  .  .  except  that  there  are 
the  concrete  results  all  around  her:  The 
farm  mortgage,  which  might  have  run  an- 
other twenty  years,  now  paid  off.  The  fine 
new  sheep  barn,  and  some  new  equipment. 
The  things  the  children  needed,  and  some 
small  presents  for  them.  The  new  steam 
iron,  to  take  the  place  of  the  one  Gus 
ruined  when  he  tried  to  finish  up  the  iron- 
ing she  had  to  leave  when  she  was  sum- 
moned to  New  York  the  first  time  to  ap- 
pear on  Name  That  Tune.  (Gus  had  been 
real  worried  about  spoiling  her  iron  in  his 
zeal  to  be  helpful!) 

And  there's  the  brand-new  TV  set  which 
has  changed  and  enriched  and  broadened 
their  lives  .  .  .  the  one  big  luxury  the 
Juenemanns  allowed  themselves  after  all 
their  debts  were  paid.  And  the  excitement 


that  still  surrounds  the  whole  wonderful 
New  York  adventure  . . .  the  first  time,  when 
Estella  Juenemann  went  alone  . . .  and  the 
second  time,  when  Gus  went  with  her. 

It  all  started  quite  casually,  as  big,  mo- 
mentous happenings  often  do.  The  Juene- 
manns live  in  what  is  termed  a  "fringe  area" 
for  TV,  where  reception  hasn't  been  good 
but  is  now  much  better,  since  two  new 
stations  have  been  established  within  six- 
ty miles  of  their  farm.  They  had  no  tele- 
vision set  then,  but  Estella  had  heard 
Name  That  Tune  on  radio,  before  it  trans- 
ferred to  TV,  and  had  enjoyed  it.  One 
washday,  she  sat  down  to  rest  for  a  few 
moments  and  picked  up  a  magazine  that 
mentioned  the  program  and  told  about 
prize  money  for  sending  in  a  "Golden 
Medley"  of  tunes  to  be  guessed  by  a  con- 
testant on  the  show  in  New  York. 

JVly  goodness,"  she  said  out  loud  to 
herself,  "wouldn't  it  be  nice  to  win  some 
money  and  pay  off  some  of  our  farm 
debts!"  She  had  no  idea,  at  the  time,  that 
winning  would  involve  her  going  to  New 
York  and  leaving  Gus  and  the  kids.  In 
fact,  it  was  only  half  in  earnest  that  she 
made  up  a  list  of  tunes — seven  in  all,  as 
requested — and  wrote  them  on  a  postcard 
addressed  to  the  program.  Then,  as  the 
days  went  on,  she  forgot  all  about  it. 

Until  .  .  .  well,  until  two  months  later, 
when  she  was  out  in  the  yard  helping  Gus 
put  a  new  grain  pan  in  the  combine.  Mar- 
gie came  running  out  to  tell  her  she  was 
wanted  on  the  phone.  Mrs.  Juenemann's 
hands  were  covered  with  grease,  but  she 
wiped  them  hurriedly  and  went  into  the 
house.  It  was  a  Mrs.  Kelly  from  neigh- 
boring Selden.  Mrs.  Kelly  wanted  to  know 
if  Mrs.  Juenemann  had  been  watching  tele- 
vision. If  so,  she  must  have  seen  a  post- 
card held  up  on  Name  That  Tune  and 
heard  her  name  mentioned  as  the  person 
who  sent  in  the  "Golden  Medley  Mara- 
thon" that  had  been  chosen  that  evening 
.  .  .  and  she  must  know  that  a  cab  driver 
in  New  York  had  guessed  the  names  of  all 
Mrs.  Juenemann's  tunes  and  won  $1,000 — 
$500  for  himself  and  $500  for  her  as  his 
"partner"  .  .  .  and  that  she  was  to  be  in- 
vited to  New  York  to  compete  with  her 
partner  for  more  prize  money! 

Listening  to  Mrs.  Kelly,  Estella  Juene- 
mann couldn't  quite  believe  it  had  all  hap- 
pened. "It  sure  would  be  great  if  I  won 
something,  but  I  think  it  must  be  a  mis- 
take," she  told  Mrs.  Kelly,  explaining  that 
she  had  not  seen  the  program.  When  she 
went  back  to  the  combine  to  tell  Gus  about 
the  call,  they  both  decided  that,  if  Mrs. 
Kelly  had  got  the  name  right,  they  would 
hear  from  New  York.  But  they  didn't 
really  believe  it.  They  felt  there  must  be 
some  mistake. 

Next  morning,  October  19,  was  Gus's 
birthday.  When  he  came  in  from  the 
corral,  the  family  was  waiting  at  the  break- 
fast table  to  sing  "Happy  Birthday,"  but 
Gus  himself  had  forgotten  the  anniversary 
in  the  excitement  of  a  quite  unexpected 
present:  New  twin  calves  and  a  single 
one — the  first  time  that  twin  calves  had 
been  born  in  the  sixteen  years  they  had 
been  farming.  The  excitement  was  So 
great  that  Estella  had  all  she  could  do  to 
get  the  older  children — Margie,  12-year- 
old  Jimmy,  11-year-old  Jackie,  Roy  Au- 
gust Jr.,  age  8  and  nicknamed  "Shorty" — 
off  to  school  on  the  bus  .  .  .  and  the  young- 
er ones — four-year-old  Mary,  nicknamed 
"Putsy,"  and  three-year-old  Gerard,  called 
"Jerry" — calmed  down  enough  to  play  by 
themselves  for  a  while. 

The  excitement  was  only  beginning, 
however.  An  hour  later  the  telephone  rang 
and  the  operator  said  New  York  was  call- 


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ing.  Someone  at  the  other  end  of  the  wire 
asked  if  she  was  Mrs.  August  Juenemann, 
told  her  she  had  won  $500  with  her  "Gol- 
den Medley,"  then  asked  if  she  could  leave 
for  New  York  the  next  day  at  5:30,  and 
appear  on  the  program  the  following  Tues- 
day. "Wait  a  minute  until  I  talk  to  my 
husband,"  she  said,  and  left  the  phone 
dangling  while  she  went  out  to  find  Gus 
and  ask  him  what  to  do. 

"Of  course  you  will  go,"  said  Gus.  "I'll 
take  care  of  everything  here."  So  she 
ran  back  and  said  she  would,  feeling  as  if 
the  whole  world  had  suddenly  become  un- 
real and  nothing  that  was  happening 
could  possibly  be  true. 

But  being  the  practical  mother  of  six 
finally  brought  her  back  to  reality,  and  to 
the  work  which  had  to  be  done  before  she 
could  leave.  She  pulled  off  all  the  bed- 
ding to  get  everything  washed  up,  and  she 
rounded  up  all  the  soiled  clothes.  She 
checked  over  all  the  supplies  and  set  out 
a  batch  of  bread  to  bake.  While  she  was 
getting  started  on  the  wash,  an  old  boss 
of  Gus's — Floyd  Schwann,  from  Minnesota 
— drove  into  the  yard  with  his  wife,  on 
their  way  out  to  California.  ("It  was 
just  so  lucky  they  came  before  I  had  to 
leave.  They  got  to  hear  all  about  every- 
thing and  were  as  excited  as  we  were. 
And  I  got  to  see  them,  and  not  be  disap- 
pointed.") 

Estella  had  no  time  to  think  about 
clothes,  until  later.  What  did  she  have 
that  would  be  appropriate  for  New  York, 
and  television?  "I  was  lucky  again.  There 
was  my  new  black  dress,  just  arrived 
from  a  Chicago  mail-order  house  the  day 
before,  and  fitting  me  perfectly.  It  be- 
came my  lucky  dress,  too.  I  wore  it  on 
every  program  and  wouldn't  have  changed 
it  for  anything.  I  had  a  red  crepe  that 
would  do  for  dress-up,  and  an  extra  nylon 
dress  that  I  could  rinse  dry  overnight. 
And  a  good  warm  winter  coat. 

The  children  could  hardly  contain  them- 
selves for  joy.  The  little  ones  knew  that 
the  trip  meant  presents,  maybe  extra-nice 
ones,  under  the  circumstances.  Putsy 
wanted  "a  big,  pretty  doll."  The  boys 
asked  for  "toy  dirt-loaders  and  scoops  and 
things  like  that"  for  the  small  scale  farms 
and  roads  they  were  always  building,  just 
like  their  dad's  farm.  Margie  had  been 
longing  for  a  wrist  watch  "on  a  black  nylon 
band  like  yours,  Mom."  All  the  presents 
were  bought  in  New  York,  including  the 
TV  set — "because  New  York  gave  us  the 
money  and  we  felt  that  at  least  a  little  of 
it  should  be  spent  there." 


It  was  Mrs.  Juenemann's  first  plane  trip, 
the  biggest  journey  of  her  life.  Up  to  that 
time,  her  travels  had  covered  such  cities 
as  Kansas  City,  Denver  and  Colorado 
Springs,  Rochester,  Minnesota,  and  near-by 
areas — all  places  not  more  than  500  or  600 
miles  away.  The  producer  of  Name  That 
Tune,  Harry  Salter,  and  his  wife  Roberta 
made  it  easy,  however  .  .  .  someone  met 
Mrs.  Juenemann  at  every  stopover,  took 
care  of  all  baggage  and  reservations,  and 
brought  her  safely  and  happily  to  her  hotel 
in  New  York.  She  took  to  it  at  once, 
loving  the  excitement — but  later,  when  she 
began  to  think  of  what  she  calls  "all  the 
hustle  and  the  bustle  and  everything,"  she 
decided  she  wanted  Gus  along  on  the  sec- 
ond trip.     Once  was  enough  .  .  .  alone. 

"We  had  always  heard  that  New  York 
was  cold  and  unfriendly,"  she  said,  to- 
wards the  end  of  her  stay.  "We  know  bet- 
ter now.  Everyone  who  recognized  us 
talked  to  us,  on  subways,  in  the  street,  in 
restaurants.  Even  those  who  didn't  recog- 
nize us  were  friendly  and  kind,  especially 
when  they  saw  we  were  from  out  of  town. 
Gus  appeared  with  me  on  the  shows  after 
he  came,  but  not  as  a  contestant,  of  course. 
He  just  hopped  up  and  down  for  joy  when- 
ever Louis  and  I  won. 

"At  first,  Gus  didn't  know  he  was  on 
camera  and  that  people  would  see  him  and 
remember  him.  We  were  walking  down 
Broadway  one  night  and  got  confused 
about  directions,  so  Gus  started  to  talk  to 
a  police  officer  who  had  his  back  partly 
turned  to  us.  'Officer,'  he  began,  'Could 
you  direct  us  to  .  .  .'  The  policeman 
turned  around,  looked  squarely  at  him 
and  said,  'Why,  Gus,  what  do  you  want 
to  know?  What  can  I  do  for  you?'  Gus 
was  sure  pleased!" 

They  even  drove  through  Central  Park 
in  a  horse-drawn  carriage,  one  of  those 
from  the  famous  stand  at  the  Fifty-Ninth 
and  Fifth  Avenue  entrance  to  the  park. 
("You'd  think  farmers  wouldn't  have  to  go 
to  New  York  to  ride  behind  a  horse,  but 
ours  is  a  completely  mechanized  farm 
and  the  only  horses  in  our  immediate  area 
are  saddle  horses.")  They  did  all  the 
things  that  every  visitor  does — went  to  the 
top  of  the  Empire  State  Building,  saw  the 
picture  and  stage  show  at  the  fabulous 
Radio  City  Music  Hall,  visited  the  Bronx 
Zoo,  the  Cloisters  and  the  Metropolitan 
Museum  of  Art,  paid  their  respects  to 
some  of  the  famous  shrines,  worshipped 
at  St.  Patrick's  Cathedral  and  were  guests 
of  the  Paulist  Fathers  and  received  the 
blessing  of  Cardinal  Spellman. 


96 


— He  was  a  Slave 
of  PASSION! 

There  are  some  things  people  won't  talk  about.   But  radio's 
"My  True  Story"  frankly  attacks  the   emotional   problems 
of  life.   It  brings  you  stories  taken   right  from  the  files  of  True 
Story   Magazine.    That's    why    you    get   such    a 

revealing— sometimes   almost  shocking— look   into  ,   i 

the  lives  of  other  people.  So  be  sure  to 
listen   to   this   thrilling    radio   program.    It   has 
helped    millions   to    understand    their    most   soul- 
stirring    problems. 

Tune  in  Every  Morning  to 

MY  TRUE  STORY 

American  Broadcasting  Stations 

She  traded  her  happy  home  for  fool's  gold.  Don't  miss  "MONEY 
MAD"  in  March  TRUE  STORY  MAGAZINE  at  newsstands  now. 


Gus  had  decided  that,  for  the  first  time 
in  his  life,  he  would  live  like  a  king  (or 
a  New  Yorker)  and  have  breakfast  served 
in  bed,  just  once.  When  he  saw  the  hotel 
room-service  menu,  however,  it  was  too 
much  for  his  Kansas  conscience — and  his 
farmer's  knowledge  of  prices.  "Two 
poached  eggs,  served  up  in  our  room, 
would  cost  seventy  cents  according  to  the 
menu.  Now  you  know  I  couldn't  take  that 
lying  down,"  he  joked. 

The  kids,  back  home,  were  being  well 
taken  care  of.  Gus's  nephew  and  niece, 
Lawrence  and  Mary  Ann  Juenemann — 
whose  farm  is  near  by  and  is  smaller,  re- 
quiring less  care — had  moved  in  with  the 
children  and  were  overseeing  the  six-room 
house  and  doing  the  farm  chores.  They 
all  went  to  Selden  to  watch  the  shows  on 
TV  and — like  a  miracle — reception  was 
excellent  each  time,  so  the  kids  got  to  see 
both  their  parents  on  the  screen.  They 
were  excited  over  the  telephone  calls  from 
their  parents  in  New  York,  and  almost  as 
excited  over  the  stacks  of  mail  that  began 
to  come  to  the  house  from  well-wishers  .  .  . 
so  much  that  the  mail  carrier  gave  up  try- 
ing to  stuff  the  big  rural  delivery  box  and 
had  to  drive  right  up  into  the  yard  and 
toss  the  bundles  into  big  cartons  the  kids 
put  out  just  for  that  purpose.  (It  went 
on  for  weeks  and  weeks.) 

Estella's  first  thought,  when  she  real- 
ized that  she  and  Louis  Brugnolotti  had 
won  and  would  share  the  top  $25,000  prize, 
was  'what  it  meant  in  terms  of  paying 
back  her  husband,  Gus,  for  all  he  had  done 
for  her.  "I  had  been  sick  many  times 
during  our  marriage,"  she  says,  "and  Gus 
took  over  the  housework  and  the  kids  and 
all  the  farm  work,  without  ever  complain- 
ing. We  have  never  had  any  help,  except 
for  an  extra  man  or  two  at  haying  time. 
Gus  did  all  the  building  and  carpentry 
work,  and  we  did  our  own  painting.  And, 
if  I  hadn't  had  to  be  in  the  hospital  so 
much,  we  might  have  paid  off  the  mort- 
gage long  before.  Then,  this  year,  I  had 
really  got  back  on  my  feet  and  we  thought 
we  could  pay  it  .  .  .  but  the  hail  came  and, 
in  fifteen  minutes,  ruined  the  crop.  So  we 
were  right  down  to  nothing  again.  We 
weren't  complaining,  because  everybody 
in  our  community  had  lost  their  crops,  but 
it  was  hard  on  Gus  after  all  those  years  of 
working  so  hard. 

"We  had  bought  a  couple  of  old  farm 
buildings  and  torn  them  down,"  she  adds, 
"and  had  all  that  lumber  to  build  a  new 
sheep  barn,  which  we  needed  badly.  But 
it  would  take  another  thousand  dollars  for 
the  new  roof,  the  outer  finish,  and  the 
other  materials  needed.  Now  we  are 
building  the  barn  and,  naturally,  calling  it 
the  Name  That  Tune  Sheep  Barn."  A  re- 
minder always  of  their  trip.  As  if  they 
needed  one! 

And  remember  those  twin  calves  that 
were  born  on  the  morning  of  Gus's  birth- 
day— on  the  very  day  of  the  call  from  New 
York  that  started  it  all?  Well,  one  was 
named  Phil,  for  a  certain  Mr.  Silvers  who 
helped  make  success  possible  .  .  .  and  one 
was  named  George,  for  their  new  friend, 
musical  quizmaster  George  de  Witt  .  .  . 
though  it  was  later  discovered  that  one 
twin  is  a  girl  calf,  and  neither  Phil  nor 
George  has  yet  found  out  whether  his — 
or  her — name  is  now  Phyllis  or  Georgi- 
anna! 

Either  way,  the  Juenemanns  think  of  them 
as  part  of  the  whole  wonderful  dream  that 
came  true  because  a  television  program  in 
New  York  knew  there  were  people  all 
over  this  great  country  who  love  and 
know  music  and  would  like  to  try  to  Name 
That  Tune.  And  they  are  mighty  sure 
that — by  putting  faith  and  duty  first  and 
money  second — Mrs.  Juenemann  was  bound 
to  win  .  .  .  whichever  way  it  had  all  turned 
out. 


fgtg^m 


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E 


C 


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JOHN 
NEW 


H 
Y  O 


BRECK 
R  K 


INC  •  MANUFACTURING         CHEMISTS 

CHICAGO  •  SAN  FRANCISCO  .  LOS 

Copyright  1955  by  John  H.  Breck  Inc. 


SPRINGFIELD 
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MIRROR 


In  This  Issue 

Mother  talks  back  to 
GEORGE  GOBEL 

EDDIE  FISHERS 
Day  in  the  Sun 


IDIO  MIRROR'S 


.,  N.  J.,  Conn.  Edition 


i 


PAT   BOONE 

He's  Living  It  Up 


HAL   HOLBROOK 

Brighter  Day 


JANIS   PAIGE 

It's  Always  Jan! 


■>  '-■  "-■ 


25e 


AT  LAST! 


A  LIQUID  SHAMPOO 
has  EXTRA  RICH  ! 


Vv-' 


I 


ITS  LIQUID 
\ 


and  you'll  see  the  glorious  difference! 

Never  thin  and  watery  like  some  liquid 
shampoos  .  .  .  never  thick  with  a  "film- 
ing" ingredient  that  can  dull  hair  like 
others.  Extra-Rich  Liquid  Prell  has  just 
the  right  consistency  — won't  run  and 
never  leaves  a  dulling  film! 


HEATED   BY 
ROCTER    &   GAMBLE 


FOR 


Exciting  surprise  for  you  — magical  new  Liquid  Prell! 
It's  extra  rich  — that's  why  Liquid  Prell  leaves  your  hair 
looking  'Radiantly  Alive'!  And  how  you'll  love  its  unique 
extra-ricli  formula.  Bursts  instantly  into  richer,  more 
effective  lather— rinses  in  a  twinkle— leaving  your  hair 
easier  to  set.  Shouldn't  you  try  Extra-Rich  Liquid  Prell 
today?  There's  radiant  beauty  in  every  drop! 


And  you'll  love  PRELL  CONCENTRATE  — 
leaves  hair  extra  clean  .  .  .  extra   radiant! 

Not  a  cream  — not  a  liquid  — but  a  clear  shampoo 
concentrate  that  won't  run  off  wet  hair  like 
ordinary  shampoos.  Instead,  all  the  special 
ingredients  work  tlirougJiont  your  entire 
shampoo.  That's  why  Prell  Concentrate  leaves 
your  hair  extra  clean,  extra  radiant! 


The  doctor's  deodorant  discovery 
that  now  safely  stops  odor  24  hours  a  day 


Underarm  comparison  tests  made 
by  doctors  proved  a  deodorant  without 
M-3  stopped  odor  only  a  few  hours  — 
while  New  Mum  with  M-3  stopped 
odor  a  full 24  hours! 


You're  serene.  You're  sure  of  yourself.  You're  bandbox  perfect  from  the  skin  out. 

And  you  stay  that  way  night  and  day  with  New  Mum  Cream. 

Because  New  Mum  now  contains  M-3  (hexachlorophene)  which  clings  to 

your  skin  —  keeps  on  stopping  perspiration  odor  24  hours  a  day. 

So  safe  you  can  use  it  daily  — won't  irritate  normal  skin  or  damage  fabrics. 


KIND  TO  YOUR  SKIN  AND  CLOTH  E3 


^^^^^mmmim 


^HnHHBOMm 


mb^h 


^m^^M^^MH 


Hi 


?TVe  taken 
a  load 
off  my 
mind ! " 


"I'm  a  Tampax  user  now — and  is  it  ever 
wonderful!  I  didn't  even  begin  to  realize 
how  much  I  must  have  worried  and  fret- 
ted over  'the  other  way.'  Tampax  makes 
you  feel  like  heaving  one  big,  heart-felt 
sigh  of  relief — suddenly  you  seem  as  free 
as  you  do  on  any  day!  I've  certainly  taken 
a  load  off  my  mind  by  adopting  it." 

Internal  sanitary  protection  has  that 
effect  on  many  people.  By  freeing  you 
from  the  bulk  and  inconvenience  of  an 
external  pad,  it  frees  your  mind,  too.  In 
fact,  many  Tampax  users  insist  they  tend 
to  forget  completely  about  time-of-the- 
month.  All  sorts  of  nagging  reminders 
vanish — no  odor  problems,  no  disposal 
problems,  no  carrying  problems!  No  won- 
der the  restrained  little  Tampax  package 
is  tucked  away  unobtrusively  in  millions 
of  bureau  drawers,  dressing  tables  and 
medicine  chests. 

Why  delay  any  longer  in  getting  this 
more  modern,  much  more  comfortable 
form  of  sanitary  protection?  Pick  up  a 
package  of  Tampax  at  your  nearest  drug 
or  notion  counter  and  try  it!  (3  absorb- 
encies:  Regular,  Super,  Junior.)  You're 
bound  to  like  it!  Tampax  Incorporated, 
Palmer,  Mass. 


Invented  by  a  doctor— 
now  used  by  millions  of  women 


TV, 


RADIO 
MIRROR 


APRIL,   1956 


N.  Y.,  N.  J.,  CONN.  EDITION 


VOL.  45,  NO.  5 


Ann  Higginbotham,  Editor 


Ann  Mosher,  Executive  Editor 
Teresa  Buxton,  Managing  Editor 
Claire  Safran,  Associate  Editor 
Sonia  Gould,  Assistant  Editor 


Jack  Zasorin,  Art  Director 
Frances  Maly,  Associate  Art  Director 
Joan  Clarke,  Art  Assistant 
Bud  Goode,  West  Coast  Editor 


PEOPLE  ON  THE  AIR 

What's  New  from  Coast  to  Coast by  Jill  Warren  6 

For  Blessings  Received  (Loretta  Young) by  Betty  Mills  29 

Big  Man- About-Home  (Hugh  Downs) by  Warren  Cromwell  32 

The  Blue  Horizon  (Melba  Rae) by  Gregory  Merwin  34 

"You  Get  What  You  Give"  (George  Gobel) by  Elsa  Molina  36 

To  the  Ladies!  (Steven  Gethers) by  Frances  Kish  38 

A  Day  at  Disneyland  (Spring  Byington  and  Bobby  Diamond  on  a 

wonderland  visit)  40 

Aunt  Jenny's  Family  Album 54 

Magic  in  Numbers  (Peter  Lind  Hayes  and  Mary  Healy) 

by  Gladys  Hall  56 

My  Sister — Dinah  Shore by  Bessie  Shore  Seligman  58 

Close  as  a  Heartbeat  (Peter  Hobbs) by  Martin  Cohen  60 

"Richard  III"  (film  premiere  on  TV) 64 

Three  Young  Musketeers  (Glenn  Walken  and  brothers  Ken  and 

Ronnie)  by  Marian  Helman  66 

FEATURES  IN  FULL  COLOR 

New  Baby  To  Share  (Hal  Holbrook) by  Helen  Bolstad  44 

Mr.  Boone  Goes  to  Town  (Pat  Boone) by  Marie  Haller  46 

It's  Always  Jan  (Janis  Paige) by  Bud  Goode  50 

Honeymoon  Time   (Eddie  Fisher  and  Debbie  Reynolds) 

by  Philip  Chapman  52 

YOUR  LOCAL  STATION 

On  The  Go!    (WABD) 8 

Midwestern  Hay  ride   (NBC-WLW-TV) 10 

He  Scores  With  Everybody  (WPIX) 16 

Spinning  Around   ( WAAT) 20 

YOUR  SPECIAL  SERVICES 

Steve  Allen's  Turntable 4 

Information  Booth  12 

Daytime  Diary  , 18 

Inside  Radio  (program  listings) 22 

TV   Program   Highlights 24 

New  Designs  for  Living  (needlework,  transfer  and  do-it-yourself 

patterns)    74 

Cover  portrait  of  Loretta  Young  by  Bruce  Bailey 


BUY    YOUR   MAY   ISSUE   EARLY     •     ON   SALE   APRIL   5 


r»iO 


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Member   of   the   TRUE   STORY   Women's   Group 


She  had  adored  him  from  their 
first  meeting  and  he  seemed  no  less 
attracted  to  her.  But,  recently,  his 
desire  turned  to  indifference,  and 
tonight  there  was  a  suggestion  of  a 
sneer  on  his  lips  as  he  wormed  out 
of  two  dates  they  had  planned  later 
in  the  week.  She  was  losing  him  .  .  . 
and  she  knew  it.  But,  for  what  reason 
she  hadn't  the  remotest  idea. 

What  she  didn't  realize  was  that 
you  may  have  good  looks,  nice 
clothes,  a  wonderful  personality,  but 


they'll  get  you  nowhere  if  you're 
guilty  of  halitosis  (unpleasant  breath) . 

No  tooth  paste  kills  germs 
like  this . . .  instantly 

Listerine  Antiseptic  does  for  you 
what  no  tooth  paste  does.  Listerine 
instantly  kills  germs,  by  millions  — 
stops  bad  breath  instantly,  and 
usually  for  hours  on  end. 

Far  and  away  the  most  common 
cause  of  bad  breath  is  germs.  You 
see,  germs  cause  fermentation  of 
proteins,  which  are  always  present  in 
the  mouth.  And  research  shows  that 
your  breath  stays  sweeter  longer,  the  more 
you  reduce  germs  in  the  mouth. 

Tooth  paste  with  the  aid  of  a  tooth 
brush  is  an  effective  method  of  oral 


hygiene.  But  no  tooth  paste  gives 
you  the  proven  Listerine  Antiseptic 
method— banishing  bad  breath  with 
super-efficient  germ-killing  action. 

Listerine  Antiseptic  clinically  proved 
four  times  better  than  tooth  paste 

Is  it  any  wonder  Listerine  Antiseptic 
in  recent  clinical  tests  averaged  at 
least  four  times  more  effective  in 
stopping  bad  breath  odors  than  the 
chlorophyll  products  or  tooth  pastes 
it  was  tested  against?  With  proof  like 
this,  it's  easy  to  see  why  Listerine 
belongs  in  your  home.  Every  morning 
. . .  every  night .  .  .  be- 
fore every  date,  make  it 
a  habit  to  use  Listerine, 
the  most  widely  used 
antiseptic  in  the  world. 


LISTERINE  ANTISEPTIC  STOPS  BAD  BREATH 

4  times  better  than  any  tooth  paste 


Salutations  and  hello  again  from  the 
music  department.  We've  got  every- 
thing this  month  from  rock  'n'  roll  to 
rhythm  and  romance,  so  let's  forget  about 
the  March  winds  for  a  few  minutes  and 
give  a  listen  to  the  new  records  at  hand. 

Let's  start  off  with  Barry  Gordon,  the 
little  "Nuttin'  for  Christmas"  boy,  who  is 
front  and  center  with  a  new  novelty 
called  "Rock  Around  Mother  Goose," 
which  he  sings  in  junior-style  rock  'n'  roll. 
The  backing  is  also  a  novelty,  "Seven," 
and  seven-year-old  Barry  tells  how  you  get 
to  be  that  way.  Young  Master  Gordon 
gets  top-notch  support  from  Art  Mooney's 
orchestra  and  the  Ray  Charles  Singers. 
(M-G-M) 

Vicki  Benet  is  a  brand  new  name  on 
the  Decca  label  with  an  album  called 
"Woman  of  Paris."  Vicki  is  a  French  girl 
who  looks  like  a  combination  of  Jayne 
Mansfield  and  Marilyn  Monroe — and  she 
sings,  too!  For  her  first  American  records, 
Vicki  does  such  well-known  romantic 
songs  as  "Mon  Homme,"  "La  Seine,"  "Par- 
lez  Moi  d'Amour,"  "Autumn  Leaves,"  and 
others,  in  French  and  in  English,  ac- 
companied by  Charles  Dant  and  his 
orchestra. 

Epic  also  has  a  new  lady  on  their  list 
and  they're  releasing  her  first  album  as 
"Introducing  Rita  Moss."  Rita  is  a  versa- 
tile musical  artist  from  Akron,  Ohio,  who 
sings,  plays  piano,  drums  and  organ  and 
also  composes.  In  her  album,  she  does  a 
little  of  each  on  such  tunes  as  "Jungle 
Drums,"  "I  Only  Have  Eyes  for  You," 
"Take  the  A  Train,"  and  a  cute  thing  she 
wrote  called  "Bopligatto." 

Julius  La  Rosa  has  cut  his  first  record 


Maestro  Benny  Goodman  lends  Steve  his 

r    licorice   stick — and   Steve  finds   Benny's 

big  new  album  something  to  toot  about. 


on  his  new  deal  with  Victor,  and  it  looks 
like  a  fast  hit  for  the  popular  crooner.  The 
big  side  is  "Lipstick  and  Candy  and 
Rubber  Sole  Shoes,"  which  should  be  a 
teen-age  delight.  Julius  belts  it  out 
strongly  in  rock  'n'  roll  rhythm.  The  re- 
verse is  a  pretty,  new  ballad,  "Winter  in 
New  England,"  done  in  the  usual  La  Rosa 
romantic    style.    Joe    Reisman's    orchestra. 

"A  Tribute  to  Eddy  Duchin"  is  a  new 
album  issued  by  Columbia  in  memory  of 
the  late  popular  pianist.  There  are  fifteen 
tunes  in  all,  including  many  standards 
such  as  "The  Man  I  Love,"  "You're  My 
Everything,"  "Smiles"  and  "Just  One  of 
Those  Things."  Of  course  the  Duchin  piano 
solos,  in  his  distinctive  style,  are  featured. 
Incidentally,  the  movie,  "The  Eddy  Duchin 
Story,"  starring  Tyrone  Power,  will  be 
released  in  July. 

Remember  Richard  Hayes,  the  young 
baritone  who  was  doing  fine  in  his  career 
when  he  had  to  go  into  the  Army?  Well, 
he's  just  about  to  leave  Uncle  Sam's  pay- 
roll and  has  made  his  first  civilian  record 
in  a  long  while.  It's  "The  Street  of 
Thirty-Nine  Steps,"  a  rhythm  love  song, 
and  "Please  Say  Hello  for  Me,"  a  torchy 
ballad,  with  Sid  Feller's  orchestra  and 
chorus.    (ABC-Paramount) 

The  Four  Aces  seem  to  make  one  hit 
record  after  another.  Their  "Love  Is  a 
Many-Splendored  Thing"  has  sold  over  a 
million  copies,  and  "A  Woman  in  Love"  is 
still  going  strong.  Now  they've  got  a  new 
novelty  called  "The  Gal  With  the  Yaller 
Shoes."  The  backing  is  a  ballad,  "If  You 
Can  Dream."  Jack  Pleis'  orchestra.  (Decca) 

Inspirational  songs  have  found  great 
favor  with  the  public  the  past  year  or  so, 
and  Coral  has  now  combined  several 
popular  artists  and  selections  into  one 
album  called  "He."  It  includes  Don  Cor- 
nell's "The  Bible  Tells  Me  So";  Johnny 
Desmond's  "In  God  We  Trust"  and  "The 
Lord's  Prayer";  "One  God,"  sung  by  Dor- 
othy Collins;  Steve  Lawrence's  version  of 
"The  Lord  Is  a  Busy  Man";  "These  Things 
Are  Known  (Only  to  God),"  by  Buddy 
Greco;   and  The  McGuire  Sisters'  "He." 

With  NBC -TV  premiering  "Richard  III," 
the  William  Shakespeare  opus  starring  the 
great  Laurence  Olivier,  RCA  Victor  gets 
into  the  act  with  two  releases — one  a  pack- 
age of  three  long-playing  records  contain- 
ing the  complete  sound  track  of  the  film, 
the  other  a  single  LP  disc  of  highlights 
from  "Richard  III,"  also  taken  directly 
from  the  sound  track. 

Movie  star  Susan  Hayward  has  cut  her 
first  single  record,  "I'll  Cry  Tomorrow," 
and  the  old  Cole  Porter  tune,  "Just  One 
of  Those  Things,"  with  Johnny  Green's 
orchestra.  Actress  Susan  really  started 
something  by  doing  her  own  singing  in 
the  film,  "I'll  Cry  Tomorrow,"  and  now  it 
looks  like  she  may  be  a  permanent  name 
on  the  M-G-M  label. 

The  Honey  Dreamers  have  waxed  a  very 


cute  record,  "Supermarket  Party,"  all 
about  a  little  boy  who  gets  locked  in  a 
market  overnight  and  comes  face  to  face 
with  all  the  soups  and  cereals  that  he 
hears  advertised  all  the  time  on  radio  and 
TV.  You'll  hear  just  about  every  com- 
mercial jingle  and  tune.     (Columbia) 

The  scat  man,  Cab  Calloway,  has  a  new 
coupling,  but  without  a  single  hint  of 
hi-de-ho.  With  his  daughter,  Lael,  who  is 
eight  years  old,  he  sings  a  tender  vocal  of 
"The  Little  Child,"  and  on  the  reverse 
Cab  goes  serious  on  an  inspirational  song, 
"The  Voice."  Don  Costa's  chorus  and  or- 
chestra   accompany.   (ABC-Paramount) 

Sammy  Davis,  Jr.  has  been  busy  with 
his  Broadway  show,  "Mr.  Wonderful,"  but 
not  too  busy  to  do  a  new  Decca  duo: 
"Frankie  and  Johnny,"  with  Morty  Ste- 
vens' orchestra,  and  the  old  tune,  origi- 
nally waxed  by  Vaughn  Monroe,  "Circus," 
with  Sy  Oliver  and  his  band. 

Percy  Faith  and  Mitch  Miller,  two  fa- 
mous gentlemen  with  a  baton,  have  com- 
bined talents  to  do  an  album,  "It's  So 
Peaceful  in  the  Country."  The  conductors 
have  chosen  five  compositions  by  Alec 
Wilder  and  six  by  James  Van  Heusen  and 
given  the  lush  arrangement  touch  to  each 
of  them.  "While  We're  Young,"  "I'll  Be 
Around,"  "Love  Among  the  Young,"  "It 
Could  Happen  to  You,"  "Imagination," 
and  "Moonlight  Becomes  You,"  are  some 
of  the  songs.    (Columbia) 

This  month  Victor  is  releasing  another 
one  of  those  big  specials — "The  Golden 
Age  of  Swing — Benny  Goodman  and  His 
Orchestra — Limited  Edition."  It  will  sell 
for  $24.95,  but  it's  worth  saving  your  pen- 
nies for  if  you  want  the  greatest  of  Good- 
man, all  in  one  package.  There  are  five 
long-playing  records  which  include  some 
sixty  melodies — from  "Organ  Grinder's 
Swing"  to  "Blue  Skies."  And  of  course 
all  the  great  instrumental  he  made  fa- 
mous are  in  it,  too.-  The  vocal  names — 
Helen  Ward,  Martha  Tilton,  Frances  Hunt, 
Margaret  Macrae,  and  Johnny  Mercer. 

Ralph  Waldo  Cummings  is  a  new  bari- 
tone name  on  the  ABC-Paramount  label. 
For  his  first  release  he  sings  "Vino,  Vino," 
the  tender  ballad  from  the  movie,  "The 
Rose  Tattoo,"  and  a  rock  'n'  roll  novelty, 
"The  Mystery  of  the  Fragrancy  of  the 
Pumpkin  Juice  Perfume"  (that's  the  title, 
honest) ,  with  Don  Costa's  chorus  and  or- 
chestra. If  you  think  you  recognize  Cum- 
mings voice  from  somewhere,  you're  right. 
He's  the  singer  who  did  all  those  Pall 
Mall  cigarette  commercial  jingles — and 
now  he's  on  his  way  to  a  recording  career. 

And  I  had  better  be  on  my  way,  as  time 
and  space  are  up.  But  I'll  be  back  with 
more  waxings  on  wax  next  month. 

See  Steve  on  Tonight,  NBC-TV,  11:30  P.M. 
EST  ( 11  P.M.  CST) .  Steve  Allen  Show  starts  on 
Station  WRCA-TV  ( New  York ) ,  1 1 :20  P.M.,  M-F. 


■  I 


PALMOLIVE  SOAP  CAN  GIVE  YOU  A 

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aSty'Mx/y^/c 


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uncomfortable.  That's  why  Palmolive's  mildness  is  so  important  to  you. 
Try  mild  Palmolive  Soap  today  for  new  complexion  beauty! 

DOCTORS  PROVE  PALMOLIVE'S  BEAUTY  RESULTS! 


Duet  for  trombones  as  Ernie  Ford  marks  his  first  TV  an- 
niversary in  tune  with  Jack  Bailey  of  Queen  For  A  Day. 


Chief  Thundercloud  wears  the  headdress  here,  but  a  new 
CBS-TV  show  is  a  feather  in  the  cap  of  Will  Rogers,  Jr. 


Crooner  Julius  La   Rosa  really  means  those  love  songs 
now  he's  engaged  to  Rory  Meyer,  Per  Como's  secretary. 


By  JILL  WARREN 


This  is  the  month  to  brush  up  on  your  Bard. 
NBC-TV  will  follow  its  three-hour  premiere 
of  "Richard  III"  on  March  11  with  another  Shake- 
speare classic  on  Sunday  afternoon,  March  18, 
when  "Taming  of  the  Shrew"  will  be  on  view  on 
Hallmark's  Maurice  Evans  show.  Lilli  Palmer 
will  head  the  "Shrew"  cast,  making  the  trip  from 
England  especially  for  this  telecast.  Music  has 
been  especially  written  for  the  production  by 
Lehman  Engel,  and  Tony  Charmoli  directs  the 
dancing. 

March  13  is  the  date  for  Eva  Marie  Saint's  ap- 
pearance on  the  Tuesday-night  Playwrights  '56 
series  over  CBS.  Eva  will  star  in  a  new  dramatic 
play  by  N.  Richard  Nash,  her  firsts  television 
appearance  since  "Our  Town." 

The  Voice  Of  Firestone  has  scheduled  a  special 
one-hour  simulcast  on  ABC,  Monday  night,  March 
19,  on  "The  History  of  American  Music."  Various 
stars  of  the  classical  world  will  appear,  and  the 
gala  proceedings  will  be  narrated  by  Helen 
Hayes. 

NBC  has  scheduled  a  most  interesting  hour- 
long  radio  program,  beginning  Tuesday  night, 
March  6,  and  running  for  eight  weeks.  It's  called 
Politics  And  Primaries — Dateline:  with  a  different 


Narrator  Marvin  Miller  feels  like  The  Millionaire  with 
wife  Elizabeth  and  daughter  Melissa  as  home  audience. 


Two  Gobels  are  better  than  one.  Here  the  more  familiar 
George  pours  tea  for  his  "Tootie  Flimbone"  character. 


state  featured  each  week.  They  plan  to  profile 
the  individual  states  where  the  preferential  pri- 
maries are  important  in  the  election  year,  such  as 
Pennsylvania,  New  Hampshire,  Florida  and  Ohio. 
Herb  Kaplow,  of  NBC's  Washington  News  Bu- 
reau, will  narrate,  and  there  will  be  taped  inter- 
views with  the  governors  of  the  states,  local  and 
national  political  figures  and  the  man  in  the  street. 

Omnibus  will  not  be  seen  on  Sunday  afternoon, 
March  18,  and  in  its  place  CBS  is  presenting  a  very 
special  show.  It's  "Out  of  Darkness,"  a  ninety- 
minute  actuality  drama  probing  the  world  of 
mental  patients.  It  was  produced  in  consultation 
with  the  American  Psychiatric  Association  and 
the  National  Association  for  Mental  Health.  The 
program's  medical  narrator  will  be  Dr.  William 
C.  Menninger,  one  of  the  country's  top  psychia- 
trists and  former  Director  of  the  Neuropsychiatry 
Consultants  Division  for  the  U.S.  Army  in  World 
War  II.  It  took  four  months  to  film  "Out  of  Dark- 
ness," most  of  which  was  shot  at  the  Metropolitan 
State  Hospital  in  Norwalk,  California.  Actual 
patients,  relatives,  doctors  and  nurses  were  used. 

NBC  has  programmed  another  documentary  TV 
film  for  their  Project  20  series,  on  Wednesday 
(Continued  on  page  14) 


Funnyman  Phil  Silvers  holds  hands  at  the  Harwyn  Club 
with  model  Evelyn  Patrick  of  the  Dollar  A  Second  gang. 


ON    TH 


Mike  Wallace  thrives  on  a  busy 
schedule — but  the  script  calls 
for  plenty  of  time  for  the  family 


All  the  Wallaces  are  talented,  Mike  says  proudly,  then  proves  it 
at  jam  sessions  with  wife  Lorraine  and  youngsters  Pauline  and  Tony, 


Manhattan  is  a  hustle-bustle  town,  but  even  on  this 
busy  island,  Mike  Wallace  deserves  special  recogni- 
tion as  a  young  man  in  a  hurry.  Not  that  he  hasn't  time 
to  swap  a  good  story — or  ask  about  the  wife  and  kids. 
But,  in  this  jet  age,  Mike  moves  at  the  appropriate  speed. 
.  .  .  Currently,  Mike's  pace  includes  a  twice-nightly  news 
telecast  for  Station  WABD,  Mike  Wallace  And  The  News, 
seen  at  7  and  11  P.M.  This  is  a  "straight  reporting"  job 
on  the  international  scene,  the  domestic  scene,  and  the 
scene  Mike  loves  best — East  Side  and  West  Side  in 
Gotham.  .  .  .  Then,  because,  as  Mike  says,  "I'm  happiest 
when  I'm  busiest,"  Mike  keeps  happy  as  co-host  with 
Margaret  Truman  on  NBC  Radio's  Weekday.  .  .  .  Born 
Myron  Leon  Wallace  in  Brookline,  Massachusetts,  on 
May  9,  1918,  Mike's  been  gathering  speed  for  his  current 
schedule  through  seventeen  years  as  announcer,  actor, 
newscaster,  sportscaster,  interviewer,  reviewer,  moder- 
ator, narrator,  host,  and  even  continuity  writer  and  sales- 
man. .  .  .  Throughout  this  always-upward  spiral,  Mike 


has  been  well-known  for  his  ease  with  an  ad  lib.  But  he 
makes  sure  that  plenty  of  time  for  the  family  is  written 
into  the  script.  .  .  .  Mike  encamps  in  a  New  York  apart- 
ment during  the  week,  then  heads  for  his  home  at 
Sneden's  Landing  for  weekends.  Here,  his  favorite  ac- 
tivity is  taking  long  walks  through  the  Palisades  country- 
side with  his  wife,  artist  Lorraine  Perigord,  and  their 
children,  Pauline,  9,  and  Tony,  16.  When  Mike's  sons  by 
a  former  marriage,  Peter  and  Christopher,  visit  for 
weekends,  they  join  these  explorations  which,  even  dur- 
ing the  winter  months,  may  cover  as  many  as  fifteen 
miles  on  a  weekend.  Mike  also  likes  to  play  tennis  with 
Tony,  skate  with  Pauline,  or  putter  around  the  ferns 
and  orchids  in  the  greenhouse  with  Lorraine.  .  .  .  "All 
my  four  kids  are  talented,"  Mike  says  proudly,  "and  at 
the  moment  they're  all  interested  in  doing  something  in 
radio  or  television."  To  Mike,  this  is  a  fine  idea — as  long 
as  a  good  liberal  arts  background  comes  first.  This  is  the 
route    Mike    Wallace    followed — a    thruway    to    success. 


Weekdays,  Mike  paces  the  news  .  .  .  weekends,  he  and  Tony  play  chess  as  Pauline  kibitzes  ...  or  he  and  Lorraine  garden. 


DONT  EVER 
SHAMPOO 
YOUR  HAIR 

without  putting  back  the  life  shampooing  takes  out. 
Restore  life,  luster,  manageability  instantly ! 


If  you  hate  to  shampoo  your  hair  because  it  flies  all  over 
your  head  and  looks  terrible  for  days,  why  don't  you  face 
up  to  the  facts? 

Every  shampoo  you  try  makes  your  hair  too  dry, 
doesn't  it? 

So  what  happens?  After  you  shampoo,  you  have  to  wait 
two  or  three  days  for  the  natural  beauty  oils  to  come  back. 
Then,  just  when  your  hair  begins  to  look  and  act  alive,  it's 
time  for  a  shampoo  again. 

Now  isn't  that  silly! 

Half  the  time  your  hair  is  so  dry  you  can't  do  a  thing  with  it. 
Simply  because  modern  shampoos  wash  all  the  beauty  oils 
out  of  your  hair  and  scalp ! 

But  you  aren't  the  only  one  who  has  this  problem.  Millions 
of  women  hate  to  shampoo  their  hair  for  exactly  this  same 
reason.  That's  why  Helene  Curtis  invented  suave  Hair- 
dressing.  And  look  what  it  does ! 

The  instant  you  finish  washing  and  drying  your  hair,  rub 
a  little  suave  over  your  palms,  and  stroke  through  your  hair 
thoroughly.  Then  brush  and  arrange  your  hair  .  .  .  and  look 
at  the  amazing  difference ! 


Suddenly  your  hair  combs,  sets  and  arranges  like  magic! 
It's  manageable !  No  wild  wisps.  Dryness  is  gone ! 

A  miracle  has  happened! 

Your  hair  is  silky  soft,  bursting  with  highlights  .  .  .  with 
the  prettiest,  healthiest-looking  glow  you  ever  saw! 

And  it  stays  wonderfully  in  place,  without  the  slightest 
oily  look  or  feel! 

That's  the  miracle  of  Helene  Curtis'  beauty  discovery — 
greaseless  lanolin — now  in  new  suave  ...  a  hairdressing  so 
wonderful  that  it  makes  your  hair  soft,  beautiful,  radiant  and 
manageable  in  20  seconds  after  shampoo ! 

So  do  as  Helene  Curtis  tells  you 

"No  matter  if  you  are  16  or  60,  don't  ever  shampoo  your 
hair  again  without  using  suave  to  restore  the  beauty  oils 
you  just  washed  out.  Do  this,  and  I  promise  you  your  hair 
will  be  so  beautiful,  so  satin-soft,  so  eager  to  wave,  you'll 
get  compliments  galore!" 

Start  using  suave  today !  Choose  the  liquid  or  new  creme 
suave,  whichever  type  you  prefer.  Available  wherever  cos- 
metics are  sold. 


Copyright  1955  H.C.I. 


s 


HELENE  CURTIS 

uave 


HAIRDRESSING   &  CONDITIONER 


Choose  Liquid 
or  new  Creme 

59<t  and  $1 

(plus  tax) 


*Trademarlc 


Swinging  ond  singing,  the  Midwestern  Hayride  gang   accent  Americana  as  they  surround   Hugh  Cherry  with  talent. 


10 


ITkban  or  suburban,  just  try  to  keep  the  toes  from 
I  tapping  when  fun  and  frolic  trip  over  each  other's 
heels  on  Midwestern  Hayride.  Originating  from  the 
heart  of  the  Midwest,  from  the  Cincinnati  studios  of  the 
Crosley  Broadcasting  Corporation,  this  show  gambols  its 
way  from  Portland,  Maine  to  Portland,  Oregon — every 
Wednesday  night  at  10:30  via  the  NBC-WLW  Television 
Network. 

A  coast-to-coast  joyride,  the  Hayride  caravan  features 
lively  country  and  Western  folk  music,  dizzily -paced 
square  dancing,  frantic  fiddling,  gay  mountain  ditties, 
sentimental  ballads,  and  light-hearted  comedy.  And  the 
caravan  overflows  with  talented  passengers,  including 
such  regulars  as  Bonnie  Lou,  Rudy  Hansen,  The  Geer 
Sisters,  Clay  Eager,  Dixie  Lee,  Bobby  Bobo,  Jeanie  and 
Lefty,  The  Hometowners,  The  Hayriders,  The  Kentucky 
Boys,  The  Willis  Brothers,  The  Midwesterners,  and 
Phyllis  and  Billy  Holmes. 

The  emcee  who  sees  to  it  that  this  half-hour  program 
bubbles  along  with  all  the  gaiety,  sparkle  and  rural 
atmosphere  of  an  authentic  country  festival  is  a  handsome 
Kentuckian  named  Hugh  Cherry.  Hugh  took  over  from 


Bill  "Willie"  Thall  last  March  when  Thall's  health  forced 
him  to  give  up  the  job  as  "driver"  of  the  Hayride  caravan. 
Before  that,  Hugh  had  been  the  emcee  for  the  radio 
version  of  Midwestern  Hayride,  also  heard  over  the 
Crosley  Broadcasting  facilities. 

Hugh  was  born  in  Louisville,  Kentucky,  October  7, 
1922,  and  has  more  radio  and  TV  experience  than  his 
years  might  suggest.  His  five-foot-seven,  165-pound 
frame  has  faced  a  microphone  in  Glasgow,  Chattanooga, 
Louisville,  Nashville  and  Memphis.  Rated  among  the  top 
twenty  country  and  Western -platter-spinners,  Hugh  was 
program  director  and  deejay  for  one  of  Nashville's  lead- 
ing radio  stations  for  three  years,  before  joining  Crosley. 

While  in  Nashville,  often  called  the  "Hillbilly  Capital 
of  the  World,"  Hugh  was  a  member  of  the  board  for  the 
Circle  Theater;  a  member  of  the  Nashville  Community 
Theater,  where  he  once  won  the  "best  actor"  award;  and 
played  the  lead  in  such  productions  as  "Othello"  and 
"The  Country  Girl."  Hugh  also  was  featured  in  Disney- 
land's television  production  of  "Davy  Crockett." 

When  Hugh  is  asked  for  encores,  he  always  makes  a 
bow  in  the  direction  of  Pee  Wee  King,  who,  he  says, 


Emcee  Hugh  Cherry  and  his  wife  Mary  Ann  delve 
into  Western  lore  with  Michael — who  gets  a  "boot" 
out  of  it  and  will  match  spit  'n'  polish  with  anyone! 


With  Hugh  Cherry  as  "driver" 

of  the  NBC-WLW  Hayride  Caravan, 

it's  a  coast-to-coast  joyride 


taught  him  all  he  knew,  when  Hugh  was  discharged 
from  the  Army  after  the  war.  Hugh  served  in  Europe 
during  and  after  the  war  as  an  investigation  agent  for 
the  Counter  Intelligence  Corps. 

When  this  thirty-three-year-old  Kentuckian  hears  the 
cry  of  "swing  your  partner,"  the  partner  he'd  most  like 
to  have  in  hand  is  his  lovely  wife  Mary  Ann.  And,  on 
the  grand  promenade,  his  son  Michael,  now  four,  might 
come  tripping  along  close  behind  his  doting  parents. 

Hugh's  hobbies  include  woodcarving  and  collecting 
records.  At  the  present  time,  he  has  more  than  16,000 
recordings,  going  from  country  and  Western  to  classical. 
His  ears  perk  up  at  almost  any  combination  of  musical 
notes,  although  Hugh  admits  he's  somewhat  partial  to 
country  and  Western. 

His  own  enjoyment  is  contagious  as  city  slickers  and 
country  squires  join  in  ever-increasing  numbers  to  tune 
in  to  Hugh's  lively  program  of  Americana— and  to  send 
its  ratings  zooming.  It  seems  that  whether  the  man's  in  a 
gray  flannel  suit  and  his  partner's  in  a  chic  black  dress — 
or  whether  the  costumes  are  blue  jeans  and  calico — every- 
body's partial  to  Hugh  Cherry  and  Midwestern  Hayride. 


INFORMATION    BOOTH 


Calling  All   Fans 

The  following  clubs  invite  members. 
If  you  are  interested  in  joining,  write  to 
address  given — not  to  TV  Radio  Mirror. 

Richard  Kiley  Fan  Club,  c/o  Rosalie 
Galossi,  34-34  30th  St.,  Astoria,  N.  Y. 

Joni  James  Fan  Club,  c/o  Jo  Ann  Adi- 
mari,  Arlington  St.,  Westerly,   R.  I. 

Don  Hastings  Fan  Club,  c/o  Sandy  Dun- 
lap,  Centra]  City,  Iowa. 

Midget  Or  Moppet 

Could  you  please  tell  me  whether  Barry 
Gordon  is  really  a  little  boy — or  is  he  a 
midget?  R.M.,  Levittown,  N.  Y. 

Here  are  the  facts,  ma'am.  Barry  Jones 
is  really  and  truly  seven  years  old,  having 
been  born  on  November  1,  1948.  .  .  .  Ten 
months  later,  when  Mr.  and  Mrs.  Sam 
Gordon  were  carrying  their  baby  to  his 
crib,  they  heard  the  little  one  carrying  a 
tune — perfectly!  At  the  age  of  two,  Barry 
sang  pop  songs.  Even  his  deejay  Pop 
flipped.  .  .  .  Then  Barry  made  his  stage 
debut  at  a  local  minstrel  show  in  the 
Gordons'  home  town,  Albany,  New  York, 
with  a  take-off  on  Johnnie  Ray,  singing 
"Cry."  When  Ted  Mack  travelled  that 
part  of  the  country  looking  for  talent  for 
his  show  in  New  York  City,  he  was  bowled 
over  by  the  tot,  who  won  easily  over  600 
contestants.  Appearances  on  Star  Time 
and  the  Horn  and  Hardart  show  followed. 
.  .  .  Then  "Uncle"  Miltie  Berle  heard  him 
and  invited  Barry  to  perform  on  his  show. 
Art  Mooney  guested  that  same  night  and 
the  two  pooled  their  talents  to  record  the 
now  classic  "Nuttin'  for  Christmas."  Sales 
of  "Nuttin'  "  were  really  somethin',  reach- 
ing the  million  mark  in  three  weeks.  Guest 


12 


Barry  Gordon 


shots  with  Jack  Paar,  Jackie  Gleason  and 
Perry  Como  left  little  doubt  that  a  star 
had  been  born.  .  .  .  Barry  and  his  folks — - 
Sam  Gordon  is  now  in  the  jewelry  busi- 
ness— now  live  in  Manhattan  and  Barry 
attends  Professional  Children's   School. 

Ail-Around  Boy 

/  would  appreciate  some  information 
about  Jimmy  Hawkins,  who  plays  Tagg 
Oakley  in  the  Annie  Oakley  series. 

J.N.,  Brooklyn,  N.  Y. 

How  many  young  boys  can  rope,  ride 
and  shoot,  as  well  as  act,  and  yet  be  as 
natural  as  the  boy  around  the  corner? 
These  were  the  requirements  for  the  role 
of  Tagg.  For  Jimmy  Hawkins,  they  were 
easily  met.  .  .  .  The  freckle-faced  boy 
has  appeared  in  more  than  75  films  and 
countless  television  shows.  Born  on  No- 
vember 13,  1941,  in  Los  Angeles,  Cali- 
fornia, Jimmy  was  christened  James  Fran- 
cis Hawkins.  He  has  an  older  brother,  Tim. 
and  a  younger  sister,  Susan.  ...  In  1943, 
when  Jimmy  was  two,  he  appeared  in 
"The  Seventh  Cross"  with  Spencer  Tracy. 
Lana  Turner  spotted  him  and  he  was  im- 
mediately signed  to  play  her  son  in  "Mar- 
riage Is  a  Private  Affair."  Movies  fol- 
lowed, as  well  as  more  than  200  live  tele- 
vision shows.  ...  In  "Yankee  Pasha"  Jim- 
my captured  the  feel  for  Westerns  and 
capitalized  on  the  years  of  tutoring  by 
Mark  Smith.  Jim's  love  of  horses  and  his 
abilities  in  handling  them  came  to  the 
attention  of  Gene  Autry.  It  had  taken 
Gene  two  years  to  find  the  proper  per- 
sonalities to  cast  in  Annie  Oakley.  But 
when  Jimmy  came  around,  the  search  was 
ended — they  had  found  the  perfect  Tagg. 
.  .  .  Jimmy's  uncanny  ability  to  memorize 
stands  him  in  good  stead  both  at  the  Holy 
Trinity  Parochial  School  and  at  work.  He 
is  a  ceramic  hobbyist  and  also  raises 
tropical  fish.  ...  In  real  life  Jimmy  is  the 
same  all-American  boy  he  portrays. 

Native  Son 

/  would  like  to  have  some  information 
about  Dwayne  Hickman,  who  plays  Chuck 
MacDonald  on  The  Bob  Cummings  Show 
on  CBS-TV.         M.O.,  Miamisburg,   Ohio 

Dwayne  Hickman  considers  himself  a 
pretty  rare  species  in  California,  for  he 
is  a  native  son,  born  in  Los  Angeles  on 
May  18,  1934.  He  waited  until  he  was 
ten  years  old  before  he  made  his  camera 
debut.  This  was  really  postponing  things, 
since  his  brother,  Darryl,  rushed  into  show 
business  at  the  tender  age  of  four.  The 
only  one  of  the  Hickman  children  who 
hasn't  shown  an  interest  in  show  business 
is  Deirdre,  Dwayne's  sister,  who's  happy 
being  sweet  sixteen.  .  .  .  Dwayne  has  had 
considerable  success  on  the  silver  screen, 
including  "The  Boy  With  the  Green 
Hair"  and  "Happy  Years."  In  recent  years, 
he  has  been  devoting  most  of  his  time  to 


Richard  Greene 


television  and  has  received  wonderful 
notices  for  his  many  appearances.  .  .  . 
Dwayne  is  managing  to  complete  his 
economics  and  dramatics  studies  at  Loyola 
University  and  even  finds  time  to  play 
tennis  on  the  University's  team.  He  is 
also  interested  in  golf,  dabbles  in  paint- 
ing and  is  an  avid  reader  of  fiction  and 
biography.  .  .  .  Here's  a  story  of  home- 
town   boy    making    good    in    home    town! 

Greene  Of  The  Forest 

/  would  like  to  know  something  about 
Richard  Greene,  who  stars  on  The  Ad- 
ventures of  Robin  Hood  on   CBS-TV. 

S.F.,   Boyceville,    Wis. 

The  storied  outlaw  of  Sherwood  Forest 
is  well-known  to  millions  of  filmgoers  for 
his  swashbuckling  parts  in  movies.  Hand- 
some Richard  Greene,  who  is  37  years  old. 
was  born  in  Plymouth,  England.  His  family 
has  been  represented  for  four  generations 
on  the  London  stage,  his  own  career  begin- 
ning with  a  walk-on  role  at  the  age  of 
three.  Later,  as  the  proverbial  spear  car- 
rier in  "Julius  Caesar,"  he  attempted  to 
enlarge  his  role  by  gesturing  broadly  at 
every  opportunity.  This  caught  the  eye 
of  the  producer,  who  promptly  fired 
him.  ...  At  22,  Greene  was  spotted  by  a 
movie  talent  scout  at  the  Royal  Theater 
in  Birmingham  in  a  touring  company  of 
"French  Without  Tears."  He  was  flown 
to  Hollywood  and  a  screen  career.  .  .  . 
When  the  war  came,  Richard  returned 
to  England  and  served  with  the  Royal 
Armoured  Corps  in  France.  Holland  and 
Belgium.  He  was  discharged  in  1944  as  a 
lieutenant,  because  of  injuries.  The  fol- 
lowing year,  he  played  his  first  role  on 
the  London  stage  in  "The  Desert  Rats." 
.  .  .  But  Hollywood  was  still  Richard's 
goal  and  he  returned,  to  do  many  more 
films.  .  .  .  Then  TV  caught  his  eye.  The 
attraction  was  immediate — and  mutual. 
(Continued  on  page  26) 


WhateNew 
in  Colgate  Dental  Cream  thafs 

MISSING-MISSING-MISSING 

in  every  other  leading  toothpaste? 


MINUTES  AFTER 

BRUSHING  WITH  ANY 

TOOTHPASTE 


12  HOURS  AFTER 

ONE  COLGATE  BRUSHING 

GARDOL  IS 


DECAY-CAUSING 
BACTERIA  RETURN  TO 
ATTACK  YOUR  TEETH! 


STILL  FIGHTING 

THE  BACTERIA  THAT 

CAUSE  DECAY! 


Any  toothpaste  can  destroy  decay-  and  odor-causing 
bacteria.  But  new  bacteria  come  back  in  minutes,  to 
form  acids  that  cause  decay.  Colgate's,  unlike  any 
other  leading  toothpaste,*  keeps  on  fighting  tooth 
decay  12  hours  or  more! 

Thus,  morning  brushings  with  Colgate's  help  pro- 
tect all  day ;  evening  brushings  all  night.  Because  the 
Gardol  in  Colgate's  forms  an  invisible,  protective 
shield  around  your  teeth  that  lasts  for  12  hours  with 
just  one  brushing.  Ask  your  dentist  how  often  you 
should  brush  your  teeth.  Encourage  your  children  to 
brush  after  meals.  And — at  all  times — get  Gardol 
protection  in  Colgate  Dental  Cream! 


Cleans  Your  Breath 


While  It 


Guards  Your  Teeth 


*THE  TOP  THREE  BRANDS  AFTER   COLGATE'S. 


No  other  leading  toothpaste 
can  give  the  12-hour  protection 
against  decay  you  get  with 
Colgate's  with  just  one  brushing! 


13 


WHAT'S  NEW  FROM 


(Continued  from  page  7) 


night,  March  14.  This  one  will  be 
"The  Twisted  Cross,"  and  it's  the  story 
of  the  career  of  Adolph  Hitler.  The 
producers  have  found  some  never- 
before-seen  photo  clips  of  the  dictator, 
which  will  be  shown  on  the  program. 
Alexander  Scourby  will  narrate  and 
Robert  Russell  Bennett  has  composed 
an  original  musical  score. 

Saturday  night,  March  17,  is  the 
date  for  the  annual  Emmy  Award 
show,  at  which  time  the  Academy  of 
Television  Arts  and  Sciences  will  pre- 
sent the  awards  for  outstanding  per- 
formances, programs,  scripts,  direction 
and  so  on  for  the  past  year  on  TV.  And 
on  Wednesday  night,  March  21,  there 
will  be  a  special  two-hour  telecast  of 
the  annual  Academy  Awards  for  Mo- 
tion Pictures.  Both  shows  will  be  seen 
on  NBC,  and  part  of  each  program  will 
be  broadcast  on  radio. 

Will  Rogers,  Jr.  has  been  signed  to 
an  exclusive  CBS-TV  contract,  and  is 
taking  over  the  early  morning  coast- 
to-coast  program  formerly  known  as 
The  Morning  Show.  The  son  of  the 
late  humorist  has  appeared  in  two  mo- 
tion pictures,  "The  Will  Rogers  Story" 
and  "The  Boy  From  Oklahoma,"  is  also 
the  former  publisher  and  editor  of  the 
Beverly  Hills,  California  Citizen,  and 
an  ex-Congressman  from  California. 
He  now  plans  to  devote  all  his  career 
time  to  television. 

Spectaculars  are  still  with  us  and 
the  next  one  on  the  list  is  Max  Leib- 
man's  Sunday-night  production  on 
NBC,  March  25.  Pat  Carroll,  the  net- 
work's up-and-coming  comedienne, 
will  star  in  a  musical  titled  "Heaven 
Will  Protect  the  Working  Girl."  It  will 
be  a  satirical  contrast  between  working 
conditions  for  girls  of  fifty  years  ago 
and  the  present  time. 

NBC  plans  to  televise   New  York's 


14 


famous  Easter  Parade  on  Sunday, 
April  1,  with  an  on-the-spot  report  of 
the  Fifth  Avenue  fashions,  «and  the 
usual  in -person  celebrities  in  and 
around  Manhattan's  gathering  places. 
Later  in  the  day,  Wide  Wide  World 
will  do  an  hour-and-a-half  program  of 
Easter  festivities  around  the  country. 

This  'n'  That: 

Julius  La  Rosa  and  Rory  Meyer, 
Perry  Como's  pretty  secretary,  finally 
announced  their  engagement  officially. 
Dorothy  McGuire,  of  the  singing  sis- 
ters, and  Julius'  one-time  heart,  said 
only  "No  comment,"  when  told  of  the 
impending  marriage. 

CBS  is  planning  a  big  buildup  for 
Stuart  Foster,  beginning  with  plans 
for  his  own  program.  Stuart,  who  has 
been  heard  on  the  Galen  Drake  Show, 
and  On  A  Sunday  Afternoon,  got  his 
start  as  a  band  vocalist  with  Ina  Ray 
Hutton  and  Tommy  Dorsey. 

It  is  doubtful  whether  Frank  Sinatra 
will  do  any  television  this  year.  When 
he  finishes  "High  Society"  at  M-G-M, 
he  takes  off  for  a  five-week  good  will 
tour  of  Europe,  under  the  auspices  of 
the  State  Department.  Next  he  re- 
turns to  Hollywood  for  another  movie, 
and  then  he'll  tour  abroad  for  seven 
more  weeks.  All  his  pals  are  wonder- 
ing whether  he'll  manage  to  get  to 
Spain  to  see  his  estranged  wife,  Ava 
Gardner. 

Eddie  Fisher  has  signed  a  new  fif- 
teen-year radio  and  television  contract 
with  NBC,  so  he's  sure  of  a  micro- 
phone for  that  length  of  time — at  least. 
Meanwhile  it  looks  set  for  Eddie  and 
his  bride,  Debbie  Reynolds,  to  co-star 
in  their  first  movie  together,  "A  Bun- 
dle of  Joy,"  for  RKO,  though  the  start- 
ing date  has  not  been  announced.  And 
there's  been  a  rumor  floating  around 


Dragnet's      new      look — and      an 
eyeful — is      cute      Marjie      Millar. 


Zany  Pat  Carroll  promises  "Heaven 
Will     Protect    the    Working     Girl." 


Oscar  winner  Eva  Marie  Saint  will 
return  to  TV  on  Playwrights  '56. 


that  Mr.  and  Mrs.  Fisher  have  been 
tagged  by  Mr.  Stork. 

The  stork  has  very  definitely  an- 
nounced that  he  is  visiting  Gertrude 
Warner  and  her  husband  in  a  few 
months.  It's  their  first  package  from  the 
long-legged  bird.  Gertrude,  who  plays 
"Molly"  on  Young  Dr.  Malone,  is  mar- 
ried to  Carl  Frank,  who  is  "Newt 
Geiger"  on  Road  Of  Life. 

George  Gobel's  perky  singer,  Peggy 
King,  and  her  estranged  husband, 
trumpeter  Knobby  Lee,  have  been 
dating  again,  so  maybe  they'll  have  a 
reconciliation  instead  of  a  divorce. 

Comedian  Jerry  Colonna,  of  ABC- 
TV's  Super  Circus,  should  get  some 
kind  of  an  award  from  the  airlines. 
Jerry  travels  no  less  than  6,000  miles 
per  week  in  order  to  appear  on  the 
television  show  in  New  York  each 
Sunday.  He  is  commuting  back  and 
forth  to  complete  his  movie  chores  in 
"Hinky  Dinky,"  in  which  he  is  co- 
starring  with  Mickey  Rooney  and 
Wally  Cox. 

Dean  Martin  and  Jerry  Lewis  inked 
the  team's  name  to  a  five-year  contract 
with  NBC  for  their  exclusive  services 
on  radio  and  TV.  But,  though  the 
team  is  honeymooning,  Dean  and  his 
wife  Jeanne  parted  once  again,  this 
time  with  a  statement  that  the  rift  is 
permanent. 

Having  made  one  of  six  scheduled 
appearances  on  the  Ed  Sullivan  Show. 
Kate  Smith  postponed  the  others  when 
Ted  Collins,  her  long-time  manager- 
friend,  was  stricken  with  a  heart 
attack. 

Joan  Davis  has  been  signed  by 
ABC-TV  to  do  a  new  situation-comedy 
series,  slated  to  originate  from  Holly- 
wood   this    fall.     Joan's    been    missing 


COAST  TO  COAST 


Music    headlines     at-home     hours    for    Betty    and 
Walter  Cronkite  and  daughters  Mary  and   Nancy. 


Deejays  staffed  Le  Cupidon  to  aid  the  Damon  Runyon  Fund. 
Al    Collins    tended    bar    for    Terri    Stevens    and    Betty    Reilly. 


from    the    nets    since    I   Married    Joan 
went  off. 

Cast  as  Sgt.  Friday's  secretary,  Mar- 
jie  Millar  deserves  much  of  the  credit 
for  Dragnet's  climbing  ratings. 

Mulling  The  Mail: 

Mrs.  W.  B.,  Washington,  D.  C: 
Meredith  Willson  lives  in  California, 
where  he  has  been  very  active  with  the 
Big  Brother  movement.  From  time  to 
time  he  is  heard  on  NBC's  Weekday 
radio  show,  but  he  is  not  conducting 
on  any  regular  television  program  at 
the  moment.  .  .  .  Miss  J.  L.,  Cleveland, 
Ohio:  Singer  Johnny  Johnston  has 
done  very  little  TV  work  lately,  since 
he  has  been  busy  working  in  the  Co- 
lumbia Pictures  musical,  "Rock  Around 
the  Clock."  When  the  movie  is  fin- 
ished, Johnny  is  set  for  some  night- 
club appearances.  ...  To  those  read- 
ers who  have  written  asking  whom 
Jimmy  Durante  refers  to  when  he 
says,  "Good  night,  Mrs.  Calabash, 
wherever  you  are,"  at  the  end  of  his 
TV  programs:  To  the  best  of  my 
knowledge,  Jimmy  is  referring  to  his 
late  wife,  Jeanne,  who  died  in  1943.  .  .  . 
And  lots  of  you  wrote  inquiring  about 
the  girl  who  played  the  part  of  "Joce- 
lyn"  on  Road  Of  Life:  "Jocelyn"  was 
played  originally  by  Virginia  Dwyer. 
Since  July  of  1955,  however,  Teri 
Keane  has  had  the  role.  Her  voice 
undoubtedly  sounded  familiar,  because 
for  years  Teri  was  "Chichi"  in  Life 
Can  Be  Beautiful.  .  .  .  Miss  J.  B.,  Salt 
Lake  City,  Utah:  Unfortunately  there 
are  no  plans  to  run  repeat  films  of  the 
late  James  Dean's  performances  on 
television.  .  .  .  Mr.  T  McH.,  Spring- 
field, Massachusetts:  Anne  Whitfield 
plays  "Penny"  on  One  Man's  Family, 


and  has  for  the  past  ten  years.  She 
recently  was  cast  as  "Harriet  Conklin" 
in  the  radio  version  of  Our  Miss  Brooks. 
.  .  .  To  the  many  who  wrote  asking 
about  First  Love:  First  Love  went  off 
the  air  around  the  end  of  December 
when  Queen  For  A  Day  moved  to  that 
time  spot  on  NBC.  At  the  present, 
the  popular  daytime  TV  show  is  not 
scheduled  to  be  seen  this  season.  The 
Charles  Ruggles  show,  The  World  Of 
Mr.  Sweeney,  which  followed  First 
Love  on  the  network,  was  also  can- 
celed. 

What  Ever  Happened  To  ...  ? 

Shay  Cogan,  the  blonde  singer  who 
appeared  on  the  Vaughn  Monroe  tele- 
vision show  several  seasons  ago?  Shay 
hasn't  done  any  TV  at  all,  but  has  been 
singing  in  night  clubs  in  and  around 
New  York  City  from  time  to  time. 

Sid  Stone,  the  comedian  who  did 
the  pitchman  commercials  on  the  old 
Milton  Berle  Texaco  show?  At  the 
moment  Sid  is  with  the  touring  com- 
pany of  the  show,  "Damn  Yankees," 
playing  the  part  of  the  baseball  man- 
ager-coach. He  hopes  to  resume  TV 
work  next  fall. 

Harry  Marble,  the  well-liked  per- 
sonality who  did  many  news  shows  on 
CBS-TV,  and  also  was  heard  on  radio 
on  the  Emily  Kimbrough  program? 
Harry  retired  completely  from  'all 
broadcasting  work  early  last  year,  and 
has  no  plans  to  return. 

Patsy  Campbell,  who  used  to  be 
"Terry"  on  The  Second  Mrs.  Burton? 
Patsy  played  the  role  for  ten  years, 
up  until  October  26,  1955.  At  that  time 
she  took  a  leave  of  absence  for  an  ex- 
tended rest.  Jan  Miner  has  been  star- 
ring as  the  new  "Terry." 


When  Linda  Darnell  guested  on 
I've  Got  A  Secret — a  marmoset  in 
her  mink  stole — she  talked  not  of 
movies   but  of  Girls  Town   in    Italy. 


If  you  have  a  question  about  one  of  your 
favorite  people  or  programs,  or  wonder 
what  has  happened  to  someone  on  radio 
or  television,  drop  me  a  line — Miss  Jill 
Warren,  TV  Radio  Mirror,  205  East  42nd 
Street,  New  York  17,  New  York,  and  I'll 
try  my  best  to  find  out  for  you  and  put 
the  information  in  the  column.  Unfortu- 
nately we  don't  have  space  to  answer  all 
questions,  so  I  try  to  cover  those  person- 
alities about  whom  I  receive  the  most  in- 
quiries. Sorry,  no  personal  answers,  so 
kindly  do  not  enclose  stamped  envelopes 
or  postage,   as   they   cannot   be   returned. 


15 


HE  SCORES  WITH  EVERYBODY 


Bud  Palmer  sounds  like  a  pro, 

looks  like  a  matinee  idol, 

as  he  calls  the  plays  for  WPIX 


Domestic  spats  over  TV  were  solved  when 
Bud  turned  the  femmes  into  sports  fans. 


Playing    or    announcing, 
action.    Here,    he    scores 


Bud's    always    on    top    of    the 
on    Rochester's   Andy    Duncan. 


16 


Sports   are   Bud's   hobby,   too.   He   golfs   with   wife 
Daisy,    likes    tennis,    squash,    ski    trips   to    Canada. 


The  usual  battle  of  the  sexes  over  what  to  watch  on  TV 
has  notably  diminished  in  the  New  York  area  since  Bud 
Palmer  began  his  play-by-play  telecasts  for  Station  WPIX. 
Now,  a  Geneva-like  spirit  reigns.  ...  At  first,  the  women 
were  won  over  by  the  half  matinee-idol,  half  ivy-league  good 
looks  of  Mr.  Palmer.   But  the  femmes  who  at  first  simply 
stared  soon  found  themselves  listening  intently  to  Bud's  lucid 
commentary  and  colorful  background  information.  .  .  . 
Bud  learned  his  way  about  sports  from  the  inside  out.    All- 
American  at  Princeton  U.,  Bud  was  a  starring  player  and  team 
captain  for  the  New  York  Knickerbockers  basketball  team. 
As  a  player  turned  announcer,  Bud  handles  all  sports  events 
telecast  from  Madison  Square  Garden,  except  boxing.   Add 
to  this  newsreels,  commercials,  guest  shots  and  a  regular 
sportscast  on  Weekday  and  you  have  a  picture  of  one  of  the 
most  versatile  commentators  in  the  business.  .  .  .  John  "Bud" 
Palmer  was  born  in  Hollywood,  where  his  father  starred 
in  silent  films  as  Lefty  Flynn  and,  off-screen,  was  quite  an 
athlete.   After  studying  in  Switzerland,  Bud  prepared  for 
Princeton  at  Phillips  Exeter  Academy.    At  Princeton,  he 
majored  in  Romance  Languages,  contemplated  a  career  in  the 
diplomatic  service,  and  won  All-American  honors  in 
basketball,  soccer  and  lacrosse.   Then,  after  a  stint  as  a  Naval 
Air  Force  pilot,  Bud  became  a  pro  hoopster  for  the  Knicks. 
.  .  .  Even  before  his  sportscasts,  Bud  was  heard  on  radio  as 
"Palmo  the  Magician."   He's  still  quicker-than-the-eye  when 
it  comes  to  heading  liome  to  wife  Daisy,  an  eye-catching 
lass  he  met  on  a  blind  date.   Daughter  Betty  is  a  five-year-old 
whose  interests  are  TV  and  horses.    Fireplaces  inspire  Bud 
to  steak -cookery  and  he  can  dish  up  a  subtle  salad  dressing 
and  fancy  dessert  to  go  with  the  sirloin.  .  .  .  Currently, 
Bud  is  at  work  on  a  book  that  is  planned  as  an  encyclopedia 
on  basketball.   With  the  author's  knowledge  on  the  inside, 
and  his  picture  on  the  cover,  it's  bound  to  be  a  best-seller. 


CIGARETTES 

"IT'S  TOASTED" 

to  taste  better! 


MORE  FUN.  Why  are  Luckies  more  fun  to  smoke?  One  simple 
reason:  they  taste  better.  Lucky  Strike  means  fine  tobacco  .  .  . 
mild,  good-tasting  tobacco  that's  TOASTED  to  taste  even  better. 
You'll  say  a  Lucky  is  the  best-tasting  cigarette  you  ever  smoked! 

LUCKIES  TASTE  BETTER 


Cleaner,  Fresher,  Smoother! 

©A.  T.  Co.       product  of      jtfe,  Jfrnvueam  Jo^teeo--Ccmuaanu-    America's    leading    manufacturer    of    cigarettes 


17 


All  programs   are   heard  Monday   through   Friday;    consult 
local  papers  for  time  and  station. 


AUNT  JENNY  Littleton  is  a  small  Ameri- 
can town,  quiet  on  the  surface,  as  most 
such  towns  appear  to  be.  But,  to- someone 
who  knows  it  as  well  as  Aunt  Jenny,  Lit- 
tleton is  far  from  uneventful.  In  the  lives 
of  her  neighbors  and  friends,  and  in  the 
surrounding  towns  and  near-by  city  of 
Metropole,  Aunt  Jenny  finds  more  than 
enough  material  for  her  real-life  stories 
about  people  just  like  the  people  next 
door.   CBS   Radio. 

BACKSTAGE  WIFE  Hope  St.  Clair,  the 
wealthy  backer  of  Larry  Noble's  new 
play,  has  her  own  plans  for  Larry's  future 
— plans  that  involve  the  breaking  up  of 
the  Nobles'  marriage  by  fair  means  or 
foul.  Will  Larry  and  Mary  discover  the 
truth  about  the  mysterious  envelope  Hope 
has  entrusted  to  Larry?  Or  will  Mary  see 
her  marriage  crushed  by  the  combined 
attack  of  Hope  and  Malcolm  Devereux? 
CBS  Radio. 

THE  BRIGHTER  DAY  Reverend  Richard 
Dennis'  dream  of  a  Youth  Center  for  New 
Hope  at  last  achieves  reality,  and  revives 
another  dream  as  well  for  Max  Canfield 
and  Lydia  Harrick,  both  of  whom  had  lost 
belief  in  love  until  they  met.  All  the  bars 
between  them,  even  the  neurotic  opposi- 
tion of  Lydia's  brother-in-law  Donald, 
seem  overthrown — until  Althea  Dennis 
jjeturns  to  town.  Is  Althea  destined  to  bring 
trouble  once  more?  CBS-TV. 

DATE  WITH  LIFE  A  newspaperman, 
by  training  and  opportunity,  is  better 
equipped  than  most  people  to  find  out  about 
all  the  different  kinds  of  lives  that  are  be- 
ing lived  around  him.  Tom  Bradley,  edi- 
tor and  publisher  of  the  Bay  City  News, 
knows  all  the  inside  facts  about  the  stories 
that  make  the  headlines,  but  he  also  tells 
stories  about  the  quiet,  hidden  dramas  that 
never  make  the  front  pages.  NBC-TV. 

THE  DOCTOR'S  WIFE  Dr.  Dan  Palm- 
er owes  a  portion  of  his  success  in  Stan- 
ton to  the  retired  Dr.  Sanford,  and  for 
this  and  other  reasons  is  anxious  to  get 
along  well  with  the  older  man.  But  though 
Julie  knows  full  well  the  importance  of 
tact  to  a  doctor's  wife,  she  finds  Mrs.  San- 
ford's  arrogance  difficult  to  swallow.  Will 
they  tangle  over  something  more  serious 
than  a  handsome  piece  of  furniture — 
something  not  so  easily  duplicated?  NBC 
Radio. 

THE  GUIDING  LIGHT  Marie's  roommate, 
Lila,  has  no  doubts  about  the  real  feel- 
ing between   Marie   and   Dr.   Dick   Grant. 
Why  then  do  Marie  and  Dick  seem  so  un- 
willing  to   admit  what  seems   so   obvious 
T    to   others?    And   how   will   Dick's   friends, 
V    Bill  and  Bertha  Bauer,  solve  the  mother  - 
R    in-law  problem  that  has  rocked  their  fam- 
ily peace  and  perhaps  done  more  perma- 
nent harm  to  their  young  son  Michael  than 
they  realize?  CBS-TV  and  CBS  Radio. 
18 


HOTEL  FOR  PETS  Mr.  Jolly,  a  retired 
mailman,  realized  a  life-long  dream  when 
he  was  able  to  turn  a  rambling  country 
house  into  a  shelter  for  animals.  And  when 
he  found  Paulina  to  share  his  dreams,  his 
happiness  was  almost  perfect.  But  no 
human  being  ever  lived  without  problems 
— and,  as  a  matter  of  fact,  no  animal  did, 
either.  Mr.  Jolly  would  be  astonished  in- 
deed if  he  had  any  idea  how  many  trouble- 
some questions  are  worked  out  every  day 
by  his  animal  guests.  NBC  Radio. 

LOVE  OF  LIFE  Van  and  Paul  Raven 
knew  they  were  taking  on  trouble  when 
they  sought  to  adopt  little  Carol,  but  when 
her  psychological  muteness  was  cured  they 
felt  the  worst  was  behind  them.  Why  is 
Hal  Craig  so  terrified  of  the  picture  Carol 
glimpsed  in  his  mysterious  locket — and 
how  will  he  use  Van's  sister  Meg  to  create 
a  worse  threat  against  Carol,  Van  and 
Paul  than  any  of  them  can  yet  imagine? 
CBS-TV. 

MA  PERKINS  Ma's  daughter  Fay  is  fu- 
rious with  herself  when  her  pregnancy 
keeps  her  from  going  to  Hollywood  with 
her  husband  and  thereby,  as  she  sees  it, 
interferes  with  his  career.  But  Tom's  re- 
fusal to  leave  her  behind  opens  the  door 
to  an  even  greater  success  than  he  was 
promised — and  a  greater  problem.  What 
will  happen  if  his  book  is  made  into 
a  movie  by  a  famous  star — right  there  in 
Rushville  Center?  CBS  Radio. 

OUR  GAL  SUNDAY  When  Sunday  and 
Lord  Henry  opened  the  doors  of  Black 
Swan  Hall  to  Marilyn  Bennett,  they  had 
no  suspicion  of  the  trouble  they  were  in- 
viting into  their  lives.  For,  even  after  the 
defeat  of  her  initial  effort  to  get  the  Kenil- 
worth  diamond,  Marilyn — inspired  by  her 
boss,  Graham  Steele — manages  to  create  a 
terrible  and  frightening  dilemma  for  the 
Brinthropes.     CBS   Radio. 

PEPPER  YOUNG'S  FAMILY  Pepper, 
becoming  increasingly  absorbed  in  the 
oil  business,  is  excited  by  the  enormous 
prospects  for  the  future.  But  his  father, 
who  was  the  first  of  the  Youngs  to  become 
interested  in  the  possibility  of  oil  on  the 
old  farm,  now  wants  nothing  to  do  with 
it,  because  he  cannot  forget  the  terrible 
trials  visited  upon  the  whole  family 
through  his  misplaced  trust.  NBC  Radio. 

THE  RIGHT  TO  HAPPINESS  Although 
she  was  recently  widowed,  Carolyn  Nel- 
son is  not  the  typical  helpless  woman 
thrown  into  a  complex  world  in  which 
she  cannot  find  her  way.  Carolyn  is  more 
than  able  to  make  her  own  way  and  handle 
her  own  problems.  But,  with  the  problem 
of  her  teen-age  son,  she  finds  herself  real- 
ly in  need  of  a  man's  help.  Is  Skip  actually 
on  the  verge  of  delinquency?  And  will 
Carolyn  turn  to  the  right  man  for  help? 
NBC  Radio. 


THE  ROAD  OF  LIFE  While  Sibyl  Over- 
ton Fuller  was  doing  her  best  to  break 
up  Dr.  Jim  Brent's  marriage,  she  had  an 
incidental  effect  on  the  marriage  of  his 
foster-son,  Dr.  John — incidental,  but  by 
no  means  negligible.  Now  that  time  and 
understanding  have  done  their  work, 
Johnny  and  Francey  want  to  make  another 
try.  Can  they  rebuild  what  they  once  had 
— or  even,  if  Aunt  Reggie  will  let  them, 
achieve  something  better?   CBS  Radio. 

THE    ROMANCE    OF    HELEN    TRENT 

With   the   growth   of  her   interest  in   her 
fascinating  neighbor,  Morgan  Clark,  Helen  I 
also    develops    an    increasing    resentment 
against   his   sister,   Julie,   who   appears   to  ; 
be  moving  heaven  and  earth  to  prevent  an 
attachment     between     Morgan     and     any 
woman.     When    will    Helen    realize    the 
shocking  truth — that  Julie  is  really  trying 
to   protect  her   against   a  fate   so   hideous 
she  cannot  even  imagine  it  without  Julie's  , 
help?    CBS   Radio. 

SEARCH  FOR  TOMORROW       1 1  w  a  s 

largely    through    Joanne's    testimony    that 
the  sinister  V.  L.  ended  up  in  prison,  and 
neither    he    nor    his    still-free    henchmen  j 
have    forgotten    it.    What    happens    when , 
Harold    Small    turns    up    in    Henderson — 
Harold,  the  bookkeeper  who  looks  so  much 
like  V.  L.  that  nobody  can  tell  them  apart? 
Is  Huxley,  grooming  Harold  for  a  dupe's 
role,    seriously    mistaken    about    Harold's  | 
brains — and  his  friends?   CBS-TV. 

THE  SECOND  MRS.  BURTON     When 

Stan  Burton's  sister  and  brother-in-law,  J 
Marcia  and  Lew  Archer,  acquire  a  new 
apartment  on  Gramercy  Square,  Stan's 
wife  Terry  acquires  a  new  interest — an 
interest  of  which  Stan  is  vaguely  sus- 
picious. It's  true  that  Terry's  talent  for 
decorating  can  help  Marcia — but  does  she 
have  to  spend  quite  so  much  time  away 
from  Dickston?  Is  she  recalling  her  own 
New  York  student,  days— and  perhaps 
some  of  her  fellow-students?   CBS  Radio. 

THE  SECRET  STORM  Believing  that  at 
last  her  past  is  behind  her  for  good,  Jane 
dares  to  plan  for  a  happy  future  with 
Peter  and  the  ready-made  family  she  loves 
so  deeply.  But  Peter's  vengeful  sister-in- 
law,  Pauline,  has  found  the  key  back  to 
tragedy  for  Jane — found  it  in  Jane's  first 
husband,  Bruce,  who  was  supposed  to  have 
died  during  the  war.  How  will  Bruce  play 
his  part  in  Pauline's  scheme?    CBS-TV. 

THIS  IS  NORA  DRAKE  Nora  and  David, 
trying  to  unearth  the  truth  behind  the 
twenty-year-old  murder  of  Jerome  Joss, 
for  which  David's  parents  spent  years  in 
prison,  learn  that  an  ex-reporter  named 
Jimmy  Powell  may  have  the  answer.  But 
before  they  can  reach  him,  Nora  and  the 
murdered  man's  widow  are  subjected  to 
terrifying  anonymous  threats  that  prove 
(Continued  on  page  69) 


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19 


Spinning 
Around 

Bob  Brown,  WAAT  deejay,  has  a  formula 
for  success  that  begins,  "if  you  can  share  . . ." 


Teenagers  clamor  for  more  as  Bob  Brown  presents  such  top 
record  stars  as  Alan  Dale  at  "Queen  Teen  Club"  at  Klein's. 


Bob  launched  his  airwaves  career  and  his  marriage  in  the 
same  exciting  year — 1947.  Now  life  revolves  about  a  turn- 
table at  work  and   young  Joanne  and  wife  Teri  at  home,      i 


20 


For  a  fellow  who  never  knew  he  would  be  a  radio 
announcer,  Bob  Brown  is  doing  mighty  well.  In  fact, 
had  Bob  planned  from  the  toddling  stage  for  a  radio 
career,  he'd  still  have  every  right  to  be  pleased  with  his 
success  in  Newark  as  Station  WAAT's  host  of  Melody 
Show,  a  deejay  program  heard  Monday  through  Satur- 
day from  3  to  5  P.M.  ...  If  Bob  wasn't  born  with  a  yen 
for  the  microphone,  he  was  born  with  a  love  of  music. 
"So  crazy  is  his  love  for  music,"  his  wife  Teri  laughs, 
"that  he  walks  around  the  house  with  an  old  Sammy 
Kaye  baton  leading  the  orchestra."  Bob  shares  his  musi- 
cal enthusiasm  at  his  Saturday  "Queen  Teen  Club"  at 
Klein's  Department  Store  in  Newark,  giving  teenagers  a 
chance  to  meet  their  favorite  recording  stars.  Bob's  suc- 
cess has  a  solid  foundation  in  his  belief  that  "if  you  can 
share  with  others  the  desires  and  pleasures  that  you 
enjoy,  popularity  and  success  will  ultimately  follow."  .  .  . 
Bob's  chance  to  practice  this  preachment  was  purely 
accidental.  While  attending  Temple  University  in  Phila- 
delphia, his  home  town,  Bob  was  introduced  to  Byron 
Saam,  dean  of  Philadelphia  sportscasters.  Saam,  who  is 
known  as  the  father  of  advice  in  the  city  of  brotherly 


love,  gave  Bob  the  opportunity  to  see  if  he  wouldn't 
like  an  airwaves  career.  .  .  .  This  was  all  Bob  needed. 
After  a  detour  into  the  Marine  Corps,  he  landed  a  staff 
announcer's  post  at  WFPG  in  Atlantic  City.  In  1948, 
Bob  switched  to  WMIC  in  the  same  city,  then  joined 
WAAT-WATV  with  Musical  Jackpot,  a  giveaway  show. 
Next  he  handled  the  annual  WATV  "Miss  TV"  contest, 
during  which  beauties  in  bikinis  paraded  by  with  never 
a  whistle  from  Bob  Brown.  "What's  the  sense,"  Bob 
laughs,  "when  your  wife's  an  ex-Conover  model?"  .  .  . 
At  present,  in  addition  to  his  two-hour  record  show,  Bob 
also  handles  staff  duties  for  the  radio  and  TV  station. 
And  there's  never  a  question  of  what  to  do  with  off- 
hours,  with  wife  Teri  and  daughter  Joanne,  TVz,  getting 
first  call.  To  round  out  the  family,  there's  Brandy,  a 
cat,  and  Sponsor,  a  non-talking  parakeet.  .  .  .  After  the 
family,  Bob  ranks  Beethoven's  Fifth  Symphony  and  the 
Philadelphia  Phillies  in  the  number  two  and  three  spots. 
When  the  "do-it-yourself"  craze  is  mentioned,  Teri  in- 
terrupts with:  "Do-it-yourself?  Bob's  the  only  guy  I 
know  who  can  knock  down  a  wall  while  hanging  up  a 
picture!"  Seems  Bob  Brown  is  handiest  at  a  microphone. 


You  can't  see 

what's  happening 

underneath  your 

make-up! 


But  you  can  be  sure  invisible  skin  bacteria  won't 
spoil  your  complexion— if  you  wash  with  Dial  Soap! 

Ordinary  good  soaps  wash  away  dirt  and  make-up.  But 
they  leave  thousands  of  skin  bacteria.  You  can't  see  or  feel 
them.  But  when  you  put  on  fresh  make-up,  these  bacteria  are 
free  to  spread  surface  blemishes  underneath. 

But  daily  washing  with  Dial  Soap  not  only  removes  dirt 
and  make-up— but  clears  away  up  to  95%  of  blemish-spreading 
bacteria!  Then  Dial  keeps  on  working  —  underneath  your 
make-up!   So  your  complexion  is  protected  all  day! 

What's  Dial's  secret?  It's  AT-7 — the  most  effective  bac- 
teria remover  known!  So  before  you  make-up  —  wash  up 
with  mild,  gentle  Dial  Soap. 


Dial  Soap  protects  your  complexion  -  even  under  make-up  ! 


P.S.    Dial  Shampoo  gives  you  that  diamond  sparkle  look! 


21 


I 


nside  Radio 

All  Times  Listed  Are  Eastern  Standard  Time. 


Monday  through  Friday 


NBC 


MBS 


ABC 


CBS 


Morning    Programs 


8:30 
8:45 

Local  Program 

9:00 
9:15 
9:30 
9:45 

Alex  Drier,  News 

Robert  Hurleigh 
Easy  Does  It 

Breakfast  Club 

News  Of  America 

10:00 
10:15 
10:30 
10:45 

Weekday 

Cecil  Brown 

FootnotesTo  History* 

News 

10:35  Johnny  Olsen 

My  True  Story 

When  A  Girl  Marries 
Whispering  Streets 

Arhur  Godfrey  Time 

11:00 
11:15 
11:30 

11:45 

Weekday 

Fibber  McGee  & 
Molly 

News 

11:05  Story  Time 

Queen  For  A  Day 

Wed.,  Faith  In 
Our  Time 

Walt  Disney's  Magic 

Kingdom 
News,  Les  Griffith 
11:35  Franchot 

Tone 
Inner  Circle 

Arthur  Godfrey 
(con.) 

Howard  Miller  Show 

Afte 

12:00 

12:15 
12:30 

12:45 

moon    Progr 

Weekday 

ams 

Noon  News 
12:05  Here's 

Hollywood 
12:10  Ed  Ladd, 

Deejay 

Valentino 

Frank  Farrell 
12:25  Sunshine 
Boys 

Wendy  Warren  & 

The  News 
Backstage  Wife 
Helen  Trent 

Our  Gal  Sunday 

1:00 
1:15 
1:30 
1:45 

Weekday 

News,  Cedric  Foster 
Music 

Luncheon  With 
Lopez 

Paul  Harvey,  News 
Ted  Malone 

1:55  News 

Road  Of  Life 
Ma  Perkins 
Young  Dr.  Malone 
The  Guiding  Light 

2:00 
2:15 

2:30 
2:45 

Weekday 

News,  Sam  Hayes 
2:05  Letter  To  Lee 

Graham 
Bandstand,  U.S.A. 

2:25    News 

Martin  Block 

Second  Mrs.  Burton 
Brighter  Day 

This  Is  Nora  Drake 
Aunt  Jenny 

3:00 
3:15 
3:30 
3:45 

Weekday 

Hotel  For  Pets 
Doctor's  Wife 

News 

3:05  Ruby  Mercer 
Show 

Martin  Block  (con.) 

Linkletter's  House 

Party 
Fred  Robbins  Show 

4:00 
4:15 
4:30 

4:45 

Right  To  Happiness 
Young  Widder  Brown 
Pepper  Young's 

Family 
Woman  In  My  House 

News 

4:05  Dan's  Almanac 
Dick  &   Diane 
Show 

Broadway  Matinee 

Treasury  Band- 
stand 

5:00 
5:15 
5:30 
5:45 

Wish  Upon  A  Star 

Lone  Ranger 

5:55  Production  Five 

Bob  And  Ray 

5:50  Wismer,  Sports 
5:55  Cecil  Brown 

Musical  Express 
Ebony  &  Ivory 
Sloria  Parker 
Vincent  Lopez 
5:55  WallSireet  Final 

Monday 


Evening    Programs 


22 


6:00 
6:30 
6:45 

Local  Program 

ABC  Reporter 

Jackson  &  The  News 

Three  Star  Extra 

Bill  Stern,  Sports 

Lowell  Thomas 

7:00 

Alex  Dreier,  Man 
On  The  Go 

Fulton  Lewis,  Jr. 

Ed  Morgan,  News 

News  Analysis, 
LeSeuer 

7:15 

America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 

Quincy  Howe 

7:05  Curt  Massey 

7:30 

News  Of  The  World 

Gabriel  Heatter 

Events  Of  The  Day 

Bing  Crosby 

7:45 

One  Man's  Family 

Special  Edition 

7:55  News 

Edward  R.  Murrow 

8:00 

Henry  Taylor 

True  Detective 

Met.  Opera 

My  Son,  Jeep 

8:15 

Boston  Symphony 

Auditions 

Yours  Truly, 

Orchestra 

8:25   News 

Johnny  Dollar 

8:30 

John   Steele, 

Voice  Of  Firestone 

Arthur  Godfrey's 

8:45 

Adventurer 

Talent  Scouts 

9:00 

Telephone  Hour 

News,   Lyle   Van 

News 

News,  Collingwood 

9:05  World  Of  Sports 

9:05   Sound   Mirror 

9:05  Jack  Carson 

9:15 

Behind  The  Iron 
Curtain 

9:25  News 

9:30 

America's  Composers 

Reporters'  Roundup 

Offbeat 

Amos  'n'  Andy  Music 

9:45 

9:55  News 
Personality 

Hall 
9:55  News,  Trout 

10:00 

Fibber  McGee  & 
Molly 

Virgil  Pinkley 

Vandercook,  News 
10:05  Three  Suns 

Dance  Orchestra 

10:15 

News 

10:20  Heart  Of  The 
News 

Soundsiage 

10:25    News 

10:30 

Parade  Of  Bands 

Music 

Martha  Lou   Harp 

Tuesday 


Evening    Programs 


NBC 

MBS 

ABC 

CBS 

6:00 

Local    Program 

lackson  &  The 

6:45 

Three  Star  Extra 

Bill  Stern,  Sports 

Lowell  Thomas 

7:00 

Alex   Dreier, 

Fulton    Lewis,   Jr. 

Ed  Morgan,  News 

News  Analysis 

7:15 

Man  On  The  Go 

America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 

Quincy  Howe 

LeSeuer 
7:05  Curt  Mas 

7:30 

News  Of  The  World 

Gabriel   Heatter 

Events  Of  The  Day 

Bing  Crosby 

7:45 

One  Man's  Family 

Eddie  Fisher 

7:55  News 

Edward  R.  Mu 

8:00 

People  Are  Funny 

Treasury  Agent 

The  World  And  You 

My  Son,  Jeep 

8:15 

8:25  News 

Johnny  Dollar 

8:30 

Dragnet 

Squad   Room 

Bishop   Sheen 
8:55  News 

Suspense 

9:00 

News 

News,   Lyle  Van 

Sound  Mirror 

News,  Herman 

9:05   Biographies 

9:05  World  Of  Sports 

9:05  Jack  Car. 

In  Sound 

9:15 

Dateline  Defense 

9:25  News 

9:30 

Army  Hour 

Offbeat 

Amos  'n'  Andy 

9:45 

9:55   News 
Personality 

Music  Hall 

10:00 

Fibber  McGee  & 
Molly 

Virgil  Pinkley 

Vandercook,  News 
10:05  Three  Suns 

Dance  Band 

10:15 

10:20  J.  C.  Harsch 

Men's  Corner 

10:25  News 

10:30 

Night  Life  With 
Ken  Nordine 

Dance  Music 

Take  Thirty 

Wednesday 


6:00 
6:45 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 
10:30 


6:00 
6:45 


7:00 
7:15 


7:30 
7:45 


Three  Star  Extra 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 
Gabriel    Heatter 
Special  Edition 


Truth  Or 

Consequences 
Radio  Specials 
8:55  News 


You  Bet  Your  Life 
-Groucho  Marx 

X  Minus  One 

9:55   Travel    Bureau 


Fibber  McGee  & 

Molly 
10:20  This  Is 

Moscow 
Keys  To  The  Capitol 


Thursday 


Three  Star  Extra 


Evening    Programs 

Program 

Bill  Stern,  Sports 


Gangbusters 
Public  Prosecutor 


News,  Lyle  Van 
9:05  World  Of  Sports 
Front  Page  Exclusive 
Family  Theater 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 
10:30 


6:00 
6:15 
6:45 


Virgil   Pinkley 
Success  Story,  U.S.A. 
Sounding   Board        Relaxin'  Time 
Evening    Programs 

Local  Program 


Ed  Morgan  News 
Quincy  Howe 


Events  Of  The  Day 
7:55  News 


The  World  And  You 
8:25  News 
Your  Better 
Tomorrow 


Sound  Mirror 
9:25  News 

Offbeat 
9:55  News 
Personality 


Vandercook,  News 
10:05  Pabst  Fights 


Jackson  &  The 
Lowell  Thoma 


News,  LeSeue 
7:05  Curt  Ma 


Bing  Crosby 
Edward    R.    M 


My  Son,  Jeep 
Johnny   Dollar 
FBI  In  Peace 
War 


News,  Hermai 
9:05  Jack  Ca 

Amos   V   Am 

Music  Hall 

9:55  News,  1 


Newsmakers 
Presidential 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Great  Gildersleeve 
The  Goon  Show 


News 

9:05  American 

Adventure 
Conversation 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 
9:15 


9:30 
9:45 


10:00 
10:15 


10:30 


Fibber  McGee  & 

Molly 
10:20  Carling  Con 

servation  Club 
Jane    Pickens   Show 


Friday 


Joseph  C.  Harsch 
Three  Star  Extra 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 
Gabriel  Heatter 
Eddie  Fisher 


Official  Detective 
Crime  Fighter 


News,  Lyle  Van 
9:05   World  Of  Sports 
Book  Hunter 
State  Of  The  Nation 


Virgil  Pinkley 
Here's  Hayes 
Music  For  You 


Jackson  &  Tin 
Bill  Stern,  Sports     "Lowell  Thorn. 


Ed  Morgan,  News 
Quincy  Howe 


Events  Of  The  Day 
7:55  News 


The  World  And  You 
8:25  News 
YourBetterTomorrow 


Sound  Mirror 

9:25  News 
Offbeat 
9:55  News 
Personality 


Vandercook,  News 

10:05  Three  Suns 
10:25  News 
Platterbrains 


News  Analysi 

LeSeuer 
7:05  Curt  Ma 

Bing  Crosby 
Edward  R.  M 


My  Son,  Jeei 
Johnny  Dolla 
21st  Precinc 


News,  Herma 
9:05  Jack  Cai 


Amos   V   An 
Music  Hall 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One   Man's   Family 


8:05  National  Radio 
Fan  Club 


NBC    Job    Clinic 
9:05  Radio  Fan  Club 
(con.) 


9:55  News 


Cavalcade  Of  Sports 

10:25  Sports  Digest 
Fibber  McGee  & 
Molly 


Evening    Programs 

Local  Program 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 
Gabriel  Heatter 
Special   Edition 


Counter-Spy 
City  Editor 


News,  Lyle  Van 
9:05  World  Of  Sports 
American  Travel 

Guide 
Double  Date 


Virgil   Pinkley 
Forbes  Report 

Music 


Bill  Stern,  Sports 


Ed  Morgan,  News 
Quincy  Howe 


Events  Of  The  Day 
7:55  News 


The  World  And  You 
8:25  News 
YourBetterTomorrow 


Sound  Mirror 


Listen 
9:55  News 
Personality 


Vandercook,  News 
10:05  Three  Sons 
10:25  News 
Vincent  Lopez 


Dance    Orche 


Jackson  &  Th 
Lowell  Thorn 


News  Analys 

LeSeuer 
7:05  Curt  M 

Bing  Crosby 
Edward    R. 


My  Son,  Jeei 
Johnny  Dolla 
CBS  Worksite 


News,  Collin 
9:05  Jack  Ca 


Amos  V  An 
Music  Hal 


Dance  Orche 


I 


nside  Radio 


Saturday 


NBC 


MBS 


ABC 


CBS 


lor 

30 
45 

ning    Progra 

World   News 
Roundup 

ms 

Local  Program 

Van  Voorhis,  News 
8:35  Doug  Browning 
Show 

News 

:00 
15 
,30 

:45 

This  Farming 

Business 
Monitor 

No  School  Today 

News  Of  America 
Farm  News 

Garden  Gate 

:0O 
:15 
:30 

:45 

Monitor 

Good  News 

No  School 

Today  (con.) 
Moppets  &  Melody 
10:55  News 

News,  Jackson 
10:05  Galen  Drake 
Show 

.00 
15 

:30 
:45 

Monitor 

Lucky  Pierre 

Musical    Wheel     Of 
Chance 

News 

11:05  Inner  Circle 

Van  Voorhis,  News 

11:35  All  League 
Clubhouse 

News,  Calmer 
11:05  Robert  0. 
Lewis  Show 

lie 

:30 
;15 

:30 
:45 

rnoon    Progr 

National  Farm  & 
Home   Hour 

Monitor 

a  ins 

Teenagers,  USA 

News 

12:05  World  Tourist 
101    Ranch  Boys 
Van  Voorhis,  News 
12:35   American 
Farmer 

News,  Jackson 
12:05  Romance 

Gunsmoke 

12:55  True  Theater 

:0O 

ilS 

:30 
:45 

Monitor 

Magic  Of  Music, 
Doris  Day 

Symphonies   For 
Youth 

News 

1:05  Navy  Hour 

It's  Time 
1:35  Shake  The 
Maracas 

News,  Jackson 
1:05   City   Hospital 

Kathy  Godfrey 

:00 

:15 

:30 

:45 

Monitor 

Youth  Symphonies 
(con.) 

Fifth  Army  Band 

Metropolitan    Opera 

News,  Townsend 
2:05    Adventures    in 

Science 
Antonini's  Serenade 
Orchestra 

:00 
:15 

:30 
:45 

Monitor 

Country  Jamboree 

Opera  (con.) 

News,  Bancroft 
3:05  Richard  Hayes 

Show 
Treasury  Show 

:00 
:15 
:30 
:45 

Monitor 

Standby,  Sports 
Roundup-Wismer 

Opera  (con.) 

News,  Church 

4:05  Treasury  Show 

Make  Way  For  Youth 

:00 
:15 

:30 
:45 

Monitor 

Standby,  Sports 
Roundup— Wismer 
(con.) 

Opera  (con.) 

News,  Cochran 
5:05  Orchestra 
Saturday  At  The 
Chase 

vening    Programs 


:00 

Monitor 

John  T.  Flynn 

News 

6:05  Pan-American 

News,  Cioffi 
6:05  New  Orleans 

:1b 

Union 
6:25   It's   Time 

Jazz  Band  Ball 

:JU 

Report  From 
Washington 

Sports  Kaleidoscope 

Young  Ideas 

:4b 

Bob  Edge,  Sports 
Afield 

:00 

Monitor 

Pop  The  Question 

News 

News,  LeSeuer 

:1b 

7:05  At  Ease 
7:25    It's   Time 

7:05  Juke  Box  Jury 

:JU 

The  Big  Surprise 

Inspiration  Please 

Labor-Management 

:4b 

Series 

:00 

Monitor 

True  or  False 

News 

News,  Jackson 

:1b 

8:10  Dance  Party 

8:05  Country  Style 

:3U 

Quaker  City  Capers 

Van  Voorhis,  News 
8:40  Dance  Party 

:4b 

(con.) 

8:55  Sports 

:00 

Monitor 

1  Ask  You 

News 

9:05  Dance  Party 

News,  Collingwood 
9:05   Philadelphia 

:  ib 

(con.)    • 

Orchestra— Eugene 

:-<U 

Grand  Ole  Opry 

Lombardoland,  U.S.A. 

Van  Voorhis,  News 

Ormandy 

:4b 

National  Jukebox 

iOO 

Monitor 

Oklahoma  City 

News 

News 

Symphony 

10:05  Hotel  Edison 

10:05  Basin  Street 

:1b 

Orch. 

Jazz 

;JU 

Van  Voorhis,  News 
10:35  Lawrence  Welk 

Orchestra 

Sunday 


NBC 


Morning    Programs 


MBS 


ABC 


CBS 


8:30 

Monitor 

Sunday  Melodies 

Renfro  Valley 

8:45 

8:55  News 

8:55  Galen  Drake 

9:00 

World  News  Roundup 

Wings  Of  Healing 

Bible  Study  Hour 

World  News  Roundup 

9:15 

Monitor 

9:25  Voice  Of 

The    Music    Room 

9:30 

Back  To  God 

Prophecy 

Church    Of   The    Air 

9:45 

Art  Of  Living 

10:00 

National   Radio 

Radio  Bible  Class 

News 

News 

10:15 

Pulpit 

10:05  Message  Of 
Israel 

10:05    Invitation  To 
Learning 

10:30 

Monitor 

Voice  Of  Prophecy 

News 

The  Leading  Question 

10:45 

10:35  College  Choir 

11:00 

Monitor 

Frank  And  Ernest 

Van  Voorhis,  News 
11:05    Marines    On 
Review 

News 

11:05    E.    Power 
Biggs 

11:15 

Christian  Science 
Monitor 

UN  Report 

11:30 

11:35  New  World 

Northwestern 

News 

Salt  Lake  Tabernacle 

Reviewing  Stand 

11:35  Christian  In 

Choir 

11:45 

Action 

Afte 

12:00 

12:15 
12:30 

12:45 

rnoon    Progr 

Monitor 

The  Eternal  Light 

ams 

As  1  See  It 

News,  Bill  Cunning- 
ham 
Christian  Science 

It's  Your  Business 

As  We  See   It 
Herald  Of  Truth 

News,   Robert  Trout 
12:05  Washington 

Week 
World  Affairs 
Guy  Lombardo  Time 

1:00 

1:15 
1:30 
1:45 

Monitor 

Front  Page 

1:05    How  Christian 

Science  Heals 
Merry  Mailman 
Lutheran   Hour 

Dr.  Wm.  Ward  Ayers 

News 

1:35    Pilgrimage 

Woolworth    Hour- 
Percy    Faith, 
Donald  Woods 

2:00 
2:15 
2:30 
2:45 

The  Catholic  Hour 
Monitor 

Festival  Of  Opera 

Dr.  Oral  Roberts 
Wings  Of  Healing 

News 

Symphonette 
New  York  Philhar- 
monic-Symphony 

3:00 
3:15 
3:30 
3:45 

Monitor 

Opera  (con.) 

Dr.  James  McGinlay 
Billy  Graham 

Symphony  (con.) 

4:00 
4:15 
4:30 
4:45 

Monitor 

Complete    Opera 

(con.) 
Wismer,    World    Of 

Sports 

Old-Fashioned 
Revival  Hour 

News 

4:05   Music   On  A 
Sunday  Afternoon 

5:00 

5:15 

5:30 
5:45 

Monitor 

5:05  Your  Nutrilite 
Radio  Theater 

Wismer,    World    of 
Sports  (con.) 

Wild  Bill  Hickok 

Holiday   For  Strings 

5:25  Van  Voorhis, 

News 
Greatest  Story  Ever 

Told 

News 

5:05  Indictment 

Fort  Laramie 

Evening    Programs 


6:00 

Meet  The  Press 

Walter  Winchell 

Monday  Morning 
Headlines 

News 

6:05  Gene  Autry 

6:15 

Tomorrow's 
Headlines 

Paul  Harvey,  News 

6:30 

Monitor 

On  The   Line,   Bob 
Considine 

News 

6:35  Evening  Comes 

Gunsmoke 

6:45 

Sports 

6:55  Tremendous 
Trifles 

7:00 

Monitor 

By  The   People 

News 

7:05  Showtime 
Revue 

News  Analysis 
7:05  Bergen- 
McCarthy  Show 

7:15 

George  E.  Sokolsky 

7:30 

Pan-American 

News 

7:45 

Panorama 

Travel  Talk 

8:00 

Monitor 

Hawaii  Calls 

America's  Town 
Meeting 

News 

8:05  Our  Miss 

8:15 

Brooks 

8:30 

Bonsoir  Paris 

Two  For  The  Money 

8:45 

9:00  [Monitor 

Wm.  Hillman,  News 

Overseas  Assignment 

News 

9:05   Music   Hall, 

9:15 

Dick  Joseph, 
World  Traveler 

Lifetime  Living 

Mitch  Miller 

9:30 

Manion  Forum 

Van  Voorhis,  News 
9:35  Sammy  Kaye 

9:45 

- 

Keep  Healthy 

9:55  News 

9:55  John  Derr, 
Sports 

10:00    Monitor 

Billy  Graham 

News,  E.  D.  Canham  News 

10:15 

Richard  Hayes  Sings  10:05  Face  The  Na- 
tion 

10:30 

American  Forum 

Global   Frontiers 

Revival  Time 

Church  Of  The  Air 

See   Next   Page- 


23 


TV  program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  MARCH  8— APRIL  4 


Monday  through  Friday 


7:00  ©  Will   Rogers,  Jr.— Mild   &  mannered 

©  Today — Gargle  with  Garroway 
8:00  0  Captain    Kangaroo— Great   for    kids 

©  Tinker's   Workshop— For   kids,   too 
8:55  0  George  Skinner    Show— Variety 
9:00  ©  Herb  Sheldon-With  Jo  McCarthy' 
0  Romper   Room— More  for   kiddies 
10:00  0  Garry  Moore— Lively  for  adults 

©  Ding  Dong  School— For   kids  3  to  5 
0  Tune  Any  Time— 3  continuous  show- 
ings of  feature  films  to  4  P.M. 
10:30  0  Godfrey  Time— Simulcast  except  Fri. 
©  Ernie   Kovacs— 30   desperate   minutes 
0  Claire  Mann— Glamorizing  expert 
11:00  ©  Home— Arlene  Francis,   femcee 
11:15  0  Life   With    Elizabeth— A    sweetheart 
11:30  0  00  Strike   It  Rich— Quiz  for  needy 
12:00  0  Valiant   Lady— Flora   Campbell   stars 
©  Tennessee  Ernie— With  Molly  Bee 
©  Johnny  Olsen— Hour  of  fun  &  frolic 
12:15  0  00  Love  Of  Life— Stars  Jean  McBride 
12:30  0  00  Search  For  Tomorrow— Serial 
©  Feather  Your   Nest— Bud   Collyer 
0  Memory  Lane— Joe   Franklin   joggin' 
12:45  0  00  Guiding   Light— Ellen    Demming 
1:00  0  Jack   Paar  Show— &  Martha  Wright 
©  One  Is  For  Sheldon— Herbie's  happy 
1:30  0  Love  Story— Jack  Smith  emcees 
©  Sky's    The    Limit— Hi-flyin'    quiz 
O  Afternoon  Show— Hollywood  films 
2:00  0  Robert  Q.   Lewis— Shakes  well 

©  Richard   Willis— Facial    renovator 
2:30  0  00  Art  Linkletter's  House  Party 

©  Jinx    Falkenburg— Pretty   talkin' 
3:00  0  00  Big  Payoff— Mink-lined   quiz 
©  Matinee  Theater— Hour  dramas 
0  00  Film   Festival— British   films 
0  Ted  Steele— Songs,  talk,  laughs 
(ft  Dione   Lucas— Knows  what's  cookin' 
3:30  0  Bob  Crosby  Show— Swings  out 

(ft  Candid  Camera— Fun   with   Funt 
4:00  0  00  Brighter    Day— Blair    Davies   stars 
©  Date  With  Life— Logan   Field,  editor 
©  Wendy  Barrie— Vivacious 
4:15  0  00  Secret   Storm— Peter    Hobbs   stars 
4:30  0  On    Your   Account— Dennis   James 

©  Queen  For  A  Day— Jack   Bailey 
4:45  0  Letter  To  Lee  Graham— Never  dull 

EARLY  EVENING 

5:00  ©  [s]  Mickey  Mouse  Club-For  kids 
5:30  ©  Howdy  Doody— A  children's  favorite 
6:00  0  News,   Weather,   Sports 
6:30  ©  Patti    Page— Tues.   &   Thurs.    only 
7:00  0   (ft  News 

©Kukla,  Fran  &  Ollie-Whimsical 
7:15  ©  Tex   McCrary— Interviews  MIPs 

0  John   Daly,   News— Erudite 
7:30  ©  00  Songs— Tony   Martin,  Mon.;   Dinah 
Shore,  Tues.,  Thurs.;  Eddie  Fisher,  Wed.,  Fri. 
©Million    Dollar    Movie— Mar.    5-11, 
"Steel  Trap,"  Joseph  Cotten,  Teresa  Wright; 
Mar.  12-18,  "True  &  False,"  Signe  Hasso. 
7:45  ©  News   Caravan— Swayze's   suave 

LATE   NIGHT 
10:00  0  Million  Dollar  Movies     See730PM 
11:00  0    ©   ©   (ft  News   &   Weather 
11:15  0  The  Late  Show— Feature  films 
11:20  ©  Steve  Allen  Show— A  romp 


Monday  P.M. 


7:00  ©  Highway    Patrol-Brod    Crawford 
7:30  0  Robin   Hood— Richard   Greene 
T  O  Topper— Comedy  of  errors 

V  (ft  Susie— Ann  Sothern   reruns 

R         8:00  0  Burns  &  Allen— George  vs.  Gracie 
©  Caesar's  Hour— Sid   with    Nanette 
Fabray.  April  2,  Producers'  Showcase 
g^  OS  Digest    Drama— Gene    Raymond 


(ft  Public  Defender— Reed  Hadley  stars 
8:30  0  Godfrey's   Talent  Scouts— Variety 

0  00  Voice   Of   Firestone— Concerts 
9:00  ©  00  I  Love  Lucy-Desi  has  a  ball 

©  The  Medic— Forceful   drama 

©  Boxing— 2   hrs.  from   St.   Nicholas 

0  Dotty  Mack  Show— Musicmimics 
9:30  0  December  Bride— It's  almost  Spring 

©  Robert  Montgomery   Presents 
10:00  0  00  Studio  One— Hour-long  dramas 

O  Dangerous  Assignment— Donlevy 
10:30  ©  Douglas  Fairbanks—Intriguing  tales 

O  Boris    Karloff— Scotland    Yard    yarns 


Tuesday 


7:00  ©  Gildersleeve-Willard   Waterman 

7:30  0  Name  That  Tune— Tinkle  of  $$$ 
0  Waterfront— Preston    Foster   stars 
0  00  Warner  Bros.  Presents— Films 

8:00  0  Phil   Silvers  Shows-Bilko's  grando 
©  Milton  Berle,  Mar.  13  &  Apr.  3;  Bob 
Hope,  Mar.   20;   Martha    Raye,  Mar.   27; 
Dinah  Shore,  Apr.  10 

8:30  0  Navy  Log— True  tales  of  U.S.  Navy 
0  (JO  Wyatt  Earp-Hugh  O'Brian,  hero 

9:00  0  Meet  Millie-Gay  Elena  Verdugo 
©  Jane  Wyman's  Fireside  Theater 
0  00  Danny  Thomas— Fine  &   Danny 

9:30  0  Red  Skelton  Show— Daffy 

0  Playwrights    '56— Circle    Theater 
0  00  Cavalcade  Theater— True   drama 
10:00  0  Inj  $64,000   Question— Hal   March 

0  Conrad  Nagel  Theater— Live 
10:30  0  Do  You  Trust  Your  Wife?—???? 
©  Big  Town— Mark  Stevens  stars 
0  Where   Were   You?-Ken   Murray 


Wednesday 


7:30  0  Brave    Eagle— Of  Indian   bravery 
©  Movie   Night— Double  features 
0  00  Disneyland— Fantasy   &   fable 

8:00  0  Godfrey  &  Friends— Red's  revue 
©  Screen   Directors'  Playhouse 

8:30  ©  Father   Knows    Best— Robert   Young 
©  00  M-G-M    Parade— Revamped 
CD  Badge   714-Vintage  Jack    Webb 

9:00  0  The    Millionaire— Starring    $$$ 

©  Kraft  Theater— Highly  recommended 
O  Masquerade  Party— A  treat 

9:30  0  I've  Got  A  Secret— Garry  Moore 
©  Project  20— Mar.  14  only,  "The 
Twisted  Cross,"  a  story  of  Hitler 

©  00  Break    The   Bank— Quiz   for   cash 
10:00  0  U.S.  Steel-20th   Century-Fox 
©  This  Is  Your  Life— Surprise  bios 
O  00  Wednesday    Night    Fights 
10:30  ©  Annual  Oscar  Awards,  Mar.  21 


Friday 


Thursday 


7:30  ©  The  Goldbergs— Gertrude  Berg  stars 

8:00  0  Bob  Cummings  Show— Forceful 
©  Groucho    Marx— Quipmaster 
O  |  *"]  Bishop    Fulton   J.   Sheen— Talks 

8:30  0  Climax— Suspense    drama.    Shower 
Of  Stars,  Mar.  15 

©  Dragnet— New  look  Marjie  Millar 
©  Secret  Files,  USA— Robert  Alda  stars 
O  U]  Stop    The    Music— Parks    perkin' 

9:00  ©  People's   Choice— Jackie    Cooper 
0  Wrestling— Live  with  grunts 
©  00  Star  Tonight-  Dramatic  series 

9:30  0  Four  Star  Playhouse— Stories 
©  (00  «"t   10:00)   Ford  Theater 
©  00  Down  You  Go— Dr.  Bergen  Evans 
10:00  0  Johnny  Carson— Medium-rare  humor 
©  Lux  Video  Theatre— Hour  dramas 
©  Music  From  Meadowbrook— Flana- 
gan's men 
10:30  0  Quiz  Kids— Fadiman  is  moderator 
©  Racket   Squad— Handsome    Hadley 


7:30  0  Champion— About   a    horse 
©  Rin  Tin  Tin— A  dog's  day 

8:00  0  Mama-Peggy  Wood   charms 

©  Truth  Or  Consequences— Wow! 
©  Sherlock  Holmes— Private  eye 
O  00  Ozzie  &  Harriet— Great! 

8:30  0  Our  Miss   Brooks— Connie's  cookin' 
©Life  Of  Riley— Bill  Bendix  comedy 
©  00  Crossroads— About  clergymen 

9:00  0  The  Crusader— About  Red  menace 
©  Big   Story— Headline  dramas 
O  Dollar  A  Second— Jan  Murray  quiz 

9:30  0  Playhouse  Of  Stars-On  film 

©  Star  Stage— Half-hour   play   series 
O  00  The  Vise— Tight  &  suspenseful 
10:00  0  The   Line-Up— Frisco   police  in   action 
©  Boxing— With  Jimmy  the  Powerhouse 
©  The  Hunter— Defender  of  innocent 
©  Ethel  &  Albert— Male  vs.  female 
10:30  0  Person   To   Person— Visit  the  famed 


Saturday 


3:00  ©  Basketball-Mar.     10,    Globetrotters; 

Mar.  17  &  24,  Natl.  Invitation  Tournament 
7:00  ©  Gene  Autry  Show— Shoot-em-ups 
©  Henry   Fonda    Presents— Drama 
O  Step  This  Way— Dance  contest 
7:30  0  Beat  The  Clock— Stunts  for  prizes 
©  The  Big  Surprise— $100,000  quiz 
8:00  0  00  Stage  Show— Dorsey  Brothers 
©  Perry  Como  Show— Hour  revue 
8:30  0  00  The  Honeymooners— Gleason 
9:00  0  Two    For   The    Money— Shriner   quiz 
©  People  Are  Funny— Except  Mar.  17, 
9-10:30,  Presentation  of  Emmy  Awards 
©  00  Lawrence  Welk— Pop  music 
9:30  0  It's    Always    Jan-Except    Mar.     10, 
"High   Tor,"   Bing   Crosby  on   Star  Jubilee 
0  Durante   Show— The   Schnoz 
10:00  0  Gunsmoke— Taut  from   Texas 

©  George  Gobel— Gobs  of  Gobel 
O  Life  Begins  At  80— Barry 
10:30  0  Damon   Runyon  Theater— Stories 
©  Your  Hit  Parade— Top  tunes 


Sunday 


11:00-Noon  ©  Easter  Parade— April  1 
2:30  ©  Richard   III— Mar.   11,  film   premiere 
3:00  ©  NBC  Opera-"War  &  Peace,"  Apr.  8 
4:00  0  Front  Row  Center— Live,  hour-dramas 
©  Maurice    Evans    Presents— "Taming 
Of  Shrew,"  Lilli  Palmer,  March   18;  Mar.  25 
&  Apr.  1,  Wide  Wide  World 
5:00  0  Omnibus— Distinguished 

©  Super  Circus— Jerry  Colonna 
6:00  ©  Meet  The    Press— Celebrities  fried 
6:30  0  00  Yo°   Are  There— History  alive 

0)  Life   With   Father— Leon   Ames 
7:00  0  Lassie — The   canine   pin-up   queen 
0  It's  A  Great  Life— Dunn's  fun 
O  00  You  Asked  For   It— Art  Baker 
7:30  0  00  Jack  Benny— Alternates  with  Ann 
Sothern's   Private   Secretary 

©  Frontier— Adult  Westerns  except  Mar. 
25,  7:30-9,  Max  Liebman  Presents 
"Heaven  Will   Protect  the  Working  Girl." 
©  Famous  Film   Festival— Screen   hits 
8:00  0  00  E«l   Sullivan— Easter   in   Hollywood 

©  NBC  Comedy  Hour— Jokers  wild 
9:00  0  G-E   Theater— Ronald    Reagan,   host 
©  Television   Theater— Fine,   full    hour 
O  00  Chance  Of  A  Lifetime— Variety 
9:30  0  Alfred  Hitchcock  Presents— Drama 
©  00  Original  Amateur  Hour 
10:00  ©  Loretta  Young  Show— Stories 
10:30  0  00  What's  My  Line?— Job   game 

©  Justice— Based   on   Legal   Aid   Society 


Lustre  -  Creme 
Shampoo... 


Cream  or  Lotion 


Never  Dries 

it 


"Yes,  I  use  Lustre-Creme 
Shampoo,"  says  Doris  Day. 
It's  the  favorite  of  4  out  of  5  lop 

Hollywood  movie  stars! 

It  never  dries  your  liair!  Lustre- 
Creme  Shampoo  is  blessed  vvilli 
lanolin  .  .  .  foams  into  rich  lather, 
even  in  hardest  water  .  .  .  leaves 
hair  so  easy  to  manage. 

It  beautifies!  For  soft,  bright,  fra- 
grantly clean  hair — without  special 
after-rinses — choose  the  shampoo  of 
America's  most  glamorous  women. 
Use  the  favorite  of  Hollywood  movie 
stars — Lustre-Creme  Shampoo. 


n 


iesi 


'  mSe^C 


■«s*~, 


co-starring  in  ALFRED  HITCHCOCK'S 


"THE  MAN  WHO  KNEW  TOO  MUCH" 


A  Paramount  Picture  in  Vista  Vision. 

Color  by  Technicolor. 


When  visiting  a  hospital,  should  you — 

j  J   Razor  up  Q   Remove  your  shoes  [  ]   Bring  your  buddies 


Warning  to  patient:  beware  creeps  bearing 
gilts!  Even  it  tbey're  his  bosom  cronies, 
they'd  best  sharpen  up  on  hospital  p's  and 
q's.  Do  you  arrive  with  fragile  posies  re- 
quiring daily  care?  Goodies  that  need  special 
heating,  or  ice?  Spare  the  harried  nurses! 
Bring  a  plant,  a  book,  or  ice  cream.  P.  S.:  the 


considerate  visitor  doesn't  smoke  without 
permission  .  .  .  doesn't  sit  on  the  bed.  Rules 
are  lor  patients'  comfort,  quick  recovery. 
And  for  your  own  comfort  (at  calendar  time) 
choose  Kotex* — get  softness  that  holds  its 
shape,  doesn't  chafe.  You  see,  this  napkin  is 
the  one  made  to  stay  soft  while  you  wear  it. 


*-?  The 


Would  he  rate  your  sense  of  humor — 

|    |    Witches'  brew  Q   Trustworthy 

I  ]   From  outer  space 

You  know  the  girl  with  the  lethal 
(hyena  brand)  at  someone's  expense? 
gossip,  as  she  tells  it,  does  get  laughs.  Trouble 
is,  her  dates  feel  uneasy,  wonder  who's  next, 
and  shy  away.  Boys  prefer  a  brand  o(  humor 
they  can  trust.  On  certain  days,  you  can  stay 
at  ease  with  the  sanitary  napkin  brand  that 
gives  trustworthy  protection  .  .  .  the  complete 
absorbency  you  need.  That's  Kotex!  And  you 
can  wear  Kotex  on  either  side,  safely. 


To  intrigue  a  new  date,  try — 

I    |   Eye  matching  j  ]   Eye  catching 

|  []    Boosting  your  Eye-Q 

Out  to  rack  up  another  eager  heart?  Here's 
an  old  feminine  wile  slill  new  and  startling: 
wear  a  dress  in  a  color  that  exactly  matches 
your  eyes.  It's  a  spellbinder  known  to  set 
even  the  worldliest  ticker  off  beat!  You  can 
take  admiring  glances  serenely  at  any  time 
— with  Kotex;  those  flat  pressed  ends  prevent 
revealing  outlines.  And  why  not  try  all  3 
sizes  of  Kotex  to  learn  which  one  ex/telly 
suits  your  needs?    Regular,  Junior,  Super. 


26 


More  women  choose  KOTEX  than  all  other  sanitary  napkins 


Made  for  each  other — Kotex  and  Kotex  sanitary  belts 
—and  made  to  keep  you  comfortable.  Of  strong,  soft- 
stretch  elastic,  they're  designed  to  prevent  curling, 
'cutting  or  twisting.  So  light-weight!  And  Kotex  belts 
i  stay  flat  even  after  many  washings.  Dry  in  a  wink.  Buy 
f     two  belts  .  .  .for  a  change! 


T.  M.  REG.   U.  S,   PAT.  OFF.    K-C  CORP. 


INFORMATION 


(Continued  from   page   12) 


Sharpshooting  Grandma 

U  ould  you  please  give  me  some  infor- 
mation about  Harry  Lauter,  ivho  stars  as 
Clay  Morgan,  in  Tales  Of  The  Texas 
Rangers,  on  CBS-TV? 

T.C.,  Bruceton  Mills,  W.  Va. 

The  star  who  plays  the  sidekick  and 
right-hand  man  to  Ranger  Jace  Pearson 
on  the  adventure  series.  Tales  Of  The 
Texas  Rangers,  received  training  for  his 
role  at  a  very  early  age.  And  his  teacher 
was  his  own  grandma!  .  .  .  Harry  Lauter 
was  born  in  Denver.  Colorado,  on  June 
19.  1924.  During  his  young  years,  he  was 
brought  up  by  a  very  vigorous  personality 
who.  with  her  husband,  was  one  of  the 
outstanding  circus  aerial  teams  of  their 
time.  She  was  also  an  excellent  horse- 
woman and  a  "deadshot"  with  a  pistol. 
This  robust  woman.  Harry's  grandmother, 
tauglrt  him  these  skills  so  well  that,  at  the 
age  of  13.  he  sat  a  horse  better  than  a 
saddle  did  and  could  put  a  pistol  shot 
through  a  half-dollar  at  30  yards.  .  .  . 
At  fourteen.  Harry  moved  with  his  father, 
an  artist,  to  San  Diego.  California,  where, 
while  attending  San  Diego  High  School, 
he  picked  up  spending  money  working 
weekends  at  a  local  riding  academy  and 
working  with  rodeos  passing  through 
town.  .  .  .  After  three  years  in  the  Army. 
Harry  decided  on  an  acting  career.  He 
arrived  in  New  York  in  1946  and  began 
the  rounds  of  casting  offices.  Finally,  he 
landed  a  small  part  on  Broadway  in  "The 
Story  of  Mary  Surratt."  starring  Dorothy 
Gish.  The  following  year,  he  headed  for 
Hollywood  and  joined  the  Geller  Theater 
Workshop.  .  .  .  His  introduction  to  motion 
pictures  came  in  1948  when  he  landed  a 
featured  part  in  "Jungle  Patrol."  This 
paved  the  way  for  more  films  and  for  tele- 
vision. Harry  feels  his  best  motion  picture 
role  was  as  the  "heavy"  in  "Yankee 
Pasha."  More  recently  he  was  seen  in  the 
Fred  MacMurray  starrer.  "Gun  Point." 
.  .  .  Brown-haired  and  blue-eyed.  Harry 
stands  six-feet-two-inches  high  and  tips 
the  scales  at  185.  He  was  married  in  1946 
to  Barbara  Jane,  an  actress.  They  have  a 
six-year-old  daughter.  Brooke  Elizabeth. 

At  Home  On  All  Ranges 

We  would  like  to  know  more  about 
Carol  Richards,  who  sings  on  the  Bob 
Crosby   Show  over  CBS-TV. 

H.  &  B.  Forsberg,  Knoxville,  Pa. 

Titian-haired  Carol  Richards,  who  has 
a  two-and-a-half  octave  range,  says  she 
sings  classical  songs  in  the  high  range, 
uses  the  mid-range  for  pop  and  the  low 
for  sexy.  No  matter  what  range  Carol 
uses,  she  always  sounds  at  home  on  it. 
.  .  .  The  poised  chanteuse  has  come  a  long 
way  from  the  days  she  wept  bitter  tears 
before  an  audience.  She  was  four  years 
old  and  "when  they  asked  me  to  sing  the 
song  again."  she  recalls,  "I  thought  they 
meant  I  didn't  sing  it  right  the  first  time!" 
.  .  .  Carol,  whose  parents  sang  in  the 
church  choir  and  amateur  productions, 
was  born  in  Harvard.  Illinois.  Her  juve- 
nile  career    almost    ended    when    she   was 


BOOTH 


Carol  Richards 


nine,  because  of  a  display  of  temperament 
against  a  bandleader  whose  arrangements 
she  thought  needed  improvement.  .  .  . 
Temperament  or  no — Carol  had  talent. 
And,  at  15,  she  went  on  to  vocalize  at  an 
Indianapolis,  Indiana  radio  station.  Mean- 
while, she  continued  her  formal  education, 
studied  dramatics,  sang  in  the  girls'  glee 
club,  edited  her  high-school  paper,  made 
the  debating  team  and  was  president  of 
her  junior-year  class.  .  .  .  The  big  chance 
dame  when  she  won  a  contest  on  Bob 
Hope's  show  during  his  engagement  in 
Minneapolis.  It  was  a  big  day  for  the 
petite,  hazel-eyed  songstress.  Bob  liked 
her  performance  so  much  that  he  brought 
her  to  Hollywood  to  guest  on  his  show. 
She  went  on  to  be  featured  on  the  Edgar 
Bergen  Show,  Lux  Radio  Theater,  Stars 
Over  Hollywood  and  her  own  network 
show.  ...  As  a  recording  artist,  Carol  has 
made  four  platters  with  Bing  Crosby,  in- 
cluding "Silver  Bells"  and  "Sunshine 
Cake."  Her  record  albums  include  "Call 
Me  Madam,"  "The  Robe"  and  "Briga- 
doon."  ...  In  August,  1954,  Carol  joined 
Bob  Crosby  as  a  temporary  replacement 
for  Joanie  O'Brien,  who  had  gone  on  her 
honeymoon.  Audience  reaction  was  so  en- 
thusiastic that  Bob  asked  Carol  to  remain 
with  him.  .  .  .  The  five-foot-three-inch,  110- 
pound  lovely  lives  with  her  two  children 
in  an  unpretentious  three-bedroom  house 
in  North  Hollywood.  A  talented  decorator, 
she  has  paneled  her  living  room  with 
knotty  pine,  papered  her  own  bedroom 
and  created  a  circus  motif  in  her  daugh- 
ters' room.  .  .  .  Her  hobbies  are  sculptur- 
ing and  reading  poetry.  She  likes  to  watch 
football,  enjoys  swimming  and  the  out- 
door life.    But  mostly,  she  loves  to  sing. 

FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  we  can, 
provided  your  question  is  of  general  inter- 
est. Answers  ivill  appear  in  this  column — 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


« 


AT  LAST!  YOU  CAN 

Sfof) 


■fro    your    skin  ! 

•  Ordinary  skin  cleansers  were  never  made 
for  modern  make-ups! 

New-formula  Lady  Esther  4-Purpose  Face  Cream 
is  the  modern  cream  especially  blended 

to  clean,  soften,  refine,  and  protect 
your  complexion  from  the  clogging,  drying, 
aging  effects  of  make-up! 

Try  it  tonight — cream  or  liquid. 
Then  sleep  tight  with  a  radiantly  clean  skin 
safe  from  "make-up  damage." 


purpose 
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27 


^Somi  can  liaie  Thai:  Ivory  Iiook, 
in  jwst  7  days 


Take  a  beauty  tip  from  this  little  angel,  and  you'll  have 

a  heavenly  complexion.  Change  to  regular  care  with  her 
beauty  soap  .  .  .  pure,  mild  Ivory.  Remember,  the  milder 

the  soap,  the  prettier  your  skin  will  be.  In  only  7  days  you'll 
have  that  fresh,  young,  satin-skin  look — That  Ivory  Look. 

99  .00%  pure"     it  floats 


Wash  your  face  regularly  with 
pure,  mild  Ivory.  Mild  enough 
for  baby's  skin — so  right  for 
your  complexion. 


MORE     DOCTORS     ADVISE     IVORY    THAN     ANY     OTHER     SOAP! 


For  Blessings  Received 


Loretta  Young  thanks  God 

for  the  loving  lesson 

her  illness  has  taught  her 

By  BETTY  MILLS 

One  day  last  fall,  a  very  pretty 
girl,  tanned  and  glowing  with 
good  health,  drove  her  sleek 
Cadillac  through  the  gates  of  the 
Samuel  Goldwyn  Studio.  The  gate- 
man  stared  at  her  uncertainly. 
She  drove  directly  to  the  entrance 
to  Stage  6,  braked  her  car  and, 
grinning  brightly,  called,  "Hi,  Har- 
ry!" to  Harry  Keller,  one  of  the 
directors  of  The  Loretta  Young 
Show,  who  was  just  opening  the 
stage  door. 

Keller  turned,  without  a  sign  of 
recognition.  The  girl  kept  her 
smile,  her  huge  gray  eyes  dancing 
with  delight.  As  she  got  out  of  the 
car  and  walked  toward  him,  Kel- 
ler's puzzled  expression  changed  to 
one  of  absolute,  blank  disbelief. 

"Loretta?"  he  ventured  tenta- 
tively— then,  "Loretta!"  he  shouted, 
with  a  smile  as  bright  as  all  the 
sunshine  in  California.  "God  love 
you,  you  look  wonderful!"  Arm  in 
arm,  Loretta  Young  and  Harry 
Keller  went  through  the  stage  door. 

Keller's  reaction  was  only  a 
forecast  of  Loretta's  reception  by 
the  other  members  of  her  show's 
cast  and  crew.  It  was  a  wonderful, 
heartwarming  welcome  for  Loret- 
ta Young,  with  laughter  bubbling 
over  tears  of  happiness. 

Wardrobe  mistress  Carey  Cline, 
appraising  Loretta's  full,  new  fig- 
ure, said,  "You  really  have  put  on 
weight!"     And    now    Loretta    was 


Continued 


Loretta  wishes  she  could  thank — 
in  person — all  those  who  sent  her 
inspiring   letters  while  she  was   ill. 


She  thinks  she's  "fat"  now!  Carey 
Cline,  wardrobe  mistress,  is  only 
grateful  Loretta  is  healthy  today. 


Producer  Bert  Granet  kept  her 
show  going,  as  famous  stars  volun- 
teered  to   substitute   for   Loretta. 


»   K 


\         -^ijSB 


m 


/ 


Back  in  th 
she  loves — 
production- 


e  swing  of  things,  Loretta  revels  in  the  work 
•and  the  backstage  jokes  with  Carey  Cline  and 
staff  members  John  London  and  Nate  Levinson. 


Close  friends  like  Helen  Ferguson — who's  also  her 
public  relations  counsel — know  that  Loretta  is 
a  thoroughbred,  always  eager  to  "race"  again. 


More  plans  and  chatter,  with  two  important  people  on 
The  Loretta  Young  Show — Harry  Keller,  who  directed  her 
return  program,  and  Lowell  Hawley,  one  of  the  writers. 


For  Blessings  Received 

{Continued) 


boastful:  "I  weigh  one  hundred  and  sixteen  pounds,"  she 
announced,  "six  more  than  I  ever  weighed  in  my  whole 
life  before!  Isn't  it  wonderful?  All  my  clothes  have  to  be 
let  out— I'm  fat!" 

But  it  was  early  in  the  dawn  of  November  16,  before 
the  sun  was  more  than  a  promise  in  a  brightening  sky, 
that  Loretta  really  came  "home."  It  was  then  that  she 
sat  before  her  makeup  mirror,  for  the  first  time  in  eight 
months.  Her  makeup  finished,  she  walked  from  her 
dressing  room,  pushed  open  the  heavy  double  doors, 
stepped  briskly  onto  Stage  6  and  entered  her  stage  dress- 
ing room,  where  she  changed  into  the  new  Werle  gown 
she  was  to  wear  for  her  first  entrance. 

All  things  were  as  usual  on  any  Wednesday  morning  on 


30 


Welcome  home!  Norbert  Brodine,  cinematography  director,  shows  Loretta  how  everyone  on  the  set  feels  about  her  return. 


The  Loretta  Young  Show  set — except  that  she  was  there! 
Excitement  was  in  the  air,  despite  the  determination  of 
all  on  hand  to  treat  this  day  like  any  other.  ...  to  treat 
Loretta  as  though  she'd  been  there  all  the  eighteen  weeks 
they'd  been  shooting  without  her. 

At  exactly  ten  minutes  of  nine,  Loretta  calmly  took  her 
place  outside  the  door  of  her  TV  living  room  and  waited 
for  her  cue  to  enter,  in  the  usual  friendly,  familiar  intro- 
duction of  her  show:  The  set  is  Loretta's  living  room. 
She  opens  the  door,  whirls  through  it,  closes  it,  and  walks 
straight  toward  the  camera — straight  into  the  hearts  of 
her  viewing  audience.  ...  In  the  weeks  Loretta  was  ab- 
sent from  her  show  that  door,  symbolically,  had  remained 
closed,  mutely  awaiting  her  return  to  the  series. 


Now,  Harry  Keller  called  "Camera."  And,  sweeping 
through  the  door  on  this  morning,  Loretta  held  her 
breath — as  if  to  distill  this  moment  in  her  memory.  As 
she  had  been  missed,  so  had  Loretta  missed  her  show. 
She  was  thankful  that  God  had  let  her  come  back  to  the 
work  she  loved  so  dearly. 

With  the  TV  lights  shimmering  over  her  emerald  satin 
gown,  she  was  stopped  in  her  tracks  by  the  spontaneous, 
heartfelt  applause  of  the  company.  For  two  full  minutes, 
every  member  stood  and  gave  their  star  an  applauding 
welcome.  The  thunder  of  that   {Continued  on  page  86) 

The  Loietta  Young  Show  is  seen  on  NBC-TV,  Sundays,  10  P.M.  EST, 
as  sponsored  by  The  Procter  &  Gamble  Company  for  Tide  and  Gleem. 


31 


Big  Man-about-HOME 


Hugh  Downs  has  two  "households" : 
One  on  TV — all  women! — arid  one  in 
the  country,  with  his  own  family 

By  WARREN  CROMWELL 


Home — on  NBC-TV:  Hugh  finds  Arlene  Francis  a  fine 
example  of  qualities  he's  always  admired   in   women. 


Home — in  Connecticut:  The  "mere  male"  of  the  femin- 
ine daytime  program  finds  the  sexes  more  equally  bal- 
anced. Son  Hugh  Raymond  takes  the  masculine  view, 
while  daughter  Deirdre  takes  after  her  mother  Ruth! 


It's  not  the  easiest  thing  in  the  world,  being  the  only 
man  in  a  galaxy  of  women — especially  such  tal- 
ented women  as  the  feminine  experts  on  NBC-TV's 
encyclopedic  daytime  program,  Home.  Hugh  Downs, 
the  host  on  the  show  and  general  man-about-Home, 
has  found  it  a  "humbling"  experience  as  well  as  an 
exhilarating  one.  But  it  comes  from  Hugh's  heart 
when  he  says  simply:  "I  love  women." 

"It's  wonderful  to  work  with  the  girls  on  the  show," 
Hugh  adds.  "They're  really  great  people.  And  Arlene 


Francis  is  one  of  the  easiest  people  to  work  with  you 
can  imagine. 

"It  goes  without  saying  that  I've  learned  a  lot  about 
women  from  being  on  the  show.  For  example,  I've 
always  been  a  'single  standard'  man,  myself.  I've  felt 
all  along  that  women  should  be  allowed  to  do  anything 
they  want  to,  in  the  way  of  running  the  world  or 
holding  down  jobs.  Now -I  find  that  there  is  not  only  a 
'double  standard'  so  far  as  men  are  concerned,  but 
with  women,  as  well.    I've    (Continued  on  page   82) 


Hugh  Downs  is  seen  and  heard  on  Home,  NBC-TV,  Monday  through  Friday,  11  A.M.  to  12  noon  EST,  under  participating  sponsorship. 


32 


Hugh    Downs   is   a    man    of   many    interests — on    or   off   the   air — but    Ruth    and   the   youngsters    lead    all   the    rest. 


Father  and  son  find  lots  of  room 
for  adventure — and  plenty  of  wood 
to    chop — in    their    own    territory. 


Hugh's  always  been  proud  of  his 
cooking — isn't  so  sure,  now  that 
he's  met  those  experts  on  Homel 


He  enjoys  explaining  scientific 
matters  to  Deirdre — and,  in  fact, 
to   anyone   who'll   look  and   listen. 


33 


N 


mi 


tmSSt 


mmm 


Y-r 


>■'■:■ 


Melba  Rae  looked  beyond 
the  mountains  and 
found  rainbow's  end,  as 
Marge  Bergman  in 
Search  For  Tomorrow 

By  GREGORY  MERWIN 


Melba,  who  began  collecting  Oriental 
curios  in  the  Far  East,  goes  over  a 
"find"  with  Gil  Shawn,  art  executive. 


She   enjoys  cooking,   adores   picnics, 
loves  to  get  ready  for  a  real  outing. 


fr 


She   paints,    loo,    both   on   the   easel 
and  on  her  furniture — when  necessary. 


No,  not  a  "do-it-yourself"  girl — but  she 
can  always  do  what  has  to  be  done. 


Shelves  above  her  bed  hold  pictures, 
books — and  an  alarm  set  for  6:30  A.M. 


On  her  wrist  is  a  charm  bracelet,  and 
among  the  dangles  is  a  Phi  Beta  Kappa 
key — honoring    the    lady    for    her    brains. 
Next  to  the  key  is  a  gold  wristwatch — 
honoring  the  same  lady  for  her  beauty.   The 
wrist  itself  is  pretty  enough,  but  let's  take 
a  full-length  view  of  Melba  Rae,  in 
person:  She  stands  five-foot-three,  from 
her  size-five  shoes  to  her  auburn  hair.   And, 
in  between,  there's  a  size-eight  figure.   As 
if  this  weren't  enough,  nature  added  an 
extra-special  feature — the  lady  has  genuine 
almond-shaped   eyes  the   color  of  a 
summer  sky. 

Melba  Rae  is  known  to  millions,  for 
she  has  been  Marge  Bergman  in  Search  For 
Tomorrow,  over  CBS-TV,  for  more  than 
four  years.    She  has  come  to  be  loved 
for  herself,  as  well  as  for  the  part  she  plays. 
A  mother  named  her  baby  after  Melba, 
because  she  was   so  taken  with  Melba's 
warmth  and  charm.    Other  parents  write 
about  their  children,  too,  and  send 
her  pictures   of   them. 

"I've  exchanged  dozens  of  letters  with 
some,"  Melba  says.    "People  are  wonderful. 
They  make  you  feel  so  good.    They  tell 
you  that  they  like   (Continued  on  page  70) 

Melba  Rae  is  Marge  Bergman  in  Search  For  Tomorrow. 
over  CBS-TV,  M-F,  12:30  P.M.  EST,  sponsored  by 
Procter  &  Gamble,  for  Joy,  Spic  and   Span,  Gleem. 


Visiting  friends   include  Gil   Shawn,   script  writers   Eileen   and 
Robert  Mason  Pollock,  TV  director  James  Yarbrough  (on  floor). 


35 


George  isn't  a  bit  bashful  about  showing  his  mother 
how  much  he  loves  her,  any  time!  He  thinks  papa  Herman 
Gobel — whom  he  calls  "Herb" — is  just  the  greatest,  too. 


Alice  and  George  Gobel,  all  dressed  up  and  with  some 
place  to  go — taking  their  moms,  Lillian  Gobel  and  Lucy 
Humecke,  to  the  gala  premiere  of  "The  Desperate  Hours." 


The  George  Gobel  Show.  NBC-TV,  three  Sat.  out  of  four,  10  P.M. 
EST,  for  Armour  &  Co.  (Dial  Soap)  and  Pet  Milk  (all  products). 


.. 


His  mother  knows:  George  Gobel 
is  a  very  philosophical  comedian— 
or  is  he  a  humorous  philosopher? 


B 


By  ELSA  MOLINA 


ecause  people  think  of  NBC-TV's  George  Gobel 
only  as  a  comedian,  they  frequently  say  to  his 


mother,  Mrs.  Herman  Gobel,  "I'll  bet  George  keeps 
you  laughing  all  the  time  with  his  clowning." 
However,  according  to  this  woman  who  knows  him 
best,  George  is  a  quiet,  serious  young  man,  a  hard 
worker  whose  philosophy  has  always  been:  "You  only 
get  out  of  life  what  you  give." 

Lillian  Gobel  laughs  at  the  misconception  that 
George  was  an  overnight  success.    "Nothing,"  she 
says,  "could  be  further  from  the  timth.    George  has 
been  a  professional  since  he  was  twelve — and  an 
enthusiastic  amateur  since  three.  .  .  .  But  George 
hasn't  always  been  a  comedian.    Music  was  his  first 
love.   As  a  baby  he  slept  in  a  buggy  alongside  the 
family  piano.   My  folks  were  musical  and  my 
brothers  all  sang  harmony  as  I  played  the  upright. 
They  said  about  George,  sleeping  there  as  he  did, 
'If  he  doesn't  grow  up  to  be  another  Caruso,   it 
will  be  a  miracle.' 

"In  his  free  time,  he  sat  by  the  hour  listening  to  the 
victrola.   His  favorite  song  {Continued  on  page  87) 


Dad  may  not  know  it,  but  Georgia  and  Gregg  realize  he 
is  wasting  his  breath  on  that  sunflower.  And  they're  a 
little  skeptical  about  the  way  George  strums  a  guitar — 
though  wee  Leslie  and  mama  Alice  listen  most  politely. 


36 


1 


"You  Get  What  You  Give" 


37 


Above,  Steve  says  everyone  on  Love  Of  Life  is  "just    i 
great" — definitely  including  director  Larry  Auerbach 
and  lovely  Jean  McBride,  who  is  Meg.   Below,  Steve's 
own  charming  wife,  Judy,  helps  him  rehearse  at  home. 


As  Hal  Craig  in  Love  Of  Life, 

as  Steven  Gethers  in  person,  here's 

one  man  who  knows  what  he  owes 


& 


MeJ/jmaf/ 


Thanks  to  the  encouragement  of  two  women,  Steve 
has  turned  out  to  be  a  successful  playwright,  too. 


Steven  Gethers  is  Hal  Craig  in  Love  Of  Life,  as  seen  on 
CBS-TV,  M-F,  12:15  P.M.  EST,  for  Whitehall  Phar- 
macal    Company,    Boyle-Midway,   Inc.,  Chef   BoyArDee. 


■■j 


Peter,  not  yet  3,  likes  to  "pound 
things,"  would  like  to  be  a  cowboy — 
or  a  monkey,  for  reasons  all  his  own. 
Dad's  only  dream  is  to  play  more  golf. 


Judy — the  girl  he  almost  "missed" — is  the  woman  in  his  life.    But 
he's  glad  to  share  her  with  their  two  lively  boys,   Eric  and   Peter. 


By  FRANCES  KISH 

There's  a  lurking  glint  of  humor  in  Steven  Gethers'  eyes 
which  gives  him  away,  when  you  meet  him  "in  person."  Steve 
could  never  be  the  tough-minded,  tough-hearted  fellow  he 
plays  so  often  .  .  .  not  really  that  fellow,  Hal  Craig,  he  has 
been  for  three  years  now  on  television,  in  the  daytime  dramatic 
serial,  hove  Of  Life.   Steve  acknowledges  that  Craig  is  a  suave 
type  of  villain.  "But,"  he  adds,  "the  guy  has  charm,  too,  along 
with  the  villainy.    He  knows  he  has  appeal  for  women,  and  he 
trades  on  that  to  get  him  out  of  scrapes.    There's  always 
the  feeling  that  someday  he  might  turn  out  to  be  better  than 
he  seems.    It's  what  keeps  him   interesting." 

The  way  Steve  Gethers  came  to  be  this  complex  character 
Craig  is  the  way  most  important  things   (Continued  on  page  72) 


Eric,  at  10,  is  mad  about  baseball, 
wants  to  be  a  player.  He  also  writes 
excellent  verse,  might  grow  up  to  be 
a   writer — or   an   actor — like   his   dad. 


a  D»  it  DBI 


IE 

in 


I.  Off  to  a  heady  start,  Bobby  watches 
as  a  Hawaiian  hat  is  created  for  Spring. 


2.  Then  they  board  a  pirate  galleon  on 
a  Peter  Pan  ride  to  Never-Never  Land. 


Spring  Byington  and 
Bobby  Diamond  visit 
a  wonderworld  of 
fancy-free  enchantment 


Walt  Disney  is  a  dreamer  —  and 
twenty  years  ago  he  first  had  the 
dream  of  building  a  magic  king- 
dom that  would  offer  a  new  and  lavish 
kind  of  entertainment  for  all  the  family. 
The  dream  grew  and  grew  until  it  final- 
ly came  true  as  Disneyland,  a  wondrous 
world  for  the  young  of  all  ages,  located 
in  Anaheim,  California.  .  .  .  Here, 
Disney  created  four  realms — Adven- 
tureland,  Frontierland,  Fantasyland  and 
Tomorrowland — peopled  with  memories 
of  the  past,  real  or  imagined,  and  with 
the  challenge  and  promise  of  the  future. 
He  had  the  young-in-heart  in  mind . . . 
people  such  as  Spring  Byington,  the 
effervescent  star  of  December  Bride, 
and  Bobby  Diamond,  the  all-boy  hero 
of  Fury.  Together,  Spring  and  Bobby 
spent  an  exciting  day  at  Disneyland. 
It  was  a  day  crammed  full  of  the  sights 
and  sounds  of  adventure  and,  as  Spring 
and  Bobby  traveled  from  one  "land" 
to  another,  it  was  impossible  to  say 
which  one  was  having  the  more  fun. 


3.   On    King   Arthur's   carousel,    Bobby 
finds  a  horse  that  reminds  him  of  Fury. 


4.   On    Main   Street,    Spring    registers 
for   Colorado,    Bobby   for   California. 


5.  Sleeping   Beauty's  castle  forms  the 
background  asthey  takethe  Dumbo  ride. 


6.    Before    leaving    Fantasyland,    they 
meet  a  witch  on  the  Snow  White  ride. 


7.  In   Frontierland,   Spring  and   Bobby 
"powwow"   with   Chief  Shooting   Star. 


40 


8.  Before  searching  for  more  adventures,  Spring  and  Bobby  enjoy  lunch  in  sight  of 
the  "Mark  Twain,"  an  authentic  replica,  in  5/g  scale,  of  the  riverboats  of  the  I900's. 


See  Next  Page 


41 


9.  A  little  boy  lost  is  taken  in  hand  by  Bobby  and  Spring, 
who  lead  him  to  Lost  Children  Headquarters — and  his  folks. 


10.  At  Adventureland,  the  "Congo  Queen"  takes  them 
down  a  tropical  river  past  'gators,  rhinos  and  cannibals. 


I  I.  Spring  and  Bobby  couldn't  pass  the  Mickey  Mouse  Thea- 
ter without  stopping  to  see  some  of  Walt  Disney's  cartoons. 


12.  No  traffic  problem  in  Tomorrowland's  Autopia,  where 
Bobby  takes  Spring  for  a  spin  down  a  futuristic  freeway. 


Spring  Byington  stars  as  Lily  Ruskin  in  December  Bride,  CBS-TV.,  Mon.,  9:30  P.M.  EST,  as  sponsored  by  General  Foods  for  Instant  Maxwell 
House  Coffee.  Bobby  Diamond  stars  as  Joey  in  Fury,  NBC-TV,  Sat.,  11  A.M.  EST,  for  the  Post  Cereals  Division  of  General  Foods.  The  show, 
Disneyland,  is  seen  on  ABC-TV,  Wed.,  7:30  P.M.  EST,  sponsored  by  American  Motors  Corp.,  Derby  Foods,  and  American  Dairy  Association. 


42 


>)iW^ 


13.  They  plon  a  trip  to  the  moon  with  "K-7,  Space  Man," 
before  taking  off  on  a  make-believe  excursion  in  a  rocket. 


14.  Going  from  tomorrow  to  yesteryear,  Spring  and  Bobby 
board  a  stage  coach  to  cross  Frontierland's  Painted  Desert. 


15.  Spring  Byington  and  Bobby  Diamond  sight  Disneyland  as  they  end  their  day  on  the  bridge  of  the  Pirate  Ship  restaurant. 


Vicki  adores  answering  the  phone,  says:  "Our 
baby's  fine!"  Thanks  to  Hal's  and  Ruby's  plan, 
she  wants  to  share  everything  with  wee  David. 


Professionally,  Hal  and  Ruby  Holbrook 
have  played  to  thousands,  but  they  staged 
the  most  important  performance  of  their 
lives  for  an  audience  of  one — their  cherished 
daughter  Vicki,  who  will  be  all  of  four  years 
old  this  April.  .  .  .  Viewers  and  listeners  know 
Hal  as  Grayling  Dennis,  editor  of  "The  New 
Hope  Herald"  in  The  Brighter  Day  on  CBS- 
TV  and  CBS  Radio,  a  young  man  constantly 
beset  by  troubles.  In  contrast,  Hal  himself 
displays  a  pleasant  confidence  in  being  well 
able  to  handle  any   (Continued  on  page  77) 

The  Brighter  Day  is  seen  on  CBS-TV,  M-F,  4  P.M.  EST, 
for  Cheer,  Gleem  and  Crisco.  It's  heard  on  CBS  Radio, 
M-F,    2:15    P.M.    EST,    under    multiple    sponsorship. 


NEW   BABY 
TO    SHARE 

With  love  and  skill,  Hal  Holbrook  and 

his  wife  made  a  "brighter  day"  for 

little  Vicki  on  a  most  important  occasion 

By   HELEN   BOLSTAD 


Actress  Ruby  helps  Hal  to  pre- 
pare for  The  Brighter  Day,  in 

which  he  plays  Grayling  Dennis. 


Hal's  enthusiasm  is  Mark  Twain, 
and  he  does  a  remarkable  imper- 
sonation  of  the   great  humorist. 


When  Twain  costumes  proved  too 
costly,  Hal  and  Ruby  whipped  up 
their    own    clever    reproductions. 


..."•■" 

imW^bj'  ,'' 

■PFJV    j  «.-"l;-i   t                   j  'J 

|f 

H^%^*^tV^ 

- 

, 

i    " 

Pat's  still  busy  studying  the  "three 

R's,"  when  not  on  the  Godfrey  shows,  but 

he's  always  known  how  to  sound  an  A ! 

By  MARIE  HALLER 


Today,  young  Pat  Boone  knows  his  way  around 
New  York — and  Tin  Pan  Alley,  too.   He's  a 
college  boy  who's  rapidly  becoming  Big  Man  On 
Records,  as  well  as  a  most  popular  guest  on  Godfrey's 
great  shows  over  CBS-TV  and  CBS  Radio.    But 
Pat  came  mighty  close  to  not  even  registering 
for  the  course,  that  day  in  February,  1955,  when  he 
answered  a  phone  call  from  Hugh  Cherry.    "I'd 
certainly  like  to  cut  a  record  for  you,  Hugh,"  he 
said  earnestly.    "But  a  rock  'n'  roll  number  is 


Continued 


> 


mm.  ,     iii>m  **"***J5S9cI2SS 


Going  to  college  is  something  Pat  started — 
and  intends  to  finish.  With  New  York  as  the 
center  of  his  TV  and  recording  activities,  he's 
transferred  to  Columbia  University,  its  famed 
library  (above)  and  campus-in-the-city  (right). 


Pat's  heard  on  Arthur  Godfrey  Time,  CBS  Radio  (M-F, 
10  A.M.),  CBS-TV  (M-Th,  10:30  A.M.)— under  mul- 
tiple sponsorship.  Also,  Arthur  Godfrey  And  His  Friends, 
CBS-TV  (Wed.,  8  P.M.)— sponsored  by  The  Toni  Co.. 
CBS-Columbia,  Pillsbury  Mills,  Kellogg  Co.  (All  EST) 


46 


M::r.  BOOIVE 

(Continued) 


Pat's  a  straight-A  student.    He  wants  to  do  whatever  will 
help  other  people  most,  whether  as  a  singer  or  a  teacher. 


It's  a   busy  schedule   Pat  has  to  keep,  as  he  kisses  wife 
Shirley  goodbye  for  the  day,  at  their  home  in  New  Jersey. 


completely  out  of  my  line.  You  know,  I'm  a  'pop'  ballad 
singer.   Never  sang  a  rock  'n'  roll  number  in  my  life." 

But  it  was  a  "rock  'n'  roll  number"  that  helped  zoom 
this  handsome  six-footer  to  the  top  of  popularity  polls 
within  a  year's  time  .  .  .  "rock  'n'  roll"  plus  Ted  Mack 
and  that  well  known  man-about-talent,  Arthur  God- 
frey. Now  Pat's  not  only  being  seen  frequently  on  TV, 
but  he's  also  one  of  Dot  Records'  most  promising 
artists.  His  combined  mail,  from  the  Godfrey  shows 
and  Dot  Records,  comes  to  some  1500  letters  and  picture 
requests  a  week  .  .  .  and  handling  the  disc-company 
correspondence  alone  costs  this  21-year-old  $300  to 
$400  a  month  for  pictures,  postage  and  stenographic 
assistance  in  replying  to  his  thousands  of  new-found 
friends. 

"I  don't  seem  to  be  able  to  get  used  to  all  this  mail," 
grins  Pat,  his  eyes  opening  wide  in  wonderment.  "I 
used  to  think  that  people  who  were  lucky  enough  to 
receive  fan  mail  just  received  requests  for  pictures. 
And,  of  course,  some  of  my  mail  is  simply  that.  But 
a  great  deal  of  it  is  real  honest-to-Pete  letters.  You 
know,  telling  me  all  about  themselves  .  .  .  what  they 
do,  where  they  live,  how  they  live,  what  they  like  .  .  . 
and  asking  me  all  about  myself.  And  some  of  them 
carry  on  a  correspondence  with  me  just  as  they  would 
with  their  best  personal  friends.  I  can't  begin  to  tell 
you  how  wonderful  it  makes  me  feel. 

"My  only  regret  is  that  I  can't  always  answer  them 
the  way  I'd  like  to  .  .  .  with  long,  newsy  .letters  like 
theirs.  But,  with  my  schedule  of  TV  shows,  recording 
sessions  and  a  full  curriculum  at  Columbia  University, 
there  just  isn't  enough  time.  Mostly,  my  replies  have 
to  be  short.  Maybe  when  I  get  my  degree  I'll  have 
more  time  and  be  able  to  reply  to  these  friends  in  the 
manner  they  deserve.  In  the  meantime,  I  hope  they'll 
understand  and  forgive  me  and  know  that  I'm  really 
grateful  for  their  astonishing  interest  in  me." 

Having  met  and  talked  with  this  unassuming,  soft- 
spoken  and  gracious  Southerner,  your  writer  is  certain 
his  fans  will  understand  and  stick  by  him  for  a  year 
and  a  half  until  this  straight-A  student  gets  his  teacher's 
degree.    In  case  you're  wondering  what  a  top   singer 


48 


m* 

M3 


Cherry  is  the  older  of  the  Pat  Booties'  two  little  girls.    Not  yet  two,  she 
already  has  a  taste  for   music — country-and-western   style,   that  is! 


wants  with  a  teacher's  degree — in  speech — it's  simply 
a  case  of  a  man  finishing  what  he  started  out  to  do. 

Pat  Boone  never  thought  he'd  turn  out  to  be  a  singer. 
His  object  in  life  has  always  been  to  help  people  as 
much  as  he  could,  and  long  ago  it  occurred  to  him  that 
teaching  would  afford  him  this  opportunity.  So  he  set 
his  sights  accordingly.  Even  though  his  career  seems 
to  have  gone  far  afield  from  early  intentions,  Pat  is 
determined  to  follow  through  on  the  preparation,  at 
least,  for  those  original  plans.  It  certainly  isn't  that 
he's  changed  his  mind  about  helping  people  .  .  .  rather, 
it's  that  he's  discovered  that,  through  the  medium  of 
entertaining,  he  can  accomplish  what  he  set  out  to  do. 

"For  lots  of  people,"  Pat  explains,  "life  is  no  bed  of 


roses.  And,  if  I  can  make  them  smile  and  enjoy  them- 
selves for  even  just  a  few  minutes  a  day,  perhaps  I  am 
helping  after  all.  But  there  is  one  thing  for  sure:  If  I 
find  my  career  as  a  singer  and  entertainer  turns  out  to 
be  simply  mediocre,  I'll  go  back  to  teaching  so  fast  you 
won't  be  able  to  see  me  for  the  dust." 

At  the  moment,  a  mediocre  career  for  Pat  seems  hard 
to  envision,  for  this  is  a  young  man  with  determination 
and  with  both  feet  on  the  ground.  His  present  goals  are 
three-fold:  One,  to  finish  college  with  good  grades. 
Two,  to  be  a  success  as  a  singer.  Three,  to  have  his  own 
TV  show  someday. 

Pat  Boone  started  out  life  in  Jacksonville,  Florida,  on 
June  1,  1934.   He  did  not  come  (Continued  on  page    85) 


49 


ItS  ahlKUIt 

J4N 


It  wouldn't  be  Janis  Paige,  if 
she  weren't  giving  TV  everything 
she's  got — including  her  heart 

By  BUD  GOODE 


With  the  audience's  applause  breaking  over  her  like  an 
ocean  wave,  Janis  Paige  danced  off  the  stage  of  the 
smash  Broadway  musical,  "Pajama  Game,"  heading  for  her 
dressing  room  for  the  last  time.    It  was  her  458th 
consecutive  performance; — tomorrow  morning,  Janis  was 
leaving  the  cast  to  take  up  the  new  role  of  Jan  Stewart  in  the 
Janard  production,  It's  Always  Jan,  over  CBS-TV. 

Red  hair  bouncing  like  a  jaunty  pennant  in  the  breeze, 
hazel  eyes  sparkling,  Janis  danced  through  the  wings,  still  in 
rhythm  to  the  score's  last  syncopated  note. 

"Terrific,  Miss  Paige,"  said  the  prop  man. 

"Great  show,  Janis,"  called  the  stage  manager. 

"Thanks,"  said  Janis,  singing   (Continued  on  page  75) 


Jan  asked  only  that  her  new  apartment  have  enough 
room  for  her  paintings,  record  collection,  and  dog  Jody 
(on  terrace,  below  left).  Now  she  needs  a  whole  house! 


Reason?  She  just  married  Arthur  Stander  (above  left), 
who  not  only  writes  and  produces  her  TV  show  but  also 
painted  the  picture  on  the  wall,  at  the  top  of  this 
page.    Agency  representative  Jim  Pollack  is  at  right. 


Its  Always  Jan,  on  CBS-TV,  3  Saturdays  out  of  4,  at  9:30  P.M. 
EST,  is  sponsored  by  Procter  &  Gamble  for  Drene,  Dreft,  Crest. 


51 


Precious  hours  away  from  the  crowd  meant  a  lot  to  young 
Mr.  and  Mrs.  Eddie  Fisher,  down  on  Miami's  Biscayne  Bay. 
But,  crowd  or  no  crowd,  they  had  eyes  only  for  each  other. 


Starting  out  that  day,  the  newlyweds  had  a  lot  of  fun 
pretending  they  were  just  learning  to  water-ski.  Actually, 
Debbie  is  an  expert  and  had  taught  Eddie,  months  before. 


Wherever  they  go,  Eddie  Fisher 
and  his  Debbie  find  that  two 
hearts  can  beat  together  in  .  .  . 


mM 


52 


By   PHILIP  CHAPMAN 


Young  Mrs.  Eddie  Fisher  —  nee  Debbie  Reyn- 
olds —  sat  dripping  in  the  rear  cockpit  of 
the  big  twin-motored  speedboat,  and  scribbled 
the  Burbank,  California  address  of  her  parents 
on  the  back  of  a  card.  Then,  teetering  precari- 
ously between  boat  and  dock,  she  passed  the 
card  up  to  the  photographer. 

"That's  my  permanent  address,"  she  said. 
"That's  where  I'm  sure  the  prints  will  reach  me, 
no  matter  where  I  happen  to  be."  She  sounded 
a  little  wistful.  "I'd  be  so  grateful  if  you'd  send 
me  copies.  See,  I  want  them  for  the  children 
someday.  We  can  show  them  these  pictures  of 
us  water-skiing  all  over  Biscayne  Bay  and  we 
can  tell  them,  'Your  folks  used  to  be  young  and 
athletic,  too.'" 

A  moment  later,  the  boat  went  roaring  off 
again  so^Eddie  and  Debbie  could  play  some  more 
at  water-skiing,  this  time  without  photographers 
aboard.  They  were,  after  all,  on  the  closest  thing 
to  a  honeymoon  they'd  had  since  their  wedding, 
barely  two  months  before;  they'd  given  most  of 
this  precious  free  day  to  TV  Radio  Mirror's 
Miami  representative  and  photographers  for 
this  story. 

You  may  remember,  if  you  followed  the  sched- 
ule of  Eddie  and  Debbie  after  their  surprise 
marriage  at  Jennie  Grossinger's  resort  in  the 
Catskills  last  September,  that  the  Fishers  left 
the  next  day  for  one  of  Eddie's  shows  in  Wash- 
ington, D.  C.  From  there  they  flew  on  to  South 
Bend,  Indiana,  and  back  to  New  York,  and  on 
to  West  Virginia,  and — well,  it  was  a  real  "grand 
tour." 

There  not  only  wasn't  time  for  a  honeymoon, 
there  wasn't  time  for  anything  except  work. 
And,  if  you  think  Eddie's  work  consists  of  stroll- 
ing up  to  a  mike  for  fifteen  minutes  of  a  week- 
day evening  and  singing  (Continued  on  page  89) 

Coke  Time  Starring  Eddie  Fisher  is  seen  on  NBC-TV,  Wed. 
and  Fri.  at  7 :30  P.M.  EST— heard  on  Mutual, Tu.  and  Th.  at 
7 :45  P.M.  EST — as  sponsored  by  The  Coca-Cola  Company. 


The  TV  public  saw  what  a  great  team  the  Fishers  could  be, 
in  Ford  Star  Jubilee  (but  Debbie  gave  an  even  finer  per- 
formance as  hostess  of  her  very  first  Mr.-and-Mrs.  party). 


AUNT  JENNY'S  FAMILY  ALBUM 


Aunt  Jenny  is  heard  over  CBS  Radio,  M-F,  2:45  P.M.  EST,  sponsored  daily  by 
Lever  Brothers  Co.  (for  Spry,  Breeze,  and  Silver  Dust)  with  Campbell  Soup 
Company  participating  twice  weekly    (for  Franco-American  Food  Products). 


Littleton's  "first  lady"  is 
justly  proud  of  the  stars 
her  dramatic  stories  helped 
to  create,  over  the  years 


For  more  than  eighteen  years, 
stories  which  pulsate  with  the 
heartbeat  of  life  lured  listeners  as 
Aunt  Jenny  related  the  happenings 
around  Littleton,  U.S.A.  ...  so 
many  listeners  that,  when  she  left 
the  air  last  year,  Lever  Brothers — 
who  sponsored  her  on  CBS  Radio 
since  January  18,  1937 — were  over- 
whelmed with  pleas  to  bring  Aunt 
Jenny  back!  Her  return  this  Jan- 
uary was  a  great  New  Year's  gift, 
not  only  for  audiences  but  for  ac- 
tors .  .  .  because  Aunt  Jenny's  hon- 
est, three-dimensional  characters 
are  a  strong  lure  for  performers,  too. 
Only  the  best  are  chosen,  whether 
already  established  or  just  starting 
on  the  road  to  fame.  Pictured  here 
are  a  mere  handful  of  Aunt  Jenny's 
noted  alumni  .  .  .  graduates  of  a 
dramatic  series  which  has  always 
helped  today's  most  promising  play- 
ers   become    tomorrow's    big    stars. 


AGNES  YOUNG 

The  modest,  friendly  woman  who 
has  one  of  radio's  most  coveted 
assignments,  as  Aunt  Jenny  herself, 
couldn't  have  been  cast  more  "true 
to  type"  .  .  .  Agnes  Young  is  a 
small -town  girl  at  heart  who  has 
always  found  that  dramatic  success 
and  a  happy  family  life  can  be  very 
compatible  indeed.  Although  her 
mother  died  when  Agnes  was  four, 
there  was  love  and  understanding 
to  spare,  in  the  Port  Jervis  (NY.) 
home  the  little  girl  shared  with  her 
grandparents,  two  brothers  and 
violin-teaching  father — and  they 
were  all  her  most  enthusiastic  boost- 
ers when  she  chose  acting  as  a 
career.  .  .  .  Agnes  married  actor - 
producer  Jimmy  Wells  in  their  early 
stock-company  days,  and  they've 
since  shared  their  mutual  interest 
in  drama,  not  only  with  each  other, 
but  with  their  daughter  Nancy — 
now  grown  up  into  an  attractive, 
talented  actress  who  is  frequently 
heard    performing    in    Aunt   Jenny! 


54 


PAUL  DOUGLAS 

Born  in  Philadelphia,  Paul  was  a 
football  hero  who  became  a 
sports  announcer — then  proved  he 
had  dramatic  talent  .  .  .  first  in 
radio,  with  early  roles  in  Aunt 
Jenny  .  .  .  next  on  Broadway,  as  the 
junk  tycoon  of  "Born  Yesterday" 
.  .  .  finally  in  Hollywood,  in  "Letter 
to  Three  Wives."  Married  to  actress 
Jan  Sterling,  he  now  stars  in  such 
top  motion  pictures  as  "The  Solid 
Gold  Cadillac"  and  "Joe  Macbeth." 


AGNES  MOOREHEAD 

This  minister's  daughter,  born  in 
Boston,  has  an  M.A.  from  Wis- 
consin U. — as  well  as  many  an  act- 
ing award.  Radio  still  thrills  to  her 
"Sorry,  Wrong  Number"  .  .  .  critics 
voted  her  best-of-the-year  in  the 
second  movie  she  made  .  .  .  -theater- 
goers everywhere  acclaimed  her  in 
"Don  Juan  in  Hell,"  'touring  with 
Charles  Laughton,  Charles  Boyer, 
Cedric  Hardwicke.  Her  most  recent 
film:     "All    That    Heaven    Allows." 


ORSON  WELLES 

Nobody  had  to  discover  "the 
•kid  from  Kenosha,"  who  did 
Shakespeare  on  his  own  at  six! 
But  radio — including  Aunt  Jenny — 
helped  boost  Orson  to  fame.  .  .  . 
Since  then,  he's  electrified  Broad- 
way, Hollywood,  the  world  at  large 
(and  probably  Mars) .  Picture  above 
was  taken  in  1946,  before  he  de- 
parted for  Europe  .  .  .  from  whence 
he  just  landed  to  do  "King  Lear" 
on  stage — and  storm  American  TV. 


JOAN  BANKS 

She's  the  feminine  half  of  broad- 
casting's happiest  romance — 
which  blossomed  about  the  time 
these  two  were  playing  in  Aunt 
Jennyl  ...  A  native  New  Yorker, 
Joan  was  a  most  popular  radio  ac- 
tress when  she  wed  Frank  Love  joy 
in  1940.  Now  in  Hollywood  with  her 
husband,  she  still  stars  in  top  radio 
and  TV  dramas  .  .  .  when  not  too 
busy    raising    their    two    children. 


FRANK  LOVEJOY 

He  studied  finance  at  New  York 
U.,  took  a  flyer  in  "little  thea- 
ter," soon  found  himself  on  Broad- 
way— not  Wall  Street.  .  .  .  One  of 
radio's  highest-paid  actors  in  the 
1940's,  he  tackled  Hollywood  next — 
a  single  character  role,  then  Frank 
was  a  cinema  star,  too,  in  such 
melodramas  as  "The  Crooked  Web." 
.  .  .  Like  his  wife  Joan,  he  still  finds 
time  to  continue  acting  on  the  air. 


MERCEDES  McCAMBRIDGE 

Here's  one  lass  who  made  a  name 
for  herself  at  the  mike — then 
won  an  Oscar  for  her  first  role  on 
the  screen  (in  "All  the  King's 
Men").  .  .  .  Born  in  Joliet,  111.,  Mer- 
cedes (named  for  a  Mexican  grand- 
mother) attended  Mundelein  Col- 
lege in  Chicago,  has  since  lived  in 
many  lands.  .  .  .  Still  active  in 
radio-TV,  she  can  also  be  seen  in 
the  film  version  of  "Giant,"  Edna 
Ferber's  titanic  novel  about  Texas. 


55 


im 


V. 


s* 


Start  with  two,  as 
Peter  Lind  Hayes  and 
Mary  Healy  did  .  .  .  add 
to  the  family  .  .  *  and 
mix  well  for  happiness 


\ 


\ 


By  GLADYS   HALL 

Across  a  crowded  room,  the  other 
day,  a  young  actor  with  two 
marriages  behind  him  (and  another 
coming  up)  eyed  versatile  funnyman 
Peter  Lind  Hayes  and  his  missus — 
blonde,  brown-eyed,  lovely-to-look-, 
at  Mary  Healy — as  if  they  were  visi- 
tors from  another  planet.  "Always  to- 
gether, those  two,"  he  said,  "having 
fun  together,  still  in  love— or  my  eyes 
deceive  me.  And  think  of  it,"  the  man 
added,  his  voice  dropping  at  least  a 
full  octave,  "they've  been  married  for 
fifteen  years!" 

Since    quite    a    number    of    solid 
citizens     (Continued     on     page    91) 


Peter  Lind  Hayes  is  Arthur  Godfrey's  regular 
vacation-and-holiday  replacement  on  Arthur 
Godfrey  Time,  as  heard  over  CBS  Radio,  M-F, 
at  10  A.M.  EST— and  seen  over  CBS-TV,  M- 
Th,  10:30  A.M. — under  multiple  sponsorship. 


Home  is  a  haven  where  they  lead  a  very 
private  life  with  their  children — and  a 
more  public  one  on   near-by  golf  links! 


■ 


Peter  proves  himself  an  ace  salesman  for  the  family  gro- 
ceries and  such,  on  Arthur  Godfrey  Time — then  lends  a 
hand  or  two  at  the  piano,  as  Carmel  Quinn  sells  a  song. 


Then  it's  off  on  a  tour  again.  "This'll  be  a  breeze,"  says 
Peter.  Thinking  of  all  the  planning  ahead,  Mary  isn't  so 
sure — tor  reasons   given    in   the   story,    starting    at   left. 


He's  got  a  pearly  ear  for  rhythm,  as  musical  conductor 
Will  Roland  gets  in  the  swing — and  a  pair  of  tapping  feet 
for  a  novelty  number  with  Frank  Parker  and  Tony  Marvin. 


Part  of  the  Hayes-Healy  act,  as  performed  at  The  Sands, 
out  in  Las  Vegas:  The  tuneful  Toppers — Bob  Flavelle,  Paul 
Friesen,  Ed  Cole  and  Bob  Horter — with  Peter  in  the  center. 


Once  I  had  to  advise  Dinah  about  everything,  including 
food.  Now  I'm  grateful  for  her  advice  about  my  children. 

She  was  a  bit  of  a  rebel  herself,  so  Dinah  knows  how  to 
handle  little  Jody  when  he  wants  to  step  out  on  his  own. 


Our  family  were  always  her  greatest 
fans — though  you  would  hardly 
have  recognized  "Fannye  Rose"  then! 


By  BESSIE  SHORE  SELIGMAN 
as  told  to  Peer  J.  Oppenheimer 

The  main  dining  room  of  the  Beverly  Wilshire 
Hotel  was  crowded  with  guests  who  had 
come  to  witness  the  presentation  of  the  B'nai 
B'rith  "Woman  of  the  Year"  award  to  my  sister, 
Dinah  Shore.   The  speeches  were  almost 
eulogies  in  praise  of  her  beauty  and  accomplish- 
ments.   "She  is  young,  vibrant,  radiantly  alive," 
the  main  speaker  proclaimed.   "Her  talent  is 
magnificent.  Yet  her  greatest  success  is  found  in 
the  service  to  her  family,  her  encompassing 
wisdom,  and  her  humility.  ..."   A  lesser  woman 
might  have  felt  embarrassed,  broken  into  tears, 
or  else  let  all  this  praise  go  to  her  head.    Not 
Dinah.    She  got  up   (Continued  on  page  80) 

The  Dinah  Shore  Show,  NBC-TV,  Tues.  and  Thurs.,  at  7:30 
P.M.  EST,  is  sponsored  by  Chevrolet  Dealers  of  America. 
Dinah  will  also  star  in  The  Chevy  Show,  on  NBC-TV,  Tues., 
April  10th,  from  8  to  9  P.M.  EST,  for  the  same  sponsors. 


Dinah  couldn't  have  chosen  a  better  husband  than  George 
Montgomery.  Their  "official"  family  includes  Jody  (John 
David),  Missy  (Melissa) — and  their  poodle,  Sweetie  Pie. 


58 


Minim  I  iff 

1    Iilllff    I   I 

Ml 

lllBi!  1  i 

■ 

J  ilfflk 

1 

1 

When  most  couples  wed,  they  are  "one."  When  Peter  Hobbs  and 
Parker  McCormick  wed,  they  were  sevenl  The  younger  boy  is  Richie,  the 
older  is  Dall.   The  three  girls,  left  to  right:  Nancy,  Ann,  and  Jennifer. 


60 


Close  as  a  Heartbeat 


Peter  Hobbs  of  The  Secret  Storm 
loves  every  living  thing — particularly 
his  wife  and  jive  beaming  youngsters 

By  MARTIN  COHEN 

Mr.  and  Mrs.  Peter  Hobbs,  of  Brooklyn,  Broadway 
and  television,  are  one  of  the  most  charming 
couples  you're  likely  to  meet.    Peter  has  a  zest  for 
life,  and  his  wife  and  children  match  him  zest 
for  zest.  .  .  .  Heaven  on  earth,  for  this  man  named 
Peter,  is  to  have  a  banjo  on  one  knee,  his  wife  on  the 
other,  walls  in  need  of  papering,  children  who  need 
playing  with,  and  floors  that  need  sanding  .  .  .  for 
Peter  Hobbs  likes  music,  carpentry,  paper-hanging, 
gardening,  husbanding,  fathering — and  has  such  a 
passion  for  fixing  leaky  faucets  that  he  took  a 
correspondence  course  in  plumbing.  .  .  .  However, 
Peter  Hobbs  is  an  actor,  too,  and  a  fine  one.  As  such, 
he  plays  Peter  Ames  in  The  Secret  Storm — a  mature, 
sober  man  with  grave  responsibilities.    Peter  Hobbs 
is  also  a  mature  man  who  knows  the  difference 
between  a  subway  and  a  Cadillac  convertible,  and  he 
has  many  responsibilities,  but  his  disposition 
remains  conspicuously  cheerful. 


See  Next  Page- 


Actor  Peter  and  actress  Parker  needed  a  big  house 
for  their  brood,  found  just  the  right  one  in  Brooklyn. 


Double  delight:   Richie   reads  the 
comics,    pedals  the   player-organ. 


Peter    dotes    on    household    tasks, 
from  plumbing  to  paper-hanging. 


Music    fills     their     home — though 
Parker  forgot  to   bring   her   harp! 


Redecorating  the  house  is  forgotten,  as  they  all  gather 
'round  the  baby  grand  ("Peter  married  me  for  it,"  Parker 
insists).  Below,  Ann  never  hesitates  to  ask  her  dad,  when  she 
wants  a  "masculine  viewpoint"  on  her  teen-age  wardrobe. 


Close  as  a  Heartbeat 


Peter  Hobbs  is  Peter  Ames  in  The'  Secret  Storm,  CBS-TV,  M-F, 
4:15  P.M.  EST,  for  Whitehall  Pharmacal  Co.  and  Boyle-Midway. 


(Continued) 


"Pete  is  easy-going,"  says  his  wife,  actress 
Parker  McCormick.  "Not  that  he  can't  be  or  isn't 
sensitive  and  intense.  It's  just  that  he's  easy  to 
live  with  and  very  understanding." 

He  is  a  six-footer,  handsome,  blond  and  rangy. 
"I  have  a  permanent  weight  of  one-sixty-five,"  he 
says.  "I'm  kind  of  a  Jack  Spratt  with  the  metabo- 
lism of  a  goat.  I  eat  no  fat  and  no  sweets.  I  love 
lettuce,  spinach  and  vinegar."  But  Jack  Spratt 
had  only  a  wife.  Peter  Hobbs  has  a  wife  and  five 
kids— too  many  for  a  pumpkin  shell.  So,  last  year, 
they  went  house-hunting,  and  bought  a  house  in 
Brooklyn. 

"We  liked  this  house  at  once,"  he  says. 

"That's  right,"  Parker  recalls.  "We  fell  madly 
in  love  with  the  price." 

The  house  is  a  stately  fifty  years  old.  It  is  hand- 
some, but  saw  service  for  many  years  as  a  board- 
ing and  rooming  house.  The  floors  were  in  terrible 
shape.  So  were  the  walls  and  the  fireplaces  and 
the  backyard.  Most  men  would  have  blacked  out. 
thinking  of  the  work  involved,  but  Peter  Hobbs — 
a  pioneer  of  the  do-it-yourself  species — was  in  a 
state  near  bliss.  (Continued  on  page  83) 


62 


Roll  that  slab,  lift  that  rock!    The 
men  of  the  house  want  a  grassy  plot. 


Seems  like   just  the   ideal  time  for 
Richie  to  add  to  his  rock  collection. 


Dall  co-stars  with  his  mother  on  the 
tape  recorder,  as  Peter  directs  them. 


Nobody  knows  the  name  of  this  stirring  melodrama — and  you  can't  tell  the  players  without  an  official  program! 


1.  Amid  the  spectacle  of  his  brother  Edward's  coronation,  Richard 
(Laurence  Olivier);  a  man  physically  deformed  and  morally  depraved, 
begins  to  plan  for  the  day  when  he  himself  will   be  England's  king. 


Richard  111 


Television,  the  movies — and  a  playwright 
named  Shakespeare — make  a  royal  pageant 


All  the  pomp,  pride  and  passion  of  English  history 
comes  your  way  for  home  entertainment  as  tele- 
vision makes  a  little  history  of  its  own.  In  one  of  a 
series  of  "special  events,"   NBC  premieres   "Richard 
III,"  a  filmed  spectacle  with  a  list  of  credits  that 
makes  royal  reading:     The  author  is  one  William 
Shakespeare.     Producing,  directing,  and  playing  the 
title  role  is  Sir  Laurence  Olivier,  whose  previous 
films  of  Shakespeare's  works  gave  them  back  to  the 
people  for  whom  they  were  originally  written.    After 
its  first  showing  on  NBC -TV,  "Richard  III"  will  be 
on  view  in  movie  theaters.  But  the  premiere  will  be 
in  your  home,  an  event  for  all  the  family. 


"Richard  III,"  in  color  and  black  and  white,  on  NBC-TV.  Sun., 
March  11,  2:30  P.M.  EST,  for  five  divisions  of  General  Motors. 


2.  His  first  step  is  to  woo  Lady  Anne  (Claire 
Bloom) — and  he  begins  his  courtship  over 
the  caslcet  of  her  husband,  whom  he  killed. 


3.  Richard  sets  the  king  against  their 
brother  Clarence  (John  Gielgud),  then 
feigns  shock  when  Clarence  is  imprisoned. 


4.  Edward  (Cedric  Hardwicke)  obliges 
Richard's  ambitions  by  falling  ill.  He  dies 
as  he  learns  Clarence  has  been  executed. 


5.  With  Edward  and  Clarence  dead,  Richard 
plots  with  Buckingham  (Ralph  Richardson)  to 
prove    Edward's    sons    are    illegitimate    heirs. 


6.  From  cursing  Richard  as  her  husband's 
murderer,  Lady  Anne  falls  victim  to  a 
strange  attraction  and  finally  marries  him. 


7.  The  staunch  friends  who  have  supported 
his  lust  for  power  find  a  hint  of  the  future 
as  Richard  bids  them  kneel  to  the  new  king. 


64 


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1 


^i/ 


iV 


■ 


8.  Richard  has  waded  in  blood  to  reach  this  point,  but  finally  he  stands  before  the 
throne.  Unmoved  by  the  distress  and  collapse  of  his  wife  Anne,  Richard  knows  only 
that  he  is  king — and  that  he  will  stop  at  no  evil  to  preserve  and  enlarge  his  power. 


9.  Edward's  sons  have  been  imprisoned  in  the  Tower  and  Richard 
has  taken  their  rightful  place  on  the  throne.  Yet,  unable  to  rest 
while  they  live,  he  hires  assassins  to  murder  the  two  princes  in  bed. 


10.  Aroused  by  Richard's  villainy,  Henry  Tudor  challenges  him 
for  the  crown.  Richard  displays  superhuman  strength  and  courage 
in  the  battle  that  follows,  but  finally  he  meets  defeat  and  death. 


85 


I 


Mr.  and  Mrs.  Paul  Walken  have  reason 
to  be  proud  of  all  three  of  their  talented 
sons:  Ronnie,  12;  Ken,  16;  and  Glenn,  9. 


Three  Young  Musketeers 


Ronnie  has  his  laboratory  in  the  upstairs  game  room, 
where  Ken  helps  out.  (Glenn's  lab  equipment  is  in  the 
basement  playroom,  so  experiments  won't  get  mixed  up.) 


Glenn  Walken  of  The  Guiding  Light 

has  two  brothers  who  act,  too— and 

they're  all  for  one,  one  for  all! 

By  MARIAN   HELMAN 


We  didn't  plan  it  this  way  ...  it  just  happened. 
And,  for  a  thing  that  just  sort  of  grew  all  hy 
itself,  it's  been  a  wonderful  experience  and  ever  so 
much  fun."  This  is  Mrs.  Paul  Walken's  way  of 
explaining  how  she,  a  non-professional,  has  raised 
three  boys — all  of  whom  have  become  proficient 
actors  in  their  own  rights  .  .  .  Ken,  16,  Ronnie,  12,  and 
Glenn,  9.  And  when  she  says  it's  "ever  so  much  fun," 
she's  speaking  for  herself  as  much  as  for  her  boys. 
She  freely  admits  she  "always  had  a  yen  for  the 
theater"  (her  mother  had  been  a  professional  dancer) 
but  evidently  not  enough  of  a  desire  to  strike  out 
for  herself.  Now,  being  able  to  sit  on  the  sidelines 
in  the  reflected  glory  of  her  three  actively  acting 
young   men    is    all   the    excitement    she    could    ask. 


See  Next  Pagel 


There  are  marvelous  model  trains  in  the  game  room, 
too,  and  it's  a  toss-up  as  to  who  is  the  most  eager 
engineer — Glenn  (foreground) — Ronnie — or  their  dad. 


Growing  boys  must  have  their  collections,  and  Mrs. 
Walken  is  glad  that  Glenn's  hobby  is  something  as 
educational — and    relatively    tidy! — as    foreign    coins. 


67 


Three  Young  Musketeers 

(Continued) 

However,  it  was  certainly  not  for  this  reason  that 
any  of  the  Walken  brothers  entered  the  acting  pro- 
fession. It  all  goes  back  to  when  Ken  was  eight  and 
Mrs.  Walken  took  him  from  their  Bayside  home  to 
New  York  to  register  him  with  the  Conover  modeling 
agency.  Ken  did  very  well  with  his  modeling  assign- 
ments and  obviously  enjoyed  himself.  If  there  had 
been  even  the  slightest  indication  that  he  disliked 
what  he  was  doing,  she  would  have  put  a  stop  to 
these  activities  immediately.  As  Ronnie  and  Glenn 
came  along,  they  had  a  natural  entree  into  the 
business  as  a  result  of  their  older  brother's  success. 
Along  with  his  early  Conover  jobs,  Glenn  also  worked 
with  the  famous  baby  photographer,  Constance  Ban- 
nister, and  you'll  find  a  number  of  his  pictures  in  her 
fabulous  collection  of  baby  pictures  satirizing  big 
business  men. 

Again  following  in  their  older  brother's  footsteps, 
Ronnie  and  Glenn  parlayed  their  modeling  careers 
into  TV  and  radio  careers  via  that  bill -payer  of  all 
time — commercials.  When  he  was  five,  Glenn  got 
his  first  call  for  a  commercial  try-out  ...  on  TV's 
Chance  Of  A  Lifetime.  Among  the  other  contestants 
was  brother  Ronnie.  Eliminations  were  made  and 
eventually  it  dwindled  down  to  the  two  Walken  boys. 
Mrs.  Walken  started  worrying.  This  was  the  first 
time  any  of  her  boys  had  been  in  direct  competition 
with  each  other.  One  had  to  lose!  How  would  he 
take  it?  How  should  she  handle  the  situation  should 
friction  and  jealousy  result? 

.  As  it  turned  out,  her  worries  were  all  for  naught. 
The    directors    obviously    (Continued    on    page  79) 

Glenn  Walken  is  Michael  Bauer  in  The  Guiding  Light,  as  seen  on 
CBS-TV,  M-F,  12:45  P.M.  EST  for  Ivory,  Duz  and  Cheer— and 
heard  on  CBS  Radio,  M-F,  1:45  P.M.  EST,  for  Tide  and  Gleem. 


Dad  shares  the  Walken  boys'  enthusiasm  for  mechanical 
toys.  Glenn's  particularly  fascinated  by  boats,  and  he 
can't  wait  to  grow  up  and  "buy  a  yacht  for  the  family." 


DAYTIME  DIARY 

(Continued  from  page  18) 


they  are  getting  close  to  the  secret — but 
may  never  live  to  learn  it.  CBS  Radio. 

VALIANT  LADY  Helen's  dress  shop  gets 
off  to  a  cheering  start  with  the  able  help 
of    her    lawyer    friend,    Mr.    Wilcox.    But 
their  warm  relationship  is  strained  when 
his  daughter  Roberta  comes  back  to  town 
j   and  meets  Helen's  son,  Mickey.  And  trouble 
j    brews  in  another  young  heart  when  re- 
porter   Elliott    Norris'    ward,    Peggy,    re- 
alizes  he    is    falling    in    love    with   Helen. 
j    Can  she  do  anything  about  it?  CBS-TV. 

|  WENDY  WARREN  AND  THE  NEWS 

Emotionally  worn  out  after  her  husband's 

|    death,  Wendy  returned  to  her  job  as  col- 

I    umnist  on  a  big  New  York  paper  prepared 

!    to    go    about    the    task    of    reconstructing 

her   life.   Now   she   finds  herself  confused 

and   a   little   frightened    at   the    entangle- 

[    ments  she  seems  unable  to  avoid  .  .  .  with 

her  boss,  Don  Smith;  with  the  attractive 

Katie    Macauley;    and    most    of    all    with 

writer  Paul  Benson.  CBS  Radio. 

WHEN  A  GIRL  MARRIES  During  the 
years  of  their  marriage,  Joan  and  Harry 
Davis  have  weathered  ups  and  downs  of 
many  kinds,  but  the  fundamental  solidity 
of  their  love  has  never  been  shaken.  This 
background  of  secure  happiness  qualifies 
them  now  to  help  others,  and  a  good  many 
of  their  friends  can  well  be  grateful  to  the 
Davises  for  advice  and  understanding  that 
has  set  a  life — or  a  love — on  a  better, 
sounder  course.  ABC  Radio. 

WHISPERING  STREETS  Wherever 
there  are  people,  there  are  stories  being 
lived,  stories  of  love  and  hate,  mistakes 
and  triumphs  that  do  not  always  emerge 
into  public  light.  Every  day,  narrator  Hope 
Winslow  tells  such  a  story,  complete  in  one 
episode,  pinpointing  the  dramatic  events 
that  can  build  to  such  emotionally  sig- 
nificant climaxes  beneath  the  surface  of 
ordinary-seeming  lives.  NBC  Radio. 

THE  WOMAN  IN  MY  HOUSE  Jessie 
Carter  has  been  a  mother  for  many  years, 
a  mother-in-law  for  part  of  that  time,  and 
a  grandmother  for  quite  a  while  now. 
But  she  still  cannot  fathom  the  truth  about 
her  oldest  son,  Jeff — cannot  be  sure  where 
his  happiness  lies,  or  how  anyone,  even 
a  mother,  can  go  about  helping  him  find 
it.  For  Jeff  doesn't  seem  to  be  unhappy 
.  .  .  and  yet  isn't  he  missing  too  much  in 
life?  NBC  Radio. 

YOUNG  DR.  MALONE  All  during  his 
battle  to  gain  control  of  the  Dineen  Clin- 
ic, Dr.  Ted  Mason  has  emphasized  his  be- 
lief that  Three  Oaks  is  ready  for  a  new 
kind  of  medical  practice — his  kind.  But 
after  Jerry  Malone's  resignation  surrenders 
the  Clinic  into  Ted's  hands,  he  begins  to 
make  an  unexpected  discovery.  What  will 
the  town  itself  have  to  say  about  the 
Mason  Clinic — and  about  Dr.  Jerry  Ma- 
lone?  CBS  Radio. 

YOUNG  WIDDER  BROWN  Ellen's 
faith  in  Dr.  Anthony  Loring  is  at  last 
justified  when  she  is  able  to  prove  to  the 
whole  town  that  he  did  not  kill  his  wife, 
Millicent.  But  with  the  solution  to  this 
grim  problem  comes  a  new  disturbance 
in  Ellen's  life.  The  path  to  happiness,  far 
from  stretching  clearly  before  her,  takes 
an  unexpected  turn  in  the  near  future. 
Does  this  mean  she  will  have  to  follow 
it  without  Anthony?   NBC  Radio. 


OPPORTUNITIES 

for  EVERYBODY 


•  ificd  Department  (Trademark) 


For  advertising  rates,  write  William  R.  Stewart,  9  South  Clinton  Street,  Chicago  6  (April-Worn.)  6 

OF  INTEREST  TO  WOMEN 

FEMALE  HELP  WANTED 

CHILDREN'S  PHOTOS  WANTED  (all  aqes).  High  fees  paid 
by  advertisers  for  use  in  magazines,  calendars,  billboards. 
Send  one  small  photo  for  approval — returned  two  weeks.  Print 
child's  parent's  name,  address  on  back.  No  obligation.  Na- 
tional Photo  Exhibitors,  406-P5  N.  Beverly  Drive,  Beverly 
Hills,  California. 

KILL  HAIR  ROOT  permanently  and  unwanted  hair  is  gone 
forever.  Mahler  Epilator  used  successfully  over  50  years.  Use 
only  as  directed.  Send  5c  for  Booklet.  Mahler  Corporation, 
Providence  15,  R.  1. 

WOMEN— $35-$50  Daily,  Showing  apparel  for  Children, 
Adults.  Party  Plan  sensation  I  Experience  unnecessary.  Isabel 
Sharrow  made  $258 — 11  days  sparetimel  Free  Outfit.  Beeline 
Fashions,  Bensenville  534,  Illinois. 

HOME  SEWERS  WANTED  I  Earn  extra  cash  making  readi- 
cut  ties,  experience  unnecessary.  No  selling.  We  instruct. 
Jud-San,  518  E.  105,  Dept.  C-1,  Cleveland  8,  Ohio. 
HOME   WORKERS   MAKE   hand-made   moccasins.   Good 
pay.    Experience    unnecessary.    California    Handicraft,    Los 
Angeles  46,  California. 

WHOLESALE  CATALOGI  30-80%   Discounts!  Appliances, 
Musical   Instruments.  Typewriters,   Phonographs,  Watches, 
Jewelry,  Recorders,  Housewares,  etc.  Consolidated  Distrib- 
utors, 21-28  Lafayette,  Paterson  15,  New  Jersey. 
COMPLETE  YOUR  HIGH  School  at  home  in  spare  time  with 
59-year-old   school.  Texts  furnished.   No  classes.  Diploma. 
Information   booklet,   free.   American   School,   Dept.   X474, 
Drexel  at  58th,  Chicago  37,  Illinois. 

$100-$400  MONTHLY  Possible,  preparing  envelopes,  post- 
cards,  from   mailing  lists  at  home.   Longhand,  typewriter. 
Detailed  Instructions  only  25cl  T.  Economy,  Rowley,  Mass. 
DRESSES  24c:  shoes  39c;  men's  suits  $4.95:  trousers  $1.20. 
Better  used  clothing.  Free  catalog.  Transworld,  164-A  Christo- 
pher, Brooklyn  12,  N.Y. 

ENVELOPE  PREPARING  FACTS— extra  income  opportuni- 
ties revealed  through  HM  service.  Free  details.  Maxwell, 
Dept.  2-3,  Cleveland  14,  Ohio. 

MAKE  SPARE  TIME  money  preparing  and  mailing  sales 
literature.  Adams  Surveys,  3513C  Sunset  Blvd.,  Los  Angeles 
26,  California. 

EARN  UP  TO  $2.00  hourly  possible  in  your  spare  time  at 
home.  Everything  furnishea.  Experience  unnecessary.  Jafran 
Manufacturing,  8507-B  West  Third,  Los  Angeles  48,  California. 
HOMESEWING.  READY-Cut  Rap-Around.  Profitable,  Easy. 
Free  instructions.  Hollywood  Manufacturing,  Dept.  C,  Holly- 
wood 46,  California. 

$2.00  HOURLY  POSSIBLE  doing  light  assembly  work  at 
home.  Experience  unnecessary.  Crown  Industries,  7159-B 
Beverly  Blvd.,  Los  Angeles  36,  Calif. 

BEAUTY  DEMONSTRATORS— TO  $5  hour  demonstrating 
Famous  Hollywood  Cosmetics,  your  neighborhood.  For  free 
Samples,  details,  write  Studio-Girl,  Glendale,  Cal.,  Dept.  1664 A. 
IF  YOU  WANT  to  earn  money  fast,  I'll  send  you  Free  Sample 
Stocking  Of  newest  Stretch  DuPont  Nylons  to  sell  at  only  $1 
a  pair.  American  Mills,  Dept.  488,  Indianapolis  7,  Ind. 
A  DRESS  SHOP  in  your  home.  No  investment.  Good  Selling. 
Commissions.  Write  Modern  Manner,  Hanover  YZ,  Penna. 
"FASCINATING  HANDY  WORK  At  Homel  No  Sellingl  We 
Pay  Youl  Truart,  Box  710,  Pasadena,  Calif." 

FREE    CATALOG— MONEY    making    opportunity    sewing 
various  Ready  Cut  products.  Thompson's,  Loganville  2,  Wis. 
GOOD  PAY,  HOME  making  scented  Orchids.  Easy.  Free 
Sample.  Boycan,  Sharon  4,  Penna. 

LOANS  BY  MAIL 

PROFITABLE  HOME  BUSINESS.  Make  Fast-Selling  che- 

nile  monkey  trees.  Literature  free.  Velva,  Bohemia  32,  N.  Y. 

SEW  OUR  READY  cut  aprons  at  home,  spare  time.  Easy, 

Profitable.  Hanky  Aprons,  Ft.  Smith  3,  Ark. 

EARN  SPARE  TIME  Cash  mailing  advertising  literature. 

Glenway,  6713  Euclid,  Cleveland  3,  Ohio. 

$30.00  WEEKLY  MAKING  Roses.  Look,  Smell  real.  Studio 

Company,  Greenville  12,  Pa. 

HOME  MAILERS  WANTED!  Good   Earnings.  Everything 

Furnished.  Genmerco,  Box  142-W,  Boston  24,  Massachusetts. 

RECEIVE  $1.00  TO  $10.00  For  Certain  Newspaper  Clippingsl 

Write,  Newscraft,  PW-983-E,  Main,  Columbus  5,  Ohio. 

BORROW  $50  TO  $500.  Employed  men  and  women,  over  25, 
eligible.  Confidential — no  co-signers — no  inquiries  of  employ- 
ers or  friends.  Repay  in  monthly  payments  to  fit  your  income. 
Supervised  by  State  of  Nebraska.  Loan  application  sent  free 
in  plain  envelope.  Give  occupation.  American   Loan   Plan. 
City  National  Bldg.,  Dept.  WD-4,  Omaha,  Nebraska. 
BORROW  UP  TO  $600  By  Mail.  Employed  men  and  women 
can  borrow  $50  to  $600  from  privacy  of  home.  Speedy,  easy 

MONEY  MAKING  OPPORTUNITIES 

and  entirely  confidential.  No  signers.  No  fees.  No  deductions. 
Money  Request  form  sent  Free  in  plain  envelope.  State  age, 
occupation  and  amount  wanted.  Postal  Finance  Co.,  200 
Keeline  Bldg.,  Dept.  91 H,  Omaha,  Nebraska. 

AGENTS  WANTED 

$5,199.90  WAS  PAID  to  John  Betts,  in  few  weeks.  Grow 
Mushrooms.  Cellar,  shed.  Spare,  full  time,  year  round.  We 
pay  $3.50  lb.  Free  Book.  Mushrooms,  Dept.  164,  2954  Admiral 
Way,  Seattle,  Wash. 

HOMEWORKERSI   Get  $1.00-$5.00  Each  Clipping   Items 
From    Newspapers.    Eastern,    Box   142-W,    Dorchester  24, 

GUARANTEED   HOMEWORK!    Immediate   Commissions! 
Everything   Furnished!   Hirsch's,   1301-12   Hoe,    New  York 
City  59. 

STUFFING— MAILING  ENVELOPES.  Our  instructions  tell 
how.  Dept.  G-4.  Education  Publishers,  4043  St.  Clair,  Cleve- 
land 3,  Ohio. 

SELL  HAMBURGERS,  PIE.  No  capital  needed.  Or  operate 
small  cafe,  diner.  Free  details.  Restaurant  School,  M054,  Fre- 
mont, Ohio. 
$25  WEEKLY  POSSIBLE,  sparetime,  preparing  advertising 

NEW  "TASTE  OF  Profits"  Plan  pays  you  to  $36.05  first  day 
without  house-to-house  selling  to  strangers.  Then,  amazing 
demand  for  new  style  craze  in  novelty  footwear  "snowballs" 
profits  for  customers  who  call  you.  No  experience  needed. 
Follow  simple  instructions.  Write  for  money-making  "Top" 
Plan,  Free.  Flexiclogs,  Dept.  42-D,  New  Holstein,  Wisconsin. 
CALIFORNIA  SWEET  SMELLING  Beads.  Sensational 
sellers.  Free  Particulars.  Mission,  2328AA  West  Pico,  Los 
Angeles  6,  California. 

60%  PROFIT  COSMETICS  $25  Day  up.  Hire  others.  Sam- 
ples, details.  Studio  Girl-Hollywood,  Glendale,  Calif.,  Dept. 
1664-H. 

SALESWOMEN  WANTED 

mailings  at  home.  Temple  Co.,  Muncie  2,  Indiana. 
MAKE  MONEY  DOING  simple  Sparetime  writing.  Quick- 
Pay,  5713  Euclid  Ave.,  Cleveland  3,  Ohio. 
EXTRA  MONEY  PREPARI NG,  Mailing  Postcards. Gul,  2419 
Thomas,  Chicago  22,  Illinois. 

ANYONE  CAN  SELL  famous  Hoover  Uniforms  for  beauty 
shops,  waitresses,  nurses,  doctors,  others.  All  popular  miracle 
fabrics — nylon,  dacron,  orlon.  Exclusive  styles,  top  quality. 
Big  cash  income  now,  real  future.  Equipment  free.  Hoover, 
Dept.  C-1 19,  New  York  11,  N.Y. 

SEND  YOUR  NAME  for  Sample  pair  of  Sensational,  new 
lifetime  candles — never  burn  down  I  Sensational  money- 
maker. Forever-Yours  Candles,  Merlite  Co.,  114  E.  32nd  St., 
Dept.  X-12,  New  York  16. 

PERSONAL 

$35  WEEKLY  PREPARING  envelopes.  Instructions  $1.  Re- 
fundable. Adservice,  Spring  Valley  151,  New  York. 
MAKE  YOUR  TYPEWRITER   Earn   Money.  Send  $1.00. 
Hughes,  7004  Diversey,  Chicago  35. 

EDUCATIONAL  OPPORTUNITIES 

BORROWING  BY  MAIL.  Loans  $100  to  $600  to  employed 

BE  A  HOTEL  Hostess.  Enjoy  your  work!  Fascinating  posi- 
tions in  hotels,  motels,  clubs  as  Hostess.  Executive  House- 
keeper, Manager,  Social  or  Food  Director.  Lewis  Training 
quickly  qualifies  you  at  home  or  through  resident  classes  in 
Washington.  Lewis  National  Placement  Service  Free.  Write 
for  Free  Book.  40th  Year.  Course  Approved  for  All  Veteran 
Training.    Lewis    Hotel    Training    School,    Sta.    BD-2901, 
Washington  7,  D.  C. 

men  and  women.  Easy,  quick.  Completely  confidential.  No 
endorsers.  Repay  in  convenient  monthly  payments.  Details 
free  in  plain  envelope.  Give  occupation.  State  Finance  Co., 
323  Securities  Bldg.,  Dept.  S-69,  Omaha  2,  Nebraska. 
PSORIASIS  SUFFERERS:  WRITE  for  Free  important  infor- 
mation today.  Pixacol  Co.,  Box  3583-C,  Cleveland  18,  Ohio. 

STAMP  COLLECTING 

HIGH  SCHOOL— NO  Classes.  Study  at  home.  Spare  Time. 
Diploma  awarded.  Write  for  Free  Catalog,  HCH-33,  Wayne 
School,  2527  Sheffield,  Chicago  14,  III. 
HIGH  SCHOOL  DIPLOMA  at  home.  Licensed  teachers. 
Approved  materials.  Southern  States  Academy,  Box  144W 
Station  E,  Atlanta,  Georgia. 

DO-IT-YOURSELF 

GIGANTIC    COLLECTION    FREE— Includes    Triangles- 
Early    United    States — Animals — Commemoratives — British 
Colonies — High  Value  Pictorials,  etc.  Complete  Collection 
plus  Big  Illustrated  Magazine  all  free.  Send  5c  for  postage. 
Gray  Stamp  Co.,  Dept.  PC,  Toronto,  Canada. 
FIRST  U.N.  SET.  Among  World's  Prettiest.  Only  10c.  Approv- 
als. Welles,  Box  1246-PX,  NYC  8. 

HOME  SEWERS  WANTED 

LEARN  ART  METALCRAFT  and  jewelry  making.  Complete 
inexpensive,  home  training  course  now  available.  Special  tools 
and  materials  furnished.  Write  for  free  booklet.  Interstate 
Training  Service,  Dept.  L-72,  Portland  13,  Oregon. 

FOREIGN  AND  USA  JOB  LISTINGS 

SEW  APRONS.  NO  charge  for  material.  Write:  Adco, 
Bastrop,  Louisiana. 

SEW  BABY  SHOES  at  home.  No  canvassing.  $40.00  weekly 
possible.  Write:  Tiny-Tot,  Gallipolis  19,  Ohio. 

HIGH  PAYING  JOBS.  All  Types.  Foreign,  U.S.  Chance  to 

BUSINESS  OPPORTUNITIES 

Travel.  Fare  paid.  Application  Forms.  Free  Information.  Write 
Dept.  73K,  National,  1020  Broad,  Newark,  N.J. 

WANT  TO  MAKE  Big  Money  At  Home?  Invisibly  reweave 
damaged  garments.  Details  free.  Fabricon,  8340-S  Prairie, 
Chicago  19. 

EARN  EXTRA  MONEY  selling  Advertising  Book  Matches. 

OLD  COINS  &  MONEY  WANTED 

Free  sample  kit  furnished.  Matchcorp,  Dept.  WP-24,  Chicago 
32,  Illinois. 

WE  PURCHASE  INDIANHEAD  pennies.  Complete  all  coin 
catalogue  25c.  Magnacoins,  Box  61  -FO,  Whitestone  57,  N.  Y. 

LEARN  AT  HOME 

•  to  be  a  Nurse's  Aide 

•  Practical  Nurse 

•  or  Infant  Nurse 

Prepare  in  spare  time  for  a  fascinating,  high-pay  career. 
Thousands   of    men    and  women,    18-60,    are    graduates    of 
Ihis  physician-endorsed  course.   High  school  not  required. 
Easy  payments;  earn  as  you  learn.  Trial  plan.  57th  year. 
CHICAGO   SCHOOL    OF    NURSING 
Dept.  24,  25  East  Jackson  Blvd.,  Chicago  4,  III. 
Please  send  me  free  booklet  and  16  sample  lesson  pages. 
Name— 


City. 


.State. 


-Age. 


ANY  PHOTO  ENLARGED 

Size  S  x  10  Inches 

on  DOUBLE-WEIGHT  Paper 

Same  price  for  full  length  or  bast 
form,  groups,  landscapes,  pet  ani- 
mals, etc.,  or  enlargements  of  any 
part  of  a  gronp  picture.  Original  is 
returned  with  yonr  enlargement. 

Send  No  Money  3  for  $1  so 

Just  mail  photo,  negative  or  snap- 
shot (any  size)  and  receive  your  enlargement, 
guaranteed  fadeless,  on  beautiful  double- weight 
portrait  quality  paper.  Pay  postman  67c  plus 
postage— or  send  69c  with  order  and  we  pay  post- 
age. Take  advantage  of  this  amazing  offer.  Send 
your  photosnow.  Professional  Art  Studios 
544  S.  Main,  Dept.  36- D,  Princeton, III. 


Reveal  features,  ex- 
pression, life  unseen 
In  snapshots  and 
small  photographs 


69 


The  Blue  Horizon 


(Continued  from  page  35) 
your  smile  or  admire  a  blouse  you  wore. 
But  the  nicest  thing  is  the  friendship.  The 
nicest  thing  they  ever  write  is  to  close  by 
saying,  'I  wish  you  were  my  real  neigh- 
bor.' " 

Melba's  personal  friends  and  real  neigh- 
bors don't  merely  say  she's  "nice."  They 
use  words  like  "outstanding"  and  "very 
wonderful."  One  of  her  friends — Mrs. 
Bess  Lande,  an  occupational  therapist — 
said,  "Melba  gives  so  much  of  herself.  Even 
she  doesn't  realize  it.  I  was  at  a  party  of 
Melba's  and  she  introduced  me  around. 
Later,  one  of  the  guests  asked  me  what  I 
did.  When  I  told  him,  he  seemed  puzzled, 
then  finally  explained  that — the  way  Melba 
had  introduced  me — he  was  sure  I  was 
someone  he  ought  to  know  about,  in  a 
'big  name'  sense." 

If  you  were  really  Melba's  next  door 
neighbor,  you'd  need  a  pretty  good  pair  of 
legs  to  borrow  a  cup  of  sugar,  for  she  lives 
on  the  top  (fourth)  floor  in  a  walk-up 
apartment.  The  apartment  is  in  Green- 
wich Village,  right  off  Washington  Square. 

"When  I  first  came  to  New  York,  I  fell 
in  love  with  the  Village,"  Melba  says.  "It 
reminded  me  of  the  kind  of  Paris  I  dreamed 
of,  as  a  kid." 

It  was  an  answer  to  the  kind  of  a  dream 
that  comes  to  a  girl  who  grows  up  in  an- 
other kind  of  village — one  in  the  Rocky 
Mountains.  You  go  back  several  genera- 
tions to  learn  how  Melba  Rae  got  there. 
Melba's  forbears  were  Mormon  pioneers 
who  pushed  their  way  in  covered  wagons 
from  the  East  Coast  to  Utah.  One  of  these 
grandparents,  Christian  Christiansen  Han- 
sen, now  in  his  nineties,  still  lives  in  Mel- 
ba's home  town  of  Willard. 

"He  was  in  his  teens  when  he  made  the 
trek,"  Melba  says.  "They  tell  the  story 
that,  during  the  journey,  he  turned  his 
horse  and  wagon  over  to  a  man  whose 
wife  was  pregnant,  and  then  walked  and 
lugged  his  own  gear.  He's  a  fine  man 
and  still  vigorous.  Just  a  few  years  back, 
he  built  himself  a  new  home." 

The  town  of  Willard  is  at  the  mouth  of 
Red  Rock  Canyon,  and  Melba  grew  up 
in  a  house  made  of  rock  as  a  fortress 
against  Indian  raids.  Her  father  was  a 
rancher  and  a  farmer.  Melba  remembers 
that,  as  a  child,  she  spent  many  afternoons 
straddling  a  fence  and  watching  her  father 
and  cowboys  work  the  cattle.  Her  father 
was  a  builder,  too,  and  put  up  dikes  and 
dams.  Her  family  was  not  rich,  says  Melba. 
"But  my  home  was  cheerful,  except  for  the 
long  illness  of  my  father  before  he  died." 

Melba's  mother  is  an  intelligent,  happy 
woman,  and  there  is  a  great  deal  of  resem- 
blance between  mother  and  daughter — they 
even  share  the  same  birthday.  Her  mother 
was  an  admirer  of  Nellie  Melba,  and  it  was 
for  the  celebrated  opera  singer  that  she 
named  her  first-born. 

"Mother  confuses  friends  when  she 
comes  to  visit.  She  calls  me,  'Melba  Rae,' 
because  Rae  is  my  middle  name.  My  last 
name  is  Toombs,  and  I  always  liked  it — 
even  though  some  people  made  grave  re- 
marks about  it!  But,  in  my  first  play  on 
Broadway,  I  found  that  they  had  dropped 
my  last  name  from  the  program,  and  I 
thought  someone  was  suggesting  tactfully 
that  I  use  Rae." 

Melba  says  that  she  owes  a  great  deal 

of   her   education    and   development   as   a 

child  to  the  Mormon  Church.    The  church 

was  across  from  the  school,  and  all  social 

T     activities  centered  around  these  two  build- 

V    ings.    There  was  a  movie  once  a  week,  and 

„     singing,   and   craft  classes   in   sewing  and 

building  useful  things. 

Melba's    theatrical    career    began    as    a 
child.     Her  bedroom  door  opened  on  the 
70 


porch,  and  she  used  to  stretch  a  rope  from 
her  door  to  a  big  tree  and  hang  a  quilt 
across  the  line  as  a  curtain.  One  of  her 
specialties  was  a  "veil  dance."  She  was 
her  own  costumer.  For  Cinderella's  ball- 
room scene,  she  sewed  patches  of  tinfoil 
on  her  grandmother's  cape. 

"The  children  came  at  a  penny  a  head," 
she  recalls.  "I  never  charged  pins — never 
less  than  a  penny,  never  more." 

Melba  was  the  older  of  two  children  and 
her  brother  Bob  did  not  approve  of  the 
shows.  Frequently,  he  expressed  his  own 
creative  talents  by  turning  the  lawn  hose 
on  the  audience.  For  this,  there  was  no 
extra  charge. 

But  a  girl  in  a  small  town  does  a  lot  of 
daydreaming,  and  Melba  thought  a  lot  and 
read  a  lot  about  the  world  beyond  the 
mountains.  Since  Melba  left  Utah,  she  has 
traveled  widely  in  Europe  and  Asia.  She 
has  toured  almost  every  state  in  the  union. 
But  she  has  never  experienced  anything 
as  grand  as  the  backdrop  she  could  see 
from  her  bedroom  window  in  Willard. 

"The  walls  of  the  house  were  as  thick 
as  a  fort  should  be.  The  window  ledge  in 
my   room   was   deep   enough   to   seat  two 


Landslide! 

Your  votes  poured  in  .  .  . 

the  results  come  out  .  .  . 

in  our  May  Awards  Issue 

TV  RADIO  MIRROR 
APRIL  5 


adults.  As  a  child,  I  stretched  out  there 
alone  and  looked  straight  up  at  three 
mountain  peaks.  It  wasn't  awesome  so 
much  as  it  was  cosy.  The  first  time  I  left 
home  was  to  go  to  Stanford  University — 
and,  without  my  mountains,  I  felt  naked." 

Her  first  experience  away  from  home 
was  frightening.  She  was  awed  by  the 
education  and  versatility  of  her  classmates. 
At  the  end  of  the  first  semester,  when  she 
went  home  for  the  Christmas  holidays,  she 
packed  her  trunk  and  took  all  her  belong- 
ings with  her.  "I  was  convinced  that  I'd 
flunked  out  of  school,"  she  explains. 

Her  grades  came  by  mail,  and  she 
learned  that  she  had  earned  nothing  but 
A's  and  B's.  She  went  back  to  school  and 
established  quite  a  record,  both  scholas- 
tically  and  in  the  campus  theater.  She 
had  started  off,  quite  practically,  by  major- 
ing in  history  and  economics.  She  had  a 
full-tuition  scholarship  and  paid  for  the 
remainder  of  her  expenses  by  doing  sec- 
retarial work.  Her  junior  year,  she 
switched  to  a  major  in  English  literature 
and  dramatics.  She  was  so  good  that 
she  was  a  student  instructor  in  speech 
during  her  senior  year — and,  to  top  it  off, 
was  tapped  for  Phi  Beta   Kappa. 

There  were  two  jobs  offered  Melba  after 
graduation,  one  as  a  dramatics  instructor 
at  a  girls'  school  and  the  other  as  an 
actress  at  Station  KFRC  in  San  Francisco. 
She  went  to  KFRC,  but  not  for  long.  The 
Elgin  Watch  Company  began  a  search  for 
the  most  beautiful  and  brainiest  gal  in  the 
country.  They  started  off  by  interviewing 
female  Phi  Beta  Kappas — and,  naturally, 
chose  Melba.  They  brought  her  to  New 
York  for  two  months  of  interviews  and 
promotions.  She  was  paid  well  and,  as  a 
memento,  was  given  the  gold  wristwatch. 


"Of  course,  I  stayed  on  m  New  York," 
she  remarks.  "This  is  where  every  actress 
wants  to  be,  anyway.  And  I  had  saved 
my  money.  I  began  looking  for  dramatic 
work,  but  it  was  six  terrible  months  be- 
fore I  got  my  first  break." 

Her  subsequent  success  as  an  actress  is 
impressive.  Melba  charmed  Broadway  in 
"Janie,"  "Happily  Ever  After,"  and  "Days 
of  Our  Youth."  In  television,  there  is 
hardly  a  dramatic  program  she  hasn't 
worked  on — PTiilco,  Kraft,  Big  Story,  Circle 
Theater,  and  many  others.  She  has  been 
on  several  major  daytime  and  evening 
radio  shows.  And  Melba  has  "dubbed  in" 
English  voice  for  many  foreign  films. 

For  the  past  four  years,  she  has  been 
Marge  Bergman  in  Search  For  Tomorrow 
— a  role  she  very  much  enjoys.  "People 
sometimes  say,  'That  must  be  tedious,  play- 
ing the  same  part,  day  after  day.'  They 
are  wrong.  It's  wonderful  to  get  so  inti- 
mate with  a  role  and  grow  with  it." 

Melba  stays  in  training  for  her  work,  like 
an  athlete.  She  must  be  up  at  six-thirty  to 
make  the  eight-o'clock  rehearsal.  To  do 
this,  she  goes  to  sleep  at  ten-thirty.  If  she 
is  at  a  party,  she  leaves  early.  If  she  is 
going  to  the  theater,  and  can't  be  in  bed 
before  midnight,  then  she  takes  an  after- 
noon nap  to  make  up  for  the  shortage  of 
sleeping-time.  Although  the  telecast  is  over 
at  twelve-forty-five,  there  are  auditions 
and  rehearsals  for  other  shows  that  keep 
her  in  town  many  afternoons. 

Her  apartment  consists  of  a  bedroom 
and  living  room,  an  efficiency  kitchen,  and 
a  kind  of  dressing  room  between  the  bath- 
room and  living  room.  The  apartment  has 
been  furnished  with  thought. 

"To  me,"  says  Melba,  "a  home  is  some- 
thing special.  It's  a  place  where  I  study 
and  sleep  and  eat  and  read  and  entertain. 
It's  got  to  be  furnished  right — but  not 
showy,  for  then  you  wouldn't  have  money 
left  over  to  enjoy  it." 

Melba  does  her  own  housekeeping,  and 
neatly,  too.  She  cooks  frequently  and 
does  all  the  cooking  when  she  entertains. 

"I've  become  proud  of  my  cooking,"  she 
says.  "Maybe  because  I  had  so  little  to 
be  proud  of  a  few  years  back.  I  like 
French  dishes  best  for  guests.  I  don't 
know  whether  there  is  anything  special 
about  my  recipes.  Like  most  women,  I 
start  off  borrowing  one  from  a  friend. 
Something  I  liked.  After  I've  made  it  a 
half-dozen  times,  it's  changed  a  little  and 
becomes  my  own." 

Melba  likes  to  give  small  dinner  parties, 
and  likes  everything  to  be  white  and  pink. 
She  uses  a  white  cloth  and  pink  napkins 
and  pink  candles.  She  likes  seasonal  flow- 
ers on  the  table — violets  in  spring,  dahlias 
in  fall.  The  white  and  the  pink  and  the 
flowers  go  well  with  the  green  she  has 
chosen  for  her  walls  and  rugs.  The  deco- 
rative theme,  itself,  is  Oriental.  "The 
Oriental  'kick'  began  when  I  toured  the 
Far  East  with  a  show  for  the  Armed 
Forces  and  did  some  shopping  in  Tokyo." 

She  brought  back  Japanese  prints  of  the 
Kabuki  Dancers  and  these  are  hung  in  the 
living-  and  bed-rooms.  She  bought  an 
Oriental  screen  of  which  she  is  particularly 
proud.  It  is  a  short  screen  and  she  uses 
it  on  a  dresser  to  camouflage  a  lot  of 
personal  belongings.  This  dresser — a  ne- 
cessity— has  been  placed  in  one  far  corner 
and  practically  painted  right  into  the  wall. 

Centered  in  one  wall  is  a  woodburning 
fireplace.  On  the  mantel  are  Oriental 
carvings  of  onyx  and  rose  quartz  and  jade. 
On  either  side  of  the  fireplace  is  a  chair 
in  functional  modern  and,  on  the  side 
tables,  large,  black  lacquered  bowls. 

Opposite  the  fireplace  is  a  studio  couch, 
covered  in  gray-and-green  striped  chintz. 


KM 


Melba  made  the  cover,  as"  well  as  the 
matching  drapes.  She  also  designed  and 
made  the  glass  and  wood  coffee  table. 

Centered  between  her  living  room  win- 
dows is  a  handsome  chest,  in  natural  oak 
with  Oriental  pulls.  The  chest  was  orig- 
inally finished  in  yellow  fumed  oak,  stood 
five  feet  high  on  bandy  legs  and  had 
peculiar  pulls.  Melba  sawed  off  the  legs, 
sanded  the  chest  down  to  its  natural 
grain  and  then  lacquered  it.  She  went  into 
Chinatown  and  found  Oriental  brass  tri- 
vets which  she  sawed  in  half  for  handles. 

"I'm  not  a  legitimate  'do-it-yourself 
person,"  she  says.  "What  I  mean  is  that  I 
don't  do  it  as  a  hobby  or  for  relaxation.  I 
just  do  these  things  because  they  have  to 
be  done." 

On  top  of  the  chest  is  a  television  set — 
and,  atop  the  set,  an  unframed  portrait  of 
Melba.  An  artist  friend  who  did  the 
portrait  is  dissatisfied  with  it  and  so  won't 
let  Melba  frame  it,  but  she  likes  the 
painting  and  doesn't  want  it  destroyed. 

Her  bedroom  has  the  same  green  wall  as 
the  living  room.  She  made  the  bedspread 
of  nubby  yellow  cotton  and,  over  the  head 
of  the  bed,  a  set  of  shelves  attached  to 
the  wall.  She  says:  "It  looks  like  a  DC-6 
control  panel." 

She  has  a  radio  clock  to  turn  on  the 
news  at  six-thirty  and  an  emergency  reg- 
ular-wind clock  set,  in  case  the  electricity 
goes  off.  On  her  shelves  there  are  many 
books,  including  a  dictionary  for  ready 
reference,  and  a  picture  of  her  mother. 

On  one  shelf,  there's  a  picture  of  her 
three  nieces.  On  another  there  is  a  collec- 
tion of  stuffed  animals.  One  is  a  Stanford 
dog  with  a  big  letter  S  (how  he  earned  it 
is  rather  obscure) .  There  is  a  teddy  bear 
with  a  pointed  nose  like  Winnie  The 
Pooh's.  "This  bear  must  be  over  three  hun- 
dred years  old,"  she  says.  "It  belonged 
to  one  of  my  great-great-grandmothers, 
and  my  grandmother  Toombs  brought  it 
West  with  her  in  one  of  those  pioneer 
wagons." 

Around  the  apartment,  Melba  relaxes  in 
shorts,  even  through  winter,  but  she  cuts 
a  sophisticated  figure  when  dressed  and 
she  gets  many  compliments.  "I  like  good 
clothes,  simply  cut  and  well-made,"  she 
says,  "but  it's  not  expensive,  for  I  keep 
them  forever." 

For  recreation,  Melba  reads  and  paints 
— and,  in  season,  she's  crazy  about  picnics. 
Like  most  single  girls,  she  particularly 
favors  dating  as  a  recreation  and  likes 
the  theater  and  movies  and  horseback 
riding.    She  rides  very  well. 

She's  a  good  conversationalist,  but  con- 
siders herself  a  liability  at  the  theater.  She 
cries  buckets,  at  sad  movies  or  plays.  When 
she  saw  "Summertime,"  she  was  sobbing 
so  hard  that  she  hardly  had  strength 
enough  to  leave  the  theater.  But,  crying  or 
laughing,  the  theater  is  her  favorite  enter- 
tainment. Her  friends  range  from  grocers 
to  art  collectors,  but  she  particularly  en- 
joys the  company  of  actors,  because  she 
loves  the  theater  and  her  career. 

"But  it  could  never  be  a  career  and 
nothing  else,"  she  says.  "I  can't  close 
people  and  things  out  of  my  life.  Every- 
thing comes  in.  And  I  can't  be  trivial 
about  these  things." 

She  is  never  less  than  earnest  about 
any  part  she  plays  and  her  aim  in  Search 
For  Tomorrow  is  to  make  Marge  Bergman 
as  real  as  can  be.  "Marge  is  a  wonderful 
person,"  Melba  says.  "She's  lovable  and 
loves  everyone  and  yet  she's  assertive, 
quick  to  get  angry  and  go  to  someone's 
defense.  She  cries  easily  but  has  a  lot  of 
spunk.  She's  a  very,  very  nice  gal  with 
lots  of  pep.  I  can't  help  like  the  part." 

As  the  old  adage  says,  "If  the  shoe  fits, 
put  it  on."  The  role  of  "nice,  peppy"  Marge 
Bergman  fits  Melba  Rae  like  a  dream. 
And  everyone  loves  the  way  she  wears  it. 


The  danger  in  waiting  for 
your  child  to  outgrow  pimples 


by  MARCELLA  HOLMES 

NOTED  BEAUTY  AUTHORITY 

(former  beauty  editor  of  "Glamour"  magazine) 

Of  all  the  mail  that  reaches  a  beauty 
editor's  desk,  there  is  none  so  urgent 
as  letters  from  adolescent  girls  with 
pimples.  That's  why  I  want  to  alert 
mothers  to  the  double  dangers  of  this 
problem.  Psychologists  tell  us  that 
pimples  undermine  poise  and  self- 
confidence,  can  cause  permanent  dam- 
age to  a  child's  personality.  Skin  spe- 
cialists warn  that  acne-type  pimples, 
if  neglected,  can  leave  permanent  scars 
on  the  skin. 

Is  there  a  way  you  can  help  your 
child?  Yes,  thanks  to  clearasil,  a  mod- 


ern, scientific  pimple  medication  proved 
effective  in  doctors'  tests  on  202  pa- 
tients. In  these  tests,  9  out  of  every  10 
cases  were  cleared  up  or  definitely  im- 
proved while  using  clearasil. 

Greaseless,  fast-drying,  antiseptic . . . 
clearasil  may  be  said  to  "starve"  pim- 
ples because  it  helps  remove  the  oils 
pimples  "feed"  on.  Ends  embarrassment 
immediately  because  clearasil  is  skin- 
colored  to  hide  pimples  as  it  works. 
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in  doctors'  tests  or  money  back.  Only 
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71 


To  the  Ladies! 


(Continued  from  page  39) 
have  come  about  in  his  life.  Unexpected- 
ly. In  some  cases,  almost  casually.  .  .  . 
Like  the  way  he  began  to  date  his  wife, 
Judith,  although  they  had  known  each 
other  for  four  years  before  he  really  no- 
ticed her.  .  .  .  The  way  he  broke  into  radio 
because  a  lovely  young  actress,  Jan  Miner, 
happened  to  hail  his  uncle's  taxicab  one 
morning,  and  they  struck  up  a  conversa- 
tion. .  .  .  The  way  he  began  a  writing  ca- 
reer, along  with  his  acting.  .  .  .  All  of  them 
big,  important  things  in  his  life,  growing 
out  of  small  incidents. 

Seeing  Steve  in  his  own  living  room — a 
pleasant  harmony  of  greens  and  beige  and 
tans  and  modern  pieces — with  Judy  and 
their  two  boys,  Eric  and  Peter,  you  sum 
him  up  as  a  handsome  man,  in  his  early 
thirties,  tall  (almost  six  feet),  broad,  ath- 
letic looking.  A  fellow  who  loves  all  ac- 
tive sports  yet  would  be  equally  at  home 
on  a  dance  floor.  His  hair  is  black,  his 
eyes  hazel,  with  always  a  spark  of  humor. 

Judy  Gethers  has  a  twinkling  look,  too, 
though  she's  a  non-professional  —  "and 
expects  to  stay  that  way,"  Steve  comments, 
as  if  delighted  that  there  is  only  one  ca- 
reer to  be  coped  with  in  the  family.  Judy 
is  a  graceful,  compactly  built  brunette. 
The  boys  have  her  merry  smile  and  their 
dad's  charm — and  their  own  personalities. 

Peter,  who  can  hardly  wait  to  be  three 
this  summer,  is  the  family  clown,  with 
marvelous  imagination.  At  the  moment 
his  great  ambition  is  to  be  a  monkey,  rath- 
er than  a  policeman  or  fireman  like  some 
of  his  more  prosaic  young  friends.  The 
reason  for  this  departure  from  conformity? 
"He  wants  a  tail,"  Judy  explains.  "He's 
fascinated  by  the  way  monkeys  can  climb 
and  hang  by  their  tails."  Peter  admires 
cowboys,  too,  and  bucking  broncos,  and 
things  you  can  pound  with  and  on,  as  an 
outlet  for  some  of  his  bubbling  energy. 

Eric  has  the  humor  that  is  a  family  trait, 
and  a  more  serious  side,  as  befits  a  fellow 
going  on  ten  years  old.  He's  the  reader, 
the  writer  of  poetry  (free  verse  and  the 
rhyming  kind,  and  both  unusually  ex- 
pressive for  his  age).  He  goes  to  the 
public  school  near  the  huge  apartment  de- 
velopment in  which  they  live,  right  in 
the  heart  of  New  York,  built  around 
lawns  and  playgrounds  and  curving  walks. 
Eric  is  crazy  about  baseball  and  isn't  sure 
at  this  point  whether  to  become  a  ball 
player,  a  writer,  or  maybe  something  he 
hasn't  even  thought  about  yet. 

oteve  himself  always  knew  what  he 
wanted  to  do,  even  at  an  early  age,  al- 
though the  idea  probably  took  definite 
shape  when  he  played  roles  in  school 
dramatic  shows  at  New  Utrecht  High 
School  (in  Brooklyn,  where  he  was  born 
on  June  8,  1922).  He  wanted  to  be  an 
actor,  and  he  knew  it  then,  and  because 
of  that  he  matriculated  at  the  University 
of  Iowa,  majoring  in  drama.  After  about 
two  years,  he  came  back  to  New  York  to 
enroll  at  the  American  Academy  of  Dra- 
matic Arts,  from  which  he  graduated  and 
went  oh  into  summer  stock. 

There   was   another   reason   for    coming 
back  to  New  York,  which  may  have  out- 
weighed    the     first.    Judy     had     finally 
emerged  as  the  girl,  not  merely  a  girl,  and 
Judy  lived  in  New  York,  a  long  way  from 
Iowa.    They  had  met  at  the  same  summer 
camps    since    he    was    fourteen.    "It    was 
this  way,"  Steve  says.  "We  said  hello  at 
T    the  beginning  of  the  season  and  goodby 
v    at  the  end.    That  was  about  it. 
„        "Until  one  night,  four  years  after  our 
first  meeting,  there  was  a  concert  at  the 
camp  and  all  the  fellows  had  dates  after- 
wards.    They  were  going  to  the  local  ice 


cream  parlor.  Someone  told  me  to  grab  a 
date,  too,  and  Judy  happened  to  be  the 
girl  sitting  next  to  me.  She  said  she 
would    come.    That    was    the    beginning." 

They  became  engaged  while  Steve  was 
in  the  Army.  "He  took  me  into  a  neigh- 
borhood bar  one  night  and  pulled  a  ring 
out  of  his  pocket,  without  preparing  me 
at  all,"  Judy  tells  you.  "The  reason  we 
had  to  go  to  a  bar  was  that  there  was  just 
too  much  family  around  at  home,  and  he 
couldn't  wait  to  find  a  more  appropriate 
place.  I  was  too  surprised  and  excited  to 
make  much  fuss  over  the  ring.  We  never 
did  really  plan  our  marriage.  He  spoke  to 
his  father  about  it,  not  to  me." 

"Because  Judy  wasn't  home  when  I  tele- 
phoned," Steve  explains.  "No  one  was 
home  at  her  house.  I  was  on  maneuvers 
with  the  Field  Artillery,  in  Louisiana,  and 
I  had  asked  my  captain  for  a  furlough  to 
get  married.  When  I  couldn't  reach  Judy 
I  called  my  father  and  asked  him  to  tell 
her  I  was  coming  home  for  our  wedding. 
He  suggested  that  maybe  a  girl  would  like 
to  be  consulted  about  such  an  important 
event,  but  I  knew  she  was  ready.  We 
were  twenty-one  and  twenty  then,  and 
had  been  going  together  a  long  time.  We 
had  only  six  weeks  together  before  I  went 
overseas  for  more  than  two  years." 

W  ith  separation  from  the  service,  final- 
ly, there  came  a  period  of  readjustment 
for  Steve.  Things  seemed  rough  for  a 
while,  but  his  training  and  his  background 
of  summer  stock  led  to  his  getting  a  job 
as  stage  manager  and  understudy  in  a 
Broadway  musical,  "Toplitzsky  of  Notre 
Dame."  He  toured  after  that  with  an- 
other play  that  "died"  in  Boston  before 
ever  reaching  New  York,  and  he  went  on 
tour  with  "Joan  of  Lorraine,"  starring 
Sylvia  Sidney.  His  one  big  chance  to  act  on 
Broadway  was  with  Mary  Boland,  in  a 
play  called  "Open  House" — but  it  closed 
in  a  week. 

Kids  he  knew  in  show  business  were 
doing  all  right  for  themselves  in  radio, 
and  Steve  yearned  to  join  them  but  didn't 
quite  know  how  to  begin.  "My  cab-driv- 
ing uncle,  Harry  Silverman,  took  care  of 
that  for  me,  although  I  kept  pleading  with 
him  not  to.  Whenever  he  picked  up  any- 
one in  his  cab  who  seemed  to  have  any 
connection  with  show  business,  especially 
radio,  he  would  turn  around  and  start  by 
saying,  'I  have  a  nephew — ' 

"Usually  he  got  the  brush,  of  course. 
There  seem  to  be  plenty  of  New  York  cab 
drivers  with  talented  members  of  the 
family — according  to  them  at  least!  My 
uncle's  fares  had  heard  variations  on  this 
story  before.  But,  one  day,  he  telephoned 
in  great  excitement  and  said  I  must  see 
him  at  once.  It  seems  he  had  picked  up  a 
wonderful  young  actress  in  his  cab.  As 
usual,  he  had  turned  around  and  said,  T 
have  a  nephew — '  Only,  this  time  it  had 
worked.  She  said  that  any  day,  after  her 
broadcast,  I  could  see  her  at  the  studio 
and,  if  I  really  had  talent,  she  would  in- 
troduce me  to  people  who  might  help  me. 

"I  didn't  want  to  go.  My  uncle  insisted. 
When  I  got  to  the  door  of  the  studio  I  stood 
outside,  feeling  foolish.  I  finally  did  go  in 
and  introduced  myself  to  her.  She  was  Jan 
Miner,  who  today  plays  Terry  Burton,  on 
The  Second  Mrs.  Burton,  and  stars  in  many 
of  the  big  night-time  TV  dramatic  shows. 
Even  ten  years  ago,  when  we  first  met,  she 
was  already  established  in  radio. 

"Jan  asked  me  about  my  training  and 
experience  and  told  me  how  to  go  about 
getting  auditions.  She  introduced  me  to 
people  who  could  help.  Through  her  in- 
troductions, a  program  called  Radio  City 
Playhouse  began  to  give  me  bit  parts  and 


— finally — a  big,  fat  part  on  one  of  their 
programs.  After  a  while  I  was  getting 
good  parts  on  many  shows  and  playing 
running  roles  in  a  number  of  daytime 
serials.  All  during  this  time,  Jan  was 
just  wonderful  about  giving  me  advice  and 
teaching  me.  She  does  more  nice  things 
for  people  than  anyone  could  count  up, 
and  I  owe  her  a  great  deal.  She  is  mar- 
ried to  a  great  guy  who  is  an  actor,  too — 
Terry  O'Sullivan." 

The  way  Steve  got  into  Love  Of  Life 
was  almost  as  unusual.  His  agent  told 
Love  Of  Life's  producers  that  he  had  just 
the  right  actor  for  the  role,  one  who  per- 
fectly fitted  the  physical  description  and 
had  all  the  other  qualities  to  play  Hal 
Craig.  They  had  asked  for  two  other 
actors  to  test,  however,  and  felt  time  was 
too  short  to  bother  with  seeing  Steve. 
Neither  actor  got  the  job,  nor  did  any  of 
the  others  they  tried  out.  Finally,  they 
had  about  decided  on  one,  although  not 
completely  satisfied  with  their  choice.  At 
this  point,  Steve's  agent  suggested  again 
they  see  Steve.  "Just  let  me  send  this 
guy  over  and  you  can  take  a  look  at  him," 
he  asked.  Reluctantly  they  agreed.  Steve 
read  for  the  part  on  a  Thursday,  went  into 
the  show  on  the  following  Monday,  and 
signed  for  the  usual  thirteen  weeks — 
which  have  now  lengthened  into  three 
years. 

On  the  show  he  plays  opposite  a  stun- 
ning actress  named  Jean  McBride,  who  is 
Meg  Harper  in  the  script.  The  mail  about 
the  good-looking,  suave  Hal  Craig  and  the 
beautiful,  restless  Meg  has  been  rather 
overwhelming.  Apparently  the  sight  of 
these  two  handsome,  strong-willed  people 
being  pitted  against  each  other  and  send- 
ing off  sparks  in  their  acting  has  caught 
the  imagination  of  viewers. 

Oteve  admires  Jean,  praises  her  ability. 
"I  can  truthfully  say  that,  although  I  have 
done  some  300  shows  on  television  and 
worked  with  many,  many  people,  there  has 
been  no  one  like  Jean.  She  never  comes  to 
a  broadcast  unprepared,  she  never  does 
the  wrong  thing. 

"There's  no  tension  anywhere  on  this 
show.  Everyone  concerned  with  it  is  just 
great.  Dick  Dunn,  who  produces  the  show 
for  the  agency.  Larry  Auerbach,  our  di- 
rector. The  whole  cast,  the  staff,  and  the 
crew.  All  just  great  people." 

Steve's  knowledge  of  television  is  no 
longer  limited  to  the  actor's  side,  either. 
Not  since  a  couple  of  years  ago,  when  he 
turned  TV  script  writer.  And  this,  too, 
happened  in  an  odd  and  unplanned  way. 

He  came  home  one  day,  complaining 
about  the  awful  sameness  of  his  roles  on 
crime  shows.  He  had  played  every  gang- 
ster role  in  the  world,  he  felt,  and  was 
dizzy  from  getting  hit  over  the  head — or 
hitting  someone  else  over  the  head — as  he 
expressed  it  to  Judy.  She  had  a  construc- 
tive answer:  "You  always  wanted  to  write, 
so  why  don't  you  sit  down  and  write  the 
kind  of  script  you'd  like  to  play?" 

Steve  thought  she  might  have  something 
there.  He  worked  out  an  idea  for  his 
script,  wrote  and  re-wrote,  and  eventually 
sold  it  to  The  Clock.  They  gave  him  the 
lead  role.  After  a  while,  he  added  maga- 
zine detective  stories  to  his  writing  sched- 
ule— until  he  realized  that,  in  order  to 
earn  some  fast  dollars,  he  was  turning  out 
the  same  monotonous  plots  he  had  resented 
playing.  So  he  quit,  and  determined  to 
write  more  serious  stuff. 

When  he  had  been  on  Love  Of  Life 
about  a  year,  he  tried  his  hand  at  a  one- 
hour  dramatic  TV  script  and,  through  his 
effort  to  market  it,  he  met  the  woman  who 
has    helped    him    tremendously    with    his 


writing.  For  he  finally  submitted  his  play 
to  Marion  Searchinger,  script  reader  for 
an  important  agency. 

"Once  more,  however,  I  might  have  held 
back,"  he  says,  "if  it  had  not  been  for 
Judy.  One  Monday,  when  I  was  going  to 
rehearsal,  Judy  reminded  me  to  take  the 
script  along  to  Miss  Searchinger.  It  was 
late  in  the  season  to  sell  anything  on  the 
theme  of  baseball,  and  maybe  it  wasn't 
good  enough.  'Take  it  in,'  Judy  said.  'You 
have  nothing  to  lose.' " 

Later,  Steve  learned  that  Miss  Search- 
inger had  agreed  rather  reluctantly  to  read 
the  script,  only  because  someone  else  in 
the  office  had  asked  her  to,  because  some- 
one had  asked  him.  "As  far  as  she  was 
concerned,"  Steve  notes,  "I  was  just  an- 
other actor  who  thought  he  could  write. 
Next  day,  shortly  before  Love  Of  Life 
went  on  the  air,  I  had  a  call  from  her  at 
the  studio,  asking  me  to  get  over  after  the 
show.  The  sum  of  what  she  said  was  that 
— even  if  she  couldn't  sell  that  particular 
script — she  was  sure  I  could  turn  out  oth- 
ers, if  I  were  willing  to  work  hard. 

"She  did  sell  that  script,  five  days  later, 
to  the  U.S.  Steel  Hour,  in  time  for  the 
World  Series  season.  It  was  produced 
under  the  name  of  'Baseball  Blues.'  Be- 
tween her  help  and  that  of  Mark  Smith, 
who  is  editor  for  Maurice  Evans  and  does 
the  adaptations  for  his  shows,  I  learned 
more  about  script  writing  than  I  imagined 
there  was  to  know.  I  have  since  sold  to 
Kraft  Theater,  NBC  Matinee  Theater, 
Lamp  Unto  My  Feet,  and  others." 

The  way  things  were  happening  to  Steve 
it  could  hardly  have  been  a  surprise  when 
Long  Island  University  asked  him  to  teach 
a  class  in  playwriting  this  season.  He 
wasn't  sure  what  kind  of  teacher  he  would 
make,  but  he  liked  the  idea  at  once.  In 
his  opening  speech  to  his  class,  he  said 
that  it  seemed  to  be  a  choice  perhaps  of 
getting  a  teacher  who  couldn't  write,  or  a 
writer  who  couldn't  teach,  but  he  would 
do  his  best. 

At  home,  the  family  watches  television 
together  when  they  have  time.  Steve 
never  misses  a  major  sports  event  if  he 
can  help  it,  and  Eric  is  right  there  next 
to  him  when  it  doesn't  interfere  with 
school  work  or  bedtime.  Peter,  of  course, 
likes  the  cowboys  and  spacemen.  They 
see  as  many  of  the  dramatic  shows  as  pos- 
sible, too,  and  all  the  big  productions  chat 
everyone  likes.  And  daytime  dramas,  when 
Steve  isn't  working. 

Much  of  the  time  at  home  he's  back  in 
his  room,  pounding  on  his  typewriter.  As 
the  keys  click  to  the  rhythm  of  his  ideas, 
life  goes  on  in  the  apartment  around  him. 
Peter  brings  his  favorite  pounding  toy  into 
the  hallways  and  starts  banging  big  col- 
ored pegs  into  the  holes  designed  for  them, 
until  Judy  gently  draws  him  into  the 
farthest  corner  of  the  apartment  where 
the  sounds  grow  muffled.  Or  she  tactfully 
substitutes  something  less  noisy.  She 
doesn't  even  fuss  if  Peter  jumps  up  and 
down  a  little  on  the  big  living-room  sofa 
and  leaves  his  sticky  fingerprints  on  the 
edges  of  the  mirrored  wall  behind  it,  as 
long  as  he  keeps  quiet  so  Daddy  can  work. 

Eric  may  come  bouncing  in  from  school, 
hungry  as  only  a  boy  can  be,  wanting  to 
talk  about  the  day's  doings  and  the  plans 
he  has  afoot.  The  telephone  has  been 
ringing,  there  is  marketing  to  be  done,  but 
Judy  has  managed  to  keep  this  state  of 
confusion  well  under  control. 

So  .  .  .  even  if,  on  Love  Of  Life,  Hal 
Craig  is  a  suave,  devil-may-care  sort  of 
fellow — the  kind  the  movie  ads  used  to 
say  "you  love  to  hate"  ...  at  home,  Steven 
Gethers  is  a  hard-working  actor-writer 
who  wouldn't  change  his  own  satisfying 
life  for  that  of  anyone  else  in  the  world. 
That  glint  of  good  humor  which  lurks  in 
his  eyes  tells  you  so. 


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It's  Always  Jan 


(Continued  from   page   51) 
her    way    into    her    dressing    room.     Her 
managers  and  two  closest  friends,  Ruth  and 
Lyle  Aarons,  were  there  waiting. 

"Janis,"  said  Lyle  excitedly,  "you  con- 
tinually amaze  me.  After  458  shows,  I'd 
think  you'd  begin  to  get  tired.  Yet  that 
was  a  real,  live  performance." 

"You're  right,  Lyle,  I  do  get  tired,"  said 
Jan,  dropping  down  on  a  chaise  longue. 
"There  are  times  in  life  when  we  all  do. 
But  I've  learned  that's  the  time  to  give  it 
all  you've  got." 

On  the  It's  Always  Jan  set  in  Hollywood, 
Jan  was  still  "giving  it  all  she's  got."  Janis 
accepted  TV  as  a  demanding  medium  and, 
as  with  everything  else  in  her  career,  she 
turned  her  heart  over  to  the  American  TV 
audience  with  no  strings  attached. 

Jan's  enthusiasm  for  her  new  role  is 
illustrated  by  the  way  she  accepted  it. 
With  only  six  days  to  report  to  Hollywood, 
she  had  to  sub-lease  her  apartment  in  the 
East,  pack  her  prized  paintings  and  rec- 
ords, fly  to  Los  Angeles  and  find  an  apart- 
ment that  would  take  Jody,  her  dog,  too. 
"Before  I'd  leave  Jody,"  she  says,  "I'd 
sleep  in  the  streets." 

Once  in  Hollywood,  Jan  barely  had 
enough  time  to  hang  her  paintings,  spread 
out  her  records,  and  report  to  the  studio. 
Sixteen  weeks  later,  still  living  out  of  a 
suitcase,  Jan  was  all  enthusiasm:  "I'm  con- 
tinually amazed  to  think  we've  been  mak- 
ing a  little  motion  picture  every  week  for 
the  past  four  months.  Isn't  it  terrific!" 

But  if  Jan  was  too  busy  to  unpack,  there 
was  still  time  to  fall  in  love.  Jan  first  met 
Arthur  Stander  in  the  fall  of  1954,  when 
he  came  to  New  York  to  see  "Pa jama 
Game"  and  to  talk  to  its  lovely  lead  about 
starring  in  a  television  show.  By  March, 
they  were  partners  in  Janard  Productions, 
a  company  formed  to  produce  It's  Always 
Jan,  with  Miss  Paige  as  star  and  Mr. 
Stander   as   producer. 

By  the  time  the  new  year  rolled  around, 
Jan  and  Arthur  were  set  to  extend  the  TV 
partnership  to  include  marriage.  The  cere- 
mony took  place  January  18,  in  Las  Vegas, 
and  their  TV  production  schedule  allowed 
time  for  a  twenty-four-hour  honeymoon. 

"My  cup  is  spilling  over,"  Jan  glows.  "I 
don't  know  how  any  woman  can  be  hap- 
pier than  I  am.  Not  only  do  I  have  my 
television  show  but,  more  important,  a 
wonderful  husband.  He's  not  only  my 
producer  on  stage,  he's  also  the  kind  of 
guy  who  wears  the  pants  at  home — and 
that's  what  I  need. 

"It'll  be  wonderful  getting  out  of  the 
apartment  and  into  a  house.  We're  mov- 
ing into  a  little  place  in  Bel-Air  just  as 
soon  as  it  is  ready  for  us."  Then  the 
brand-new  Mrs.  Stander  adds:  "My  mar- 
riage will  not  affect  my  career  in  the 
immediate  future.  But  sooner  or  later,  it's 
bound  to.  I  want  children,  lots  of  them, 
and  when  I  have  them  I  don't  want  to 
have  to  farm  them  out  during  the  day  while 
I  go  to  the  studio.  To  my  way  of  thinking, 
there  is  one  thing  that  is  more  important 
than  a  successful  career,  and  that  is  a  suc- 
cessful family.    I  mean  to  have  one." 

Before  her  marriage,  Jan  had  talked 
about  a  desire  for  roots  and  for  a  home, 
after  her  years  of  wandering  the  show- 
business  circuits.  "I'm  not  looking  for 
any  dream  man,  not  a  Prince  Charming  on 
a  white  horse.  I've  no  preconceived  ideas 
even  on  what  he  should  look  like,  but  the 
prerequisites  such  as  understanding,  gen- 
tleness and  humor  should  be  there." 

Arthur  Stander  has  these  qualities — plus 
modesty.  When  a  friend  congratulated  the 
couple  with  "You  two  lucky  people  .  .  ." 
Arthur  answered:  "I  know  Jan  could  have 


done  a  lot  better,  but  I  know   I  couldn't 
have." 

Jan's  personality,  reflected  in  her  many 
interests,  is  as  varied  and  bright  as  a 
spring  garden.  She's  a  study  in  contrasts: 
She  has  a  passion  for  the  diverse  arts  of 
romance  languages  and  baking;  she  col- 
lects fine  paintings  and  sits  before  them 
knitting;  she's  satisfied  with  a  few  posses- 
sions, but  has  many  friends;  she's  gener- 
ous to  a  fault,  and  gets  a  blank  check 
from  her  business  manager  only  at  Christ- 
mas; she  is  most  proud  of  her  classical 
records — racy  new  Thunderbird — and  ele- 
gant crystal;  she  would  like  "any  small 
house  with  a  view";  on  rainy  days,  she 
reads  psychology — while  listening  to  pop 
records. 

Music  constantly  surrounds  her.  She  had 
an  RCA  portable  in  her  "Pajama  Game" 
dressing  room.  When  Manny  Sachs,  vice- 
president  of  RCA,  walked  in  after  a  show 
to  congratulate  Jan,  he  saw  the  portable  and 
said,  "Since  music  is  your  life,  you  should 
have  a  bigger  player  than  that."  Next  day 
he  sent  an  elegant  mahogany,  three-speed, 
hi-fi  player,  plus  albums  and  records. 

Jan  is  a  bug  on  education.  "I  thought 
I'd  never  get  through  high  school,"  she 
says.  But  her  books  and  magazines  cover 
every  subject.  •  Jan  has  a  wide  fund  of 
knowledge  and  interests,  many  of  them 
developed  as  a  result  of  the  travel  she  has 
put  in  with  appearances  across  country. 

"I  am  grateful  to  Warner  Bros.,"  says 
Jan,  "for  they  gave  me  my  first  train  ride 
to  Chicago  and  New  York,  for  the  open- 
ing of  the  picture,  'The  Time,  the  Place, 
and  the  Girl.' " 

Because  Jan  had  been  such  a  hit  on  the 
personal  appearances,  Warners'  sent  her 
to  New  York's  Bergdorf  Goodman  to  buy 
two  new  outfits — "and,"  Jan  adds,  "two 
Walter  Florel  hats.  The  treatment  spoiled 
me.  I  was  very  unsophisticated  about  the 
whole  thing.  Instead  of  eating  in  the 
dining  car  on  the  way  home,  I  spent  all 
my  time  looking  at  my  reflection  in  the 
window — to  make  sure  my  new  hats  were 
on  straight.  But  I  learned  on  that  trip 
that,  when  you  travel  alone  on  a  train, 
you  can't  help  meeting  and  talking  to 
interesting  people.  I  thank  Warner  Bros, 
for  those  train  rides — a  terrific  education." 

Later  in  1949,  Jan  went  to  Italy  for  five 
months,  to  do  a  picture,  and  there  she 
developed  her  strong  interest  in  both  for- 
eign languages  and  painting.  She  learned 
to  speak  fluent  Italian.  "But  when  I  came 
home,"  she  says,  "no  one  would  talk  it  with 
me."  Now  she  wants  to  brush  up  on  the 
Italian,  and  then  learn  Spanish,  too. 

While  in  Rome  and  Naples,  Jan's  interest 
in  painting  developed.  She  is  now  an  avid 
art  fan.  "My  favorite  boulevard  in  all  the 
world  is  New  York's  Madison  Avenue," 
she  says,  "because  of  the  many  shops  and 
art  galleries.  You  can  get  an  education 
just  walking  down  Madison  Avenue." 

Once,  while  strolling  down  the  street, 
Jan  spotted  a  painting  that  appealed  to 
her  in  one  of  the  galleries.  Walking  in, 
she  asked  the  price.  "Four  hundred  dol- 
lars," the  dealer  said.  Jan  swallowed 
hard.  That  was  too  much.  Then  another 
picture,  titled  "Miss  Otis  Egrets,"  caught 
her  eye.  She  liked  its  humor.  "How  much 
is  that  one?"  she  asked.  "Sixty-five,"  said 
the  dealer.    "I'll  take  it,"  said  Jan. 

"Miss  Otis  Egrets"  was  Jan's  first  paint- 
ing. The  others  include  a  clown's  head, 
by  Ivan  Rose,  and  Arthur  Stander's 
painting  of  Jan's  name  in  lights  on  the 
marquee  of  the  St.  James  Theater,  where 
"Pajama  Game"  played. 

Ruth  Aarons,  Jan's  manager  and  one  of 
her    closest    friends,    knows    that    Jan    is 


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75 


basically  a  sentimental  gal.  Ruth  has 
made  sure  that  Jan  is  home  for  every 
Christmas,  since  that  bleak  Christmas  in 
1950,  shortly  after  Jan's  return  from  Italy. 
Jan  then  lived  in  a  bare  New  York  apart- 
ment without  rugs  or  stove — she  cooked 
on  an  ironing  board.  It  was  the  first 
Christmas  Jan  had  been  away  from  home, 
and  one  of  the  loneliest  periods  in  her 
life.  Then,  on  Christmas  Eve,  Ruth  and 
Lyle  came  into  the  apartment  loaded  with 
gifts  and  a  tree.  Jan  dissolved  into  tears 
of  happiness.  "These  two,"  she  says  of 
Ruth  and  Lyle,  "never  left  me  alone  when 
I  needed  them.  They've  been  through 
every  happiness  and  crisis  with  me  . . .  they 
are  like  my  own  family  .  .  ." 

There  have  been  times  in  Jan's  career 
when  she  has  been  afraid,  and  times  when 
she  was  low,  but  she  has  always  had  the 
courage  to  wade  in  and  battle  life.  Born 
Donna  Mae  Tjaden,  one  September  16  in 
Tacoma,  Washington,  she  says  of  her  early 
life,  "We  were  always  apartment  dwellers — 
we  never  lived  in  a  house.  I  slept  on  the 
day  bed,  and  I  was  always  falling  off. 
Later,  in  New  York,  the  first  thing  I 
bought  was  a  king-size  bed.  What  luxury!" 

Jan  and  her  mother  and  sister  went  to 
live  with  her  grandfather  when  she  was 
still  very  young.  Jan  describes  her  grand- 
father as  a  kind  and  understanding  man. 
"He  was  the  one,"  she  says,  "who  slipped 
me  a  dollar  when  the  fair  came  to  town." 
Jan's  biggest  regret  is  that  her  grand- 
father died  just  as  her  career  hit  the 
big  time. 

"Grandfather  was  always  there  when  I 
needed  him,"  she  recalls.  "He  was  the 
biggest  single  influence  in  my  life.  I 
remember  one  day  when  my  sister  Betty 
and  I  were  coming  home  from  school  and 
Ira,  the  bully  on  the  block,  started  to  push 
us  around.  He'd  teased  us  every  day  and 
I  decided  we'd  had  enough.  I  hauled  off 
and  hit  him  on  the  nose.  When  he  spouted 
blood,  he  was  so  surprised  he  ran  home. 
I  was  scared  to  death — I  thought  I'd  killed 
him.  Betty  and  I  turned  and  ran,  too. 

"We  flew  into  the  house  looking  for 
Mother.  She  wasn't  home,  but  Grandfather 
was.  'Granddad,'  I  cried,  'I've  been  in  a 
fight.    I  hit  Ira.' 

"Grandfather  asked,  'Why?' 

"I  said,  'Because  he  teased  and  pushed 
us  and  I  hit  him  and  gave  him  a  bloody 
nose!' 

"  'That's  good  enough  for  me,'  Grand- 
father said.  'Forget  it  and  go  wash  your 
face.' 

"Fifteen  minutes  later,  Ira  and  his  par- 
ents rang  our  bell.  When  Grandfather 
opened  the  door,  they  said,  'Look  what 
your  granddaughter  did  to  our  son!' 

"Grandfather  laughed,  'Isn't  that  a 
shame?'  he  said.  'In  the  future,  you  tell 
your  son  to  leave  my  granddaughter  alone. 
If  he  picks  on  her  and  hits  her — and  she 
doesn't  hit  him  back — I  will.' 

"Then  Grandfather  closed  the  door  on 
their  surprised  faces,  saying,  'Honey,  don't 
look  for  trouble.  But,  when  you've  been 
knocked  down,  that's  the  time  to  swing 
back  the  hardest.' " 

As  a  child  Jan  was  always  singing.  She 
had  a  rich  voice.  Both  family  and  friends 
nursed  visions  of  an  operatic  career  for 
her.  As  a  teenager,  her  singing  won  her 
the  lead  roles  in  Tacoma  Stadium  High 
School's  annual  musical   comedies. 

Jan  remembers  that  on  opening  nights 

she  was  too  ill  to  eat.   "But  I  learned  from 

my  grandfather,"  she  says,  "that,  with  life, 

you've  got  to  go  out  and  try.   Even  if  you 

get  belted,  so  what?  You're  learning." 

T        Once  out  of  high  school,  Jan  worked  as 

V     a    secretary    in    a    Seattle    plumbing    and 

H     supply    store.     But    she    wanted    to    sing. 

Knowing  a  singing  career  wouldn't  come 

to  her  until  she  first  went  after  it,  in  1944 

she  and  her  mother  bought  a  second-hand 


car  and  drove  to  Hollywood. 

In  Hollywood,  in  the  middle  of  the  war, 
Jan  donated  some  of  her  time  to  pouring 
coffee  and  making  sandwiches  for  service 
men  at  the  Hollywood  Canteen.  Then,  one 
night,  one  of  the  scheduled  performers 
couldn't  make  it  and  Jan  stepped  in  with 
a  song.  The  next  thing  she  knew,  she  was 
under  contract  to  M-G-M. 

From  M-G-M,  Janis  went  to  Warners', 
where  she  starred  in  many  of  their  leading 
musical  productions  from  1944  to  1948.  It 
would  be  nice  to  say  that  Janis  Paige  be- 
came a  big  Warners'  movie  star  and  lived 
happily  ever  after,  but  such  was  not  the 
case.  By  1948,  Jan  had  become  a  star,  had 
made  many  good  pictures — and  several  not 
so  good.  She  was  unhappy  with  the 
scripts  and  finally  bought  back  her  con- 
tract. 

Then  began  a  trying  period  in  Jan's  life. 
Her  savings  shrunk  to  nothing,  she  was 
forced  to  sell  her  possessions  to  live.  Be- 
cause of  her  own  personal  integrity  and 
honesty,  she  had  dropped  from  stardom's 


Janis    Paige    and     Arthur    Stander 
extend  the  partnership  to  marriage. 

peak  to  a  valley  of  ill  health  and  despair. 
Then  Jan  remembered  her  grandfather's 
advice:  When  you're  most  down  and  out, 
that's  the  time  to  swing  the  hardest. 

Jan  built  up  an  act  and  left  Hollywood 
for  the  night-club  circuits,  playing  all  the 
small  spots  across  country,  and  a  few  of 
the  big  ones.  "Night-club  audiences  differ," 
she  says.  "One  night,  they  clap  and  laugh. 
The  next,  they  sit  on  their  hands.  You 
run  hot  and  cold.  But  if  you  give  up  on 
your  first  bad  night,  you're  lost  forever. 
The  only  thing  you  can  do  is  take  the 
good  with  the  bad.  At  least,  if  you  keep 
trying — when  your  big  break  comes  along, 
you  are  ready  .  .  ." 

Jan's  act  had  been  building  for  a  year, 
and  was  beginning  to  receive  a  great  deal 
of  acclaim.  "Yet  I  was  a  long  way  from 
either  California  or  New  York,"  she  says, 
"and  this  didn't  exactly  make  me  happy." 
Then  she  was  suddenly  offered  the  starring 
role  in  "Remains  To  Be  Seen,"  on  Broad- 
way. 

"Lindsay  and  Crouse,  Bretaigne  Windust 
and  Leland  Hayward  were  like  fathers  to 
me,"  she  remembers  gratefully. 

"They  knew  the  headaches  that  went 
into  putting  a  stage  show  together.  Hav- 
ing had  no  experience,  I  wasn't  prepared. 
I  was  frightened  to  death  every  night  I 
walked  on  the  stage.  But  with  'Remains' 
I  learned   again  that  you  can't  be  afraid 


to  make  mistakes.   You  get  swatted  down 
— so  what?    Just  as  I've  always  believed: 
As  long  as  you're  trying,  you're  learning. 
"Did  I  finally  get  over  my  fright?"  Jan 
echoes.    "Sure — closing  night  in  Chicago." 
After  "Remains  To  Be  Seen,"  Jan  went 
back  to  the  night-club  circuit.    One  night 
at   the    Copa   in   New   York,   Hal   Prince, 
Bobby  Griffith  and  Frederick  Brisson,  the 
producers  for  the  then-unproduced  Broad- 
way show,  "Pajama  Game,"  came  up  to  her 
and  said:    "Janis,  we  haven't  any  money 
for  our  new  show  yet  .  .  .  but,  when  we 
get  it,  you'd  be  great  as  Babe  Williams . . ." 
"What  kind  of  part  is  it?"  asked  Janis. 
"She's  a  pajama  factory  grievance  com- 
mittee leader,"  said  they. 

Janis  raised  one  eyebrow.  "A  what?" 
"That's  the  reaction  of  the  money  men," 
Prince  and  Griffith  and  Brisson  went  on. 
"  'Inside  a  pajama  factory?'  they  say. 
'What's  that  got  to  do  with  a  Broadway 
musical?'  But,  believe  us,  Janis,  it's  going 
to  make  a  great  show.  And,  when  we  get 
the  money,  we'll  call  you.    Okay?" 

"Okay,"  said  Janis,  who  promptly  forgot 
the  interview  and  went  back  on  the  road. 
In  February  of  1954,  Jan  was  in  Wind- 
sor, Ontario,  playing  the  Casino  Royale. 
"It  was  a  stormy  day,"  she  says,  "and  I 
was  miserably  cold.  Then  suddenly  my 
manager,  Ruth  Aarons,  called.  'Bob  Hope 
has  asked  to  have  you  on  his  show,'  she 
told  me.  'How  would  you  like  to  come 
home  to  California?' " 

Jan's  appearance  on  Bob  Hope's  Holly- 
wood TV  show  was  a  great  success.  To 
top  it  off,  Jan  received  word  that  she  was 
to  go  into  rehearsal  for  "Pajama  Game"' 
the  very  next  day!  "I  was  so  excited  with 
all  the  good  news,"  she  says,  "I  nearly 
flipped!  At  the  Burbank  airport  waiting  for 
the  plane,  I  was  having  such  a  great  time 
celebrating  with  friends,  I  completely  for- 
got the  time — and  I  missed  the  plane! 

"I  was  terrified!  It  was  the  biggest 
chance  of  my  life,  and  here  I  was  sitting 
3,000  miles  away!  I  was  even  afraid  to  call 
New  York,  for  missing  a  first  rehearsal  is 
unforgivable.  But  I  finally  got  up  enough 
nerve  to  call  Ruth. 

"  'Well,  Face'  (Ruth's  nickname  for  Janis' 
expressive  visage),  'well,  Face,  it's  about 
time  you  missed  something!'  " 

As  Ruth  later  explained,  "Janis  is  the 
regular  'On-Time  Gal.'  I  was  glad  she  was 
relaxing  and  having  a  ball — it  was  about 
time.  And  missing  one  rehearsal  didn't 
really  mean  so  much  .  .  ." 

The  rest  is  history:  Janis  Paige  was  a 
smash  hit  in  "Pajama  Game."  Her  reviews 
were  the  sort  of  thing  Hollywood  stars 
dream  about  but  seldom  get  on  Broadway. 
Jan   became    the   toast   of   the   town. 

"I  never  thought  television  would  hap- 
pen to  me,"  she  says.  "I'm  the  biggest 
optimist  in  the  world — but,  when  you 
think  of  people  like  Jackie  Gleason  and 
Lucille  Ball  on  TV,  you  don't  think  of 
yourself  in  the  same  breath.  Besides,  so 
much  had  already  happened  to  me  in  the 
last  year  that  having  my  own  show  on  TV, 
too,  was  almost  too  much  to  expect." 

As  with  everything  in  her  life,  Jan  has 
given  her  all  to  her  new  career  in  tele- 
vision. Recently  she  made  a  flying  trip  to 
New  York  to  see  "Pajama  Game."  She 
says,  "Whereas,  it  used  to  be  'Janis'  or 
'Miss  Paige,'  when  I  got  off  the  plane,  the 
stewardess  said,  'Nice  having  you  aboard. 
Goodbye,  Jan.' " 

The  prop  man  greeted  her  with,  "Hello, 
Jan,"  the  stage  manager  said,  "Why,  look 
who's  back  to  see  us — it's  Jan!"  And  on 
the  streets,  in  the  subways — it  seemed 
everyone  was  saying,  "Why,  it's  Jan!" 

It's  plain  to  see  that,  because  she  has 
thrown  her  heart  into  the  TV  ring  and 
plunged  in  after  it,  Janis  Paige  has  been 
taken  into  the  hearts  of  the  American 
public.  "It's  Always  Jan" — and  it  always 
will  be. 


I 


New  Baby  To  Share 


(Continued  from  page  44) 
situation  .  .  .  "until,"  as  he  says,  "it  came 
time  to  consider  the  matter  of  Vicki  and 
the  new  baby."  Admittedly,  then,  both  Hal 
and  Ruby  were  concerned. 

Ruby,  who  is  taking  a  few  years'  hiatus 
from  the  footlights  to  star  in  her  im- 
portant real-life  role  of  being  a  mother, 
explains:  "I  had  never  been  separated 
from  Vicki.  We  knew  she  was  bound  to 
suffer  a  shock  if  ever  she  thought  she 
might  have  a  rival  for  our  affections." 

To  prevent  it,  they  began  to  take  Vicki 
into  their  confidence  many  months  before 
the  baby  was  due,  seeking  to  share  the 
coming  child  with  her.  "When  she  asked 
questions,"  Hal  says,  "we'd  tell  her 
straight.  We  didn't  go  in  for  any  of  this 
stork  stuff." 

On  the  whole,  their  approach  was  most 
successful,  but  it  did  produce  certain 
small  consternations.  With  a  chuckle,  Hal 
recalls:  "It  was  bad  enough  when  Vicki 
would  run  up  to  strangers  on  the  street, 
bend  backwards,  and  announce  proudly, 
'See,  I've  got  a  big  tummy — just  like 
Mummy's!'  But,  the  day  she  almost  broke 
up  a  friendship,  we  wondered  if  we  had 
gone  too  far." 

That  happened  during  a  weekend  spent 
with  another  young  couple  who  had  just 
bought  a  new  home  in  Connecticut.  The 
place  adjoining  was  one  of  "estate"  pro- 
portions, owned  by  an  older  woman  who 
most  kindly  invited  them  to  use  her  swim- 
ming pool.  Hal  and  his  friend  were  loafing 
against  the  stone  fence,  talking  with  her, 
when  small  Vicki  dashed  up,  all  eyes. 
Surveying  the  woman's  ample  figure,  she 
piped  in  penetrating  childish  treble,  "You 
have  a  big  tummy." 

Hal  says,  "Thank  heaven,  our  host  was 
quick-witted.  Pretending  to  misunder- 
stand, he  replied,  'Yes,  Vicki,  she  does 
have  a  big  Tommy.  A  beautiful  big  torn 
cat.  Let's  go  try  to  find  him.'  That  saved 
the  day.  Later,  when  I  found  out  how 
self-conscious  the  woman  really  was  about 
her  size,  I  shuddered  to  think  what  Vicki 
nearly  did  to  a  fine  friendship." 

.N  oticing  a  small  undercurrent  of  fear 
in  Vicki's  growing  excitement,  Hal  and 
Ruby  realized  they  must  plan  the  actual 
homecoming  of  the  baby  as  carefully  as 
they  would  a  second-act  climax  in  a  play. 
Vicki  went  to  stay  with  friends  when 
Ruby  left  for  the  hospital  and,  on  July 
1,  1955,  David  Vining  Holbrook  made  a 
safe  debut  into  the  world  via  Caesarean 
section.  When  they  arrived  home,  Ruby 
put  tiny  David  in  his  crib  in  the  bedroom 
before  Hal  went  to  fetch  Vicki.  On  meet- 
ing her,  he  had  much  to  say  about  "Mum- 
my's anxious  to  see  you" — but  not  a  word 
about  the  baby.  After  opening  the  door 
for  the  excited  child,  he  vanished.  "We 
wanted  Vicki  to  have  her  mother  all  to 
herself  when  she  came  home,"  he  ex- 
plains. 

Mother  and  daughter  were  left  alone  in 
the  living  room  and,  for  half  an  hour, 
they  talked  and  played  just  as  they  always 
had.  At  last,  when  Ruby  felt  Vicki  was 
happy  and  calm,  she  asked,  "Do  you  re- 
member, Vicki,  what  I  promised  to  bring 
to  you  from  the  hospital?" 

Vicki's  eyes  widened  in  delighted  recol- 
lection. "Ooooh,  my  baby!"  she  exclaimed. 
"Mummy,  did  you  bring  me  my  baby 
brother?  Where  is  he?" 

Ruby  replied  gently,  "He's  waiting  for 
you  in  his  crib."  Hand  in  hand,  the  petite, 
dark-haired  woman  and  the  sunny,  sandy- 
haired  child  walked  in  to  meet  the  new 
member  of  the  family. 

Drawing  on  their  skill  as  actors,  Hal  and 
Ruby  had  controlled  a  crisis  and  brought 


it  to  a  happy  conclusion.  "From  then  on, 
David  was  Vicki's  baby,"  Hal  says  proudly. 
"Instead  of  having  a  rival,  she  had  some 
one  new  to  love  and  share  generously 
with  us.  She  feels  secure  and  her  nose 
was  never  'out  of  joint,'  not  for  a  minute." 

Hal,  Ruby  and  their  children  live  in  a 
modern  apartment  with  large  rooms  and 
big  windows,  high  above  Manhattan's 
busy  streets.  It  is  conveniently  close  to 
a  park,  a  playground  and  a  good  nursery 
school  which  Vicki  attends.  But,  like  many 
young  parents,  the  Holbrooks  are  con- 
sidering a  move  to  the  country.  "It  sounds 
as  though  it  would  be  good  for  the  chil- 
dren— until  we  realize  how  it  would  cut 
down  the  time  we  have  with  them.  My 
schedule  would  make  commuting  difficult, 
and  Ruby  would  have  a  real  problem 
when  she  goes  back  into  show  business 
eventually." 

Ruby,  whose  present  contact  with  the 
theater  is  restricted  to  a  class  in  modern 
dance,  has  no  immediate  plans  beyond 
the  hope  that,  when  she  does  return,  it 
will  be  to  some  production  where  she  and 
Hal  can  work  together.  That's  what  they've 
always  done,  since  they  met  on  the  bare 
stage  of  The  St.  John's  Players,  a  civic 
theater  group  in  chilly  Newfoundland. 

xial  was  then  in  the  United  States  Army 
Engineers.  Born  in  Cleveland,  Ohio,  the 
son  of  Mr.  and  Mrs.  Harold  R.  Hol- 
brook, Sr.,  he  had  been  reared  in  Boston. 
He  prepped  at  Culver  Military  Academy 
in  Indiana,  from  which  both  his  father 
and  his  uncle  had  been  graduated.  "There's 
where  I  got  lured  into  a  play,"  he  says. 
"And,  from  then  on,  it  was  show  business 
for  me." 

Joining  a  summer  stock  company  in 
Cleveland  proved  decisive,  for  its  director 
was  Edward  A.  Wright,  head  of  the  drama 
department  at  Denison  University,  Gran- 
ville, Ohio.  Hal  says,  "Ed  persuaded  me  to 
go  to  Denison,  and  we've  been  friends 
ever  since.  He  was  best  man  at  our  wed- 
ding and  he  got  us  started  in  the  theater." 

Hal  had  a  year  at  Denison  before  the 
Army  called  him  and  sent  him  to  St. 
John's  in  Newfoundland — the  jumping-off 
place  for  Europe.  Ruby  was  a  native  of 
St.  John's,  the  daughter  of  Emanuel  and 
Amelia  Johnston.  "My  father,"  she  smiles, 
"was  the  only  member  of  his  family  who 
broke  away  from  the  fishing  village  where 
they  all  lived  and  went  to  the  big  city 
(pop.  67,000)  to  become  a  traveling  sales- 
man." 

In  high  school,  Ruby  appeared  in  Gil- 
bert and  Sullivan  operettas,  learned  to  be 
a  stenographer,  and  wondered  how  she 
would  ever  get  from  remote  St.  John's 
to  the  theatrical  production  centers.  Ro- 
mance and  career  merged  the  night 
both  she  and  Hal  joined  the  Players.  "In 
a  little  Chinese  play,  'Lady  Precious 
Stream,'  we  were  cast  opposite  each  other. 
While  being  make-believe  lovers  on-stage, 
we  fell  in  love — for  real." 

At  the  end  of  the  war,  when  Hal  was 
shipped  back  to  the  United  States,  Ruby 
flew,  to  New  York  and  they  were  married 
September  21,  1945,  at  the  Episcopal 
Church  of  the  Transfiguration.  For  them, 
the  place  held  a  double  significance.  Hat's 
favorite  uncle  had  been  married  there.  It 
also  is  beloved  and  famed  among  actors 
as  "The  Little  Church  Around  the 
Corner." 

As  soon  as  Hal  completed  his  Army 
service,  they  both  enrolled  at  Denison. 
They  were  graduated  in  1948,  and  the 
two  left  on  tour  immediately.  The  idea 
for  this  had  its  germ  in  one  of  Ed  Wright's 
class  assignments.  "He  gave  me  Mark 
Twain's    'An    Encounter    With    an    Inter- 


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viewer'  and  suggested  I  work  it  up  into 
a  sketch,"  Hal  says.  "I  read  it  through, 
then  grabbed  the  telephone  to  protest 
this  was  utter  corn  and  I  couldn't  do  a 
thing  with  it." 

Wisely,  Wright  suggested  Hal  take  a 
second  look,  paying  particular  attention 
to  the  philosophy  behind  it:  "Thats  the 
way  I  discovered  Mark  Twain's  straight- 
faced  satire.  It's  just  as  sharp,  just  as 
funny  today,  as  it  was  when  he  wrote  it. 
I've  been  a  Mark  Twain  fan  ever  since. 

The  resulting  skit  became  the  founda- 
tion for  a  series  of  small  dramas,  based 
on  historic  characters  or  scenes  from 
famed  plays,  which  Hal  and  Ruby  worked 
into  two  hours  of  entertainment — a  show 
which  one  friend  describes  as  "a  sort  of 
Ruth  Draper,  doubled."  They  loaded  two 
costume  trunks,  a  sound  system,  and  a 
trunkful  of  lights  into  a  station  wagon  and 
hit  the  road. 

Hal  sums  up  those  eventful  and  hectic 
years:  "Between  1948  and  1952,  we  gave 
over  800  performances.  The  only  states  we 
missed  were  Arizona,  Oregon  and  Florida. 
We  did  go  into  Canada.  We  played  every- 
thing from  the  swank  women's  clubs  of 
the  North  Shore,  outside  Chicago,  to  high 
schools  in  tank  towns  where  they  hadn't 
seen  a  live  show  since  Chautauqua.  We'd 
reach  a  place  in  the  afternoon,  install  our 
lighting  and  sound  equipment,  set  the 
stage  with  the  furniture  we  had  asked 
the  local  committee  to  provide,  eat  a  hasty 
supper,  play  our  show,  catch  a  few  hours' 
sleep,  and  get  going  for  our  next  location. 
Our  schedule  while  playing  high  schools 
was  even  worse,  for  then  we'd  do  twelve 
or  thirteen  shows  a  week. 

"We  drove  a  thousand  miles  a  week, 
forty  thousand  miles  a  year.  In  all  of  that, 
we  missed  only  one  date.  A  flood  marooned 
us  in  a  town  in  Texas  and  we  were  a  day 
getting  out.  But  we  rebooked  the  week 
and  made  up  the  show.  The  pace  was  so 
furious  that  once  Ruby  fainted.  Fell  right 
down  flat  in  total  exhaustion." 

"It  sounds  almost  foolish  now,"  says 
Ruby,  "but  we  were  young,  we  took 
ourselves  seriously — almost  too  seriously, 
perhaps — and  it  was  wonderful  expe- 
rience." 

That  phase  of  their  lives  ended  when 
Ruby  became  pregnant.  As  Hal  says, 
"We  didn't  want  to  take  any  risks,  so 
another  girl  took  Ruby's  place  to  fill  out 
the  remaining  dates  we  had  booked.  Then 


a    summer-theater    job    in    Massachusetts 
helped  us  make  a  transition  to  New  York. 

That  most  important  young  lady,  Miss 
Victoria  Rowe  Holbrook,  arrived  (also  by 
Caesarean  section)  on  April  22,  1952. 
Ruby's  only  non-maternal  assignment  that 
summer  was  to  spend  two  weeks  apart- 
ment hunting  in  New  York.  She  returned 
tired  out  and  discouraged.  "I  was  the 
lucky  one,"  says  Hal.  "I  got  two  days  off 
and  came  in  late  one  Saturday  night.  Sun- 
day morning,  before  going  to  look  at  the 
advertised  apartments,  I  stopped  to  see 
a  friend.  An  apartment  was  just  being 
vacated  in  his  building  and  I  got  it." 

For  two  years,  Hal  has  played  the  role 
of  Grayling  Dennis  on  The  Brighter  Day. 
He  particularly  enjoyed  the  sequence 
last  summer  when  Grayling  married 
Sandra  Talbot:  "It  was  such  a  contrast  to 
Ruby's  and  my  hasty  ceremony,  away 
from  home  and  minus  the  usual  trimmings. 
The  wedding  on  the  show  went  on  for 
days  and  it  really  was  done  beautifully. 
My  'father,'  the  Reverend  Richard  Dennis 
— Blair  Davies — read  the  service,  word 
for  word,  with  absolute  solemnity.  It  was 
so  moving,  in  fact,  that,  if  Blair  actually 
had  been  ordained,  I'd  feel  like  a  biga- 
mist." 

While  this  was  being  broadcast,  Ruby 
was  appreciating  it,  too:  "That's  when  I 
was  in  the  hospital,  having  David.  I  really 
shocked  a  nurse  the  time  I  said,  'My  hus- 
band got  married  yesterday.'" 

Apartment  living  had  been  difficult  for 
Ruby  at  first.  "I  felt  alone  and  cut  off 
from  things,"  she  recalls.  "I  had  always 
worked."  Shortly,  however,  the  closeness 
of  Hal's  and  Ruby's  partnership  provided 
an  antidote.  She  became  what  Hal  calls, 
"My  chief  audience  and  critic.  We  work 
out  new  material  together." 

Most  of  this  new  material  concerns  Hal's 
increasingly  important  characterization  of 
Mark  Twain.  As  this  is  written,  he  has 
been  booked  to  introduce  it,  for  national 
viewing,  on  the  Ed  Sullivan  Show,  but 
the  exact  date  has  not  been  set.  Nightly, 
however,  New  Yorkers  enjoy  it  at  Jimmy 
Di  Martino's  supper  club,  on  Grove  Street 
in  Greenwich  Village,  called  "Upstairs  at 
the  Duplex."  Downstairs  at  the  Duplex  is 
the  bar,  but  the  parlor  floor  of  this  charm- 
ing old  house  which  dates  back  to  the 
American  Revolution  is  Upstairs.  Where 
Colonial  ladies  once  danced  the  minuet, 
Hal  and  several  friends,  who  have  a  par- 


Born  to  Sin! 


Are  some  people  born  to  sin?   Or  are  they  just  victims 
of  circumstances?    This  is  the  type  of  question  you  hear 
answered  on  radio's  "My  True  Story".   For  this  pro- 
gram dramatizes  the  lives  of  real  people — peo- 
ple who  have  triumphed  over  many  of  life's 
most  agonizing  problems.  So  don't  miss  the 
thrilling  stories  on   "My  True   Story" — 
each  one  taken  right  from  the  files  of 
True  Story  Magazine. 


it 


Tune  in    Every   Morning   to 

MY  TRUE  STORY 


78 


•  American    Broadcasting   Stations 

What  can  a  mother  do  when  the  lives  of  her  two  babies  are  at  stake— and  she  might 
be  able  to  save  just  one?  Read  "Child  In  Flames"  in  April  True  Story  Magazine, 
at  newsstands  now. 


ticipating  interest  in  the  room,  stage  their  j 
show.  It  is  a  quiet,  intimate  little  place,  so 
delightful  that,  following  the  premiere  of  I 
"Guys  and  Dolls,"  Marlon  Brando,  Jean 
Simmons,  Wally  Cox  and  a  group  of 
friends  came  in  "for  a  few  minutes"  and 
stayed  for  hours. 

In  such  a  place,  Hal's  Mark  Twain  is  as 
much  at  home  as  if  that  sharp-witted 
gentleman  had  just  strolled  over  from 
Tenth  Street,  where  he  once  lived,  to  have 
a  leisurely  nightcap  and  a  bit  of  conver- 
sation with  friends.  For  Hal's  impersona- 
tion of  him  is  amazingly  accurate,  from 
snowy  while  curls  (Hal  wears  a  wig)  to 
the  white  linen  suit  which  Mr.  Samuel 
Clemens  made  Mark  Twain's  trademark. 
With  such  an  illusion  of  reality,  it  is  not 
fitting  that  a  beloved  humorist  repeat 
himself  too  often,  so  Hal  and  Ruby  con- 
tinue to  increase  his  repertoire. 

Hal,  now  an  intense  student  of  Mark 
Twain's  writing,  admits  he  gets  carried 
away.  "I  want  to  include  everything.  But, 
since  that  is  obviously  impossible,  I  tend 
to  swing  to  the  other  direction  and  cut  it 
too  tight,  assuming  that  everyone  else 
also  knows  what  has  gone  before.  Too 
often,  that  can  result  in  people  not  even 
knowing  what  I'm  talking  about.  That's 
where  Ruby  turns  critic.  Whenever  I 
prepare  a  new  Mark  Twain  piece,  I  try 
it  first  on  her  and  we  work  it  out  to- 
gether." 

"Working  it  out"  involves  far  more  than 
memorizing  Mark  Twain's  words.  The 
characterization  takes  on  life  because  Hal 
and  Ruby  are  among  the  growing  group 
of  college-trained  young  actors  who  are 
capable  of  working  in  all  dimensions  of 
show  business.  Not  only  can  each  play  a 
scene  movingly,  but  they  are  also  able  to 
do  everything  necessary  to  produce  that 
scene.  They  can  write  or  edit  a  script. 
They  are  equally  adept  in  "mounting"  that 
show.  Each  one  can  design  a  set,  paint  a 
flat,  install  the  scenery,  arrange  the  lights, 
hook  up  an  amplifying  system.  When,  in 
large  productions,  such  work  is  not  re- 
quired of  them,  they  have  the  confidence 
which  comes  from  knowing  how  it  should 
be  done.  They  also  can  design  and  sew 
a  costume.  While  costumes  usually  are 
Ruby's  responsibility,  Hal  did  his  own 
for  Mark  Twain. 

"It  became  sort  of  a  dedicated  thing, 
once  I  had  started,"  he  explains.  "I  had 
had  a  couple  of  white  suits  when  we  were 
on  the  road.  But,  by  the  time  we  reached 
New  York,  they  were  worn  out.  I  went 
to  a  costumer  and  the  price  they  wanted 
was  staggering." 

So  Ruby  and  Hal  shopped:  "We  found 
some  white  linen  of  a  quality  which  Mark 
Twain  would  have  liked.  Then  we  bought 
patterns  for  slacks,  vest  and  sports  coat. 
We  altered  them  to  suit  the  style  of  his 
period.  Then  I  cut  them  out  and  sewed 
them.  I  intended  to  do  every  stitch  my- 
self but,  when  it  came  to  the  buttonholes, 
I  was  stumped.  Ruby  had  to  do  those." 

It's  no  wonder,  with  such  careful  at- 
tention to  detail,  that  Mark  Twain  has  be- 
come as  much  a  member  of  their  family 
as  a  great-uncle.  While  neither  Hal  nor 
Ruby  admit,  at  present,  to  having  any 
plans  to  have  their  youngsters  try  imper- 
sonations of  Becky  Thatcher  and  Tom 
Sawyer,  Vicki's  hair  is  turning  the  right 
pinkish-blonde  color  and  tiny  David  s  eyes 
already  hold  the  right  mischievous  twinkle. 
With  the  Holbrook  talent  and  the  Hol- 
brook habit  of  sharing  every  experience 
with  each  other— who  knows? 

Perhaps,  with  the  help  of  the  Holbrooks, 
Mark  Twain's  wondrous  dream  children 
—as  well  as  Mark  Twain  himself— may 
again  come  to  life.  That  would  indeed 
be  a  brighter  day  for  all  devotees  ol 
Americana,  as  well  as  for  the  many  ad- 
mirers of  Grayling  Dennis! 


»r;| 


Three  Young  Musketeers 


(Continued  from  page  68) 
liked  both  boys,  but  the  decision  was 
made  in  favor  of  Glenn  .  .  .  Ronnie  was 
a  little  too  old  and  too  tall.  Upset?  "Not 
one  bit,"  smiles  Mrs.  Walken.  "And  being 
the  older  and  more  experienced  of  the 
two — he  had  already  done  a  number  of 
commercials — Ronnie  willingly  did  all  he 
could  to  help  Glenn  over  this  first  hurdle. 
In  fact,  it's  been  that  way  ever  since. 

"Despite  the  difference  in  their  ages," 
says  Mrs.  Walken,  "Glenn  and  Ronnie 
sound  very  much  alike.  And  until  very 
recently,  when  The  World  Of  Mr.  Sweeney 
moved  out  to  the  West  Coast,  Glenn  had  a 
running  part  in  it,  as  well  as  his  current 
assignment  as  young  Mike  Bauer  in  The 
Guiding  Light.  Now  and  then,  there  would 
be  a  conflict  between  Sweeney  and  the  ra- 
dio version  of  Guiding  Light.  Glenn 
did  the  Sweeney  role,  which  was  visual, 
while  Ronnie  subbed  for  him  on  the  radio 
Guiding  Light.  Then  Ronnie  would  coach 
Glenn  so  he'd  be  able  to  "duplicate"  his 
own  performance  for  the  TV  version  of 
The  Guiding  Light!  Ronnie  takes  great 
pride  in  his  pupil." 

Just  to  keep  the  records  straight,  the 
"subbing"  department  is  neither  new  nor 
one-sided.  Two  summers  ago,  Ronnie 
picked  up  a  thirteen-week  stanza  for  Ex- 
ploring God's  World— with  the  under- 
standing that,  if  it  presented  a  conflict 
with  previous  commitments,  brother 
Glenn  could  substitute  .  .  .  which  he  did. 

For  one  so  young  in  years,  Glenn  has 
shown  a  remarkable  flair  and  ability  dat- 
ing right  back  to  his  early  modeling  days. 
"He  always  seemed  to  know  just  what  to 
do,"  his  mother  explains.  "Long  before  the 
cameraman  could  tell  him  what  pose  to 
strike,  Glenn  would  seem  to  sense  that  in 
this  picture  he  probably  should  have  his 
hand  in  his  pocket,  or  be  putting  on  his 
gloves,  or  whatever  the  case  might  be." 

When  Glenn  went  into  TV  and  radio, 
this  ability  stood  him  in  good  stead,  as  did 
his  very  quick  memory.  He  not  only  mem- 
orizes his  own  lines  quickly  but,  by  the 
time  rehearsals  are  over,  he's  apt  to  know 
most  of  the  lines  of  the  other  characters. 

"Actually,"  Mrs.  Walken  continues,  "all 
three  boys  have  fast  memories,  and  when 
we're  studying  scripts  at  night  I'm  always 
pleased  to  see  how  they  honestly  try  to 
help  each  other  and  accept  all  criticism  in 
the  spirit  in  which  it  was  intended." 

This  somewhat  unusual  Walken  spirit  is 
quite  the  talk  of  the  network  casting  de- 
partments, for  when  one  is  called  in  for  a 
tryout  and  told  he  is  either  too  big  or  too 
little,  the  casting  director  is  sure  to  hear: 
"I've  got  a  brother  .  .  ." 

Being  the  eldest.  Ken  has  had  a  hand  in 
the  professional  development  of  both  of 
his  younger  brothers.  Whether  or  not  this 
has  had  any  direct  bearing  on  his  future 
career  thoughts,  he  is  now  of  the  mind 
that— after  college — he  would  like  to 
get  into  the  directing  and  producing  end 
of  the  business.  But  until  such  time,  he 
continues  to  get  as  much  experience  in  as 
many  phases  of  acting  as  possible,  and  for 
the  past  several  summers  has  sweated  it 
out  on  the  straw-hat  circuit  in  Woodstock 
and  Atlantic  City.  On  Broadway,  he  ap- 
peared in  "The  Climate  of  Eden"  and  "An- 
niversary Waltz."  His  TV  credits  would 
make  many  an  older  actor  envious,  and  in- 
clude such  popular  shows  as  Studio  One, 
Kraft  Theater,  Your  Show  Of  Shows, 
Mama,  the  Jackie  Gleason  Show  and 
Treasury  Men  In  Action — to  name  a  few. 

Not  to  be  left  farther  behind  Ken  than 
their  ages  necessitate,  Ronnie  and  Glenn 
can  list  many  of  these  same  shows  on  their 
casting  cards.  In  addition,  they  both  ap- 
peared in  the  movie,  "The  Marrying  Kind," 


starring  Judy  Holliday  and  Aldo  Ray.  And 
Ronnie — the  only  musical  member  of  this 
Walken  trio — also  appeared  in  Broadway's 
"Madame  Butterfly." 

To  other  lively,  fun-loving  youngsters, 
this  may  seem  like  a  lot  of  work  .  .  .  but 
not  to  the  Walken  boys,  who  all  agree 
they're  having  a  ball.  School?  Well,  that's 
another  thing.  Ken  and  Ronnie  are  en- 
rolled in  New  York's  Professional  Chil- 
dren's School,  which  they  attend — except 
when  on  an  acting  assignment — from  10:00 
A.M.  to  2:15  or  2:30  P.M.  Because  of  his 
running  part  on  The  Guiding  Light,  Glenn 
cannot  attend  the  school  and  must  be  tu- 
tored after  hours. 

One  of  the  questions  most  frequently 
asked  of  Mrs.  Walken  concerns  what  most 
people  think  of  as  the  "irregular"  lives  of 
Ken,  Ronnie  and  Glenn  .  .  .  don't  they 
miss  the  activities  most  boys  include  in 
their  growing-up  days?  Actually,  there 
are  very  few  "regular"  activities  the 
brothers  miss.  As  mother-secretary-man- 
ager of  her  brood,  Mrs.  Walken  sees  to  it 
that  their  assignments  never  cut  into  their 
being  "just  boys." 

Just  like  all  the  other  boys,  they  have 
certain  and  definite  responsibilities  around 
the  house.  Glenn,  for  instance,  rakes 
leaves  in  the  fall  to  earn  money  for  the 
movies.  During  the  rest  of  the  year,  he 
sweeps  out  the  garage  and  driveway  to 
earn  his  spending  money.  Last  summer, 
Ronnie  religiously  mowed  the  lawn  of  a 
neighbor  every  Saturday  morning  for 
sixty-five  cents. 

Like  most  of  their  neighborhood  friends, 
they,  too,  have  pets  .  .  .  the  only  differ- 
ence being  they  have  a  few  more  than 
most — including  two  dogs  of  questionable 
ancestry,  named  Blondie  and  Penny,  and 
a  cat.  As  with  most  boys,  they  have  their 
own  private  collections — Glenn,  foreign 
coins,  and  Ronnie,  knives.  Both  younger 
brothers  are  boat  and  plane  enthusiasts 
...  if  you  ask  Glenn  what  he  wants  to  do 
when  he  grows  up,  quick  as  a  flash  he  re- 
plies: "Be  an  actor  and  buy  a  yacht  for 
all  the  family." 

There's  a  game  room  on  the  fourth  floor 
of  the  Walkens'  ten-room  home  in  Bay- 
side,  Long  Island,  which  houses  an  elab- 
orate train  set  and  Ronnie's  lab.  Glenn's 
lab  equipment  is  installed  in  the  basement 
playroom,  for  it's  in  this  one  activity  that 
Mrs.  Walken  has  found  evidence  of  broth- 
erly friction  .  .  .  the  kind  of  experiment 
to  take  place,  how  it  should  be  handled 
and  the  division  of  clean-up  chores. 

No,  there's  very  little  these  three  boys 
have  missed  because  of  "working."  Rather, 
there's  a  great  deal  they  have  gained.  Al- 
though they've  always  enjoyed  their 
"working"  hours,  they've  learned  to  make 
the  most  of  their  leisure.  And  by  work- 
ing together  they've  developed  a  family 
pride  that  will  stand  by  them  throughout 
their  lives. 

When  it  comes  to  Walken  family  pride, 
perhaps  the  greatest  exponent  is  Papa — 
Paul  Walken,  who  owns  his  own  bake 
shop  in  Astoria,  Long  Island.  Three  or 
four  times  a  week,  there's  sure  to  be  a 
large  placard  in  his  shop  window  reading: 
"Be  sure  to  see  my  Glenn  (or  Ken  or 
Ronnie)  today  in  The  Guiding  Light  (or 
Studio  One  or  Robert  Montgomery  Pre- 
sents, or  whatever  the  show  may  be)." 

So  .  .  .  whether  their  children  remain  in 
the  acting  profession  after  they've  grown 
up  or  move  on  to  other  vocations  .  .  .  Mr. 
and  Mrs.  Walken  have  the  satisfaction  of 
knowing  that — because  of  the  loyalty  de- 
veloped in  their  formative  years — Ken, 
Ronnie  and  Glenn  will  remain  a  one-for- 
all  and  all-for-one  trio  .  .  .  three  happy 
"musketeers"  of  the  acting  profession! 


"I  now  have 
peace  of  mind  in 
my  married  life!" 


•*KKW 


says  Mrs.  E.  Rosen  who  now 
uses  ZONITE  to  douche! 

SAFE!  Most  women — both  married  and 
about-to-be-married  —  wonder  about 
douching  for  feminine  hygiene.  Mrs.  Rosen 
did,  and  she  only  found  peace  of  mind 
when  she  heard  about  the  importance  of 
following  the  proper  method  of  douching 
with  a  fountain  syringe,  using  an  effective 
yet  safe  solution — like  zonite. 
EFFECTIVE!  No  other  type  liquid  anti- 
septic-germicide for  the  douche  of  all  those 
tested  is  so  powerfully  effective  yet  so  safe 
to  body  tissues  as  zonite. 
HEALTHFUL!  zonite  completely  deodor- 
izes, promptly  washes  away  germs  and 
odor-causing  waste  substances.  A  nurse 
once  advised  Mrs.  Rosen  that  if  any  ab- 
normal condition  exists,  she  should  see  her 
doctor.  She  said  he  would  probably  recom- 
mend that  she  continue  to  use  zonite. 
DAINTY!  You,  too,  can  be  one  of  the  mod- 
ern women  who  welcome  the  "peace  of 
mind"  and  daintiness  that  zonite  gives 
them  after  monthly  periods  and  other 
times.  You  can  use  zonite  as  directed,  as 
often  as  needed,  without  the  slightest  risk 
of  injury.  Costs  only  pennies  per  douche. 

use 

'*    Guaranteed  by   s\  „_   __.£_  .,_* 

Good  Housekeeping J  SO  SaTe  yeT 

^z»*mmsnj£!£'  so  ef f ective ! 


Clear  up  your 

pimples  FAST..* 

leave  no  stars 

Don't  handle,  tug  or  pick  those 
"hickiesl"  Pimples,  blackheads 
easily  infect  .  .  .  leave  lifetime 
scars.  Clear  up  those  pimples  and 
blackheads — oh  so  gently,  safely 
and  cover  them  while  you're 
clearing  them)  with  Pompeian 
Milk  Cream  — pink  magic  proved 
in  the  laboratory  to  possess  a 
greater  "zone  of  inhibition"  than 
all  the  leading  medications  tested  I 
It's  the  milk — chemists  say — that 
makes  PC  11 — the  hexachloro- 
phene — so  far  more  effective  in 
starving  skin  bacteria  that  cloud 
your  complexion. 

TRY  IT. . PROVt  IT. .  TRIAL  TUBt  Wt 

Send  10c  for  a  trial  tube.  Watch 
your  skin  grow  healthier  again. 
Pompeian  Corp.,  Balto.  24,  Md.( 
Dept.  TV-4,  Or  get  Pompeian 
Milk  Cream  from 
your  druggist  tonight. 


POMPEIAN 


MILK  CREAM 


79 


(Continued  from  page  58) 
from  the  table  and  headed  for  the  stage, 
poised  and  charmingly  graceful  in  her  full- 
length  gold  satin  gown.  ...  "I  don't  de- 
serve it,"  she  said  with  sincerity  and  mod- 
esty, as  she  accepted  the  award,  "but  you 
have  given  me  a  goal  to  work  for.  .  ."  Any 
further  statement  she  might  have  had  on 
her  mind  was  cut  short  by  a  thunderous 
ovation. 

As  I  watched  Dinah  leave  the  podium, 
I  couldn't  help  recalling  our  childhood 
days  together.  To  Mother,  to  Dad,  to  me, 
and  to  the  rest  of  her  family  and  friends, 
she  was  just  little  Fannye  Rose  then — 
and  hardly  the  charming,  well-organized 
girl  into  which  she  developed. 

I'll  never  forget  the  day  Mother  called 
both  of  us  to  her  room,  before  we  took  off 
for  a  birthday  party.  Fannye  Rose  was 
then  three,  pretty  and  peppy  and  full  of 
the  dickens.  .  .  .  "Now  you  listen  to  your 
sister,"  Mother  impressed  upon  her.  "Do 
what  she  tells  you  to  do,  behave  like  a 
little  lady,  and  don't  stuff  yourself." 

One  hour  later — along  with  almost  two 
dozen  other  boys  and  girls — we  were 
seated  around  the  huge,  beautifully  deco- 
rated table,  crowded  with  cakes,  cookies, 
ice  cream,  and  hot  chocolate.  Because  Fan- 
nye Rose  and  I  were  at  opposite  ends  of 
the  table,  she  had  to  yell  at  the  top  of 
her  voice  to  get  my  attention  above  all  the 
noise.   "Bessie!" 

The  chatter  immediately  died  down. 
Everyone  looked  at  her.  Fannye  Rose 
picked  up  a  spoon  so  heavily  laden  with 
ice  cream  that  it  dripped  down  on  both 
sides.  "This  isn't  too  big  a  bite,  is  it, 
sister?"  .  .  .  Embarrassed — I  was  then 
at  the  very  "proper"  age  of  ten — I  pleaded 
with  her  to  take  a  little  less.  With  a  sigh  of 
disappointment,  she  dutifully  obeyed. 

In  a  way,  it  isn't  surprising  that  my 
sister  developed  into  a  self-assured,  suc- 
cessful performer.  Even  as  a  child  she 
loved  an  audience.  There  were  occasions, 
however,  when  her  timing  was  a  little  dis- 
turbing! .  .  .  One  evening,  my  boyfriend 
and  I  were  sitting  on  the  front  porch, 
feeling  as  romantic  as  only  teenagers  can 
get.  Suddenly  the  upstairs  window  flew 
open,  Fannye  Rose  stuck  out  her  head, 
and  started  singing  "My  Old  Kentucky 
Home."  .  .  .  That  almost  ruined  my  first 
romance! 

Before  my  boyfriend  came  back,  I  made 
my  little  sister  promise  to  refrain  from 
using  us  as  an  audience  again. 

"Doesn't  he  like  my  voice?"  she  asked 
in  disappointment. 

"Of  course,  he  does,"  I  assured  her.  "But, 
when  you  grow  older — get  into  your  teens 
— you'll  learn  there  are  times  when  you'd 
rather  not  listen  to  someone's  kid  sister 
sing.  Do  you  know  what  I  mean?" 

She  said  she  did.  But  the  next  time  he 
came  back,  it  was  obvious  she  didn't.  .  .  . 
We  were  sitting  in  our  favorite  spot  the  fol- 
lowing Saturday  night,  enjoying  the  moon- 
light from  the  swing-chair  on  the  front 
porch,  When  Fannye  got  back  into  the  act 
once  again.  She'd  kept  her  promise  about 
the  singing,  all  right  .  .  .  she  played  the 
ukulele  instead! 

Of  all  the  childhood  habits  I  recall,  few 
stand  out  more  than  her  perpetual  appe- 
tite. Today,  my  sister  sticks  to  a  well- 
balanced  diet,  but  as  a  child  she  could 
never  seem  to  get  enough  to  eat.  ...  I 
remember  one  evening  in  particular,  when 
T  Mother  and  Dad  had  a  date  to  play  cards 
v  with  some  friends,  and  they'd  asked 
„  Maurice  Seligman — whom  I  later  married 
— and  me  to  take  Fannye  Rose  along  on 
our  date. 

Having  decided  to  go  for  a  ride,  we 
80 


My  Sister — Dinah  Shore 

bundled  her  into  the  back  seat,  where  she 
soon  fell  asleep.  On  the  way  home,  we 
stopped  at  a  drive-in  for  a  bite  to  eat. 
Maurice,  who  hadn't  had  his  dinner,  felt 
starved.  Rather  short  of  money  at  the  time, 
he  seemed  quite  happy  that  Fannye  Rose 
wasn't  awake. 

The  moment  the  car  hop  brought  the 
menu,  Fannye  Rose  woke  up.  It  didn't 
take  her  long  to  make  up  her  mind  what 
she  wanted.  "I'd  like  a  chicken  sandwich," 
she  announced. 

I  noticed  that  Maurice  began  to  squirm 
in  his  seat.  It  was  the  most  expensive  item 
on  the  menu.  But  Fannye  Rose  wasn't 
through.  " — And  a  malted  milk  shake," 
she  added.  "With  three  scoops  of  ice 
cream." 

I'd  already  ordered  my  hamburger,  so 
the  waitress  turned  to  Maurice.  "And  your 
order?"  ...  "A  coke,"  he  said  unhappily, 
because  that  was  all  he  could  still  afford. 

Of  course,  little  Fannye  Rose  didn't 
realize  what  she  was  doing,  at  that  time. 
Actually,  she  is — and  has  always  been — 
one  of  the  most  generous  persons  I  have 
ever  known. 

As  Fannye  grew  up,  she  developed  into 
such  a  likeable,  popular  young  girl  that 
the  telephone  would  buzz  at  our  house  at 
all  hours  of  the  day  or  evening  with  her 
ardent  admirers  at  the  other  end7  of  the 
line,  trying  to  make  dates. 

In  those  days  my  sister  had  a  particular 
weakness  for  football  players — big,  strong, 
muscular  hunks  of  men  who  looked  as 
though  they  were  competing  for  the  Mr. 
America  contest.  It  was  about  one  of 
these  that  Mother  became  a  little  con- 
cerned one  evening.  "Bessie,  you  have  to 
talk  to  your  sister  right  away,"  she  told 
me  when  I  came  back  from  a  date.  "When 
your  dad  and  I  came  home  we  found  her 
in  the  living  room — necking!" 

I  couldn't  see  anything  dreadfully  wrong 
with  that,  but  then  my  parents  were  a  bit 
more  conservative.  However,  the  idea  of 
my  giving  my  sister  a  lecture  made  me  feel 
uneasy.  "Why  don't  you  talk  to  her?" 

"You  know  it'll  have  more  influence 
coming  from  you.  .  ." 

In  those  days  I  didn't  realize  why,  but 
I  do  today.  There's  often  a  bigger  gap 
between  mother  and  daughter  than  be- 
tween sisters — or  even  girlfriends  who 
are  closer  to  each  other  in  age  and  out- 
look. This  holds  just  as  true  today  with 
my  own  daughter,  Linda,  who  is  just  nine- 
teen, and  my  son,  John,  who  is  fifteen. 
Many  times,  Linda  prefers  to  talk  about 
her  problems  to  her  Aunt  Dinah,  whom 
she  considers  "more  her  age,"  than  to  me. 
As  for  John,  he  thinks  me  a  moron  when 
it  comes  to  his  favorite  subject,  cars.  But 
Aunt  Dinah — particularly  since  she  started 
to  sell  Chevrolets  on  her  bi-weekly  tele- 
vision show — is  the  "expert"  in  the  family, 
and  he  can  discuss  the  subject  with  her 
for  hours.  .  .  . 

Considering  Dinah's  present  character- 
istics, it  seems  hard  to  believe  that  a  per- 
son could  have  changed  that  much,  in 
some  respects.  For  instance,  nowadays  she 
is  the  best  organized  woman  I  know.  It  is 
amazing  how  smoothly  she  runs  her  house- 
hold and  integrates  her  motherly  duties 
with  her  career  obligations.  She  never 
seems  rushed,  always  manages  to  keep  a 
cheerful  disposition,  no  matter  how  many 
problems  are  thrown  at  her  simultaneously. 

Her  sense  for  organization  was  more 
than  evident  on  a  recent  trip  to  Oregon. 
During  her  two-day  stay,  she  let  herself 
be  interviewed  by  forty  editors  of  high- 
school  papers  in  southern  Washington  and 
northern  California,  saw  every  disk  jockey 
in  the  area,  had  lunch  with  Governor  Paul 


Patterson  of  Oregon  and  dinner  with 
Mayor  Fred  Peterson  of  Portland,  spent 
one  hour  signing  autographs  in'  a  depart- 
ment store  in  Portland,  and  another  hour 
for  the  same  firm  in  Salem,  collected 
10,000  toys  for  needy  children,  sang  at  the 
"Crystal  Ball"  for  teenagers  and  attended 
a  meeting  of  the  district  Chevrolet  dealers 
at  Portland's  Masonic  Temple.  She  was 
also  appointed  temporary  Fire  Commis- 
sioner in  Portland,  had  a  meeting  with 
PTA  representatives,  received  a  scroll 
from  7,500  girls  .  .  .  and,  all  along,  made 
certain  that  her  husband,  George  Mont- 
gomery— who  accompanied  her  on  the  trip 
— had  enough  time  to  go  duck  hunting! 

She  accomplished  all  this  because  she 
had  planned  her  trip  in  advance  so  care- 
fully that  she  could  tell  me,  before  she 
left,  where  she  was  going  to  be  almost 
every  minute  of  the  day.  Her  wardrobe 
was  designed  to  facilitate  changes,  with 
one  set  of  accessories  to  match  two  or 
three  outfits,  and  all  fitting  into  two  cases. 

I  wouldn't  have  believed  this  could  ever 
happen,  recalling  the  time  Mother  scolded 
our  maid  for  picking  up  Fannye  Rose's 
clothes.  "Let  her  put  them  away,  Yaya," 
mother  insisted.  "You  spoil  her  something 
terrible  .  .  ." 

"Yes'm,"  Yaya  replied,  and  dropped  all 
the  clothes  right  back  on  the  floor — till 
Mother  had  left  the  room.  Then  she  picked 
them  all  up  again  and  put  them  neatly 
away. 

Mother  finally  got  wise  to  it.  Since  she 
couldn't  very  well  blame  our  maid  for 
wanting  an  orderly  house,  she  herself 
would  get  the  clothes  out  of  the  closet 
again  and  scatter  them  where  they'd  been 
on  the  floor — for  Dinah  to  pick  up.  My 
sister's  wardrobe  saw  more  wear  by  this 
constant  picking  up,  putting  away,  and 
dropping  again  on  the  floor,  than  when  she 
actually  had  them  on! 

It  was  necessity  that  forced  Dinah  to 
change:  When  she  was  out  on  her  own, 
without  Yaya  to  look  after  her,  she  could 
be  as  neat  as  a  pin.  Actually,  Dinah  hates 
disorganization.  As  a  child,  she  just  didn't 
want  to  go  through  the  motions  of  doing 
something  about  it — as  long  as  she  had 
someone  to  do  it  for  her. 

In  my  opinion,  my  sister's  happy  dispo- 
sition is  one  of  the  pillars  of  her  success. 
In  her  younger  days,  this  was  brought 
about  through  our  own  happy  home  life, 
and  the  wonderfully  close-knit  relation- 
ship between  our  parents  and  ourselves. 
That's  why  our  mother's  passing — the  first 
really  tragic  event  in  Dinah's  life — shook 
her  so  hard. 

When  it  happened,  Maurice  and  I — mar- 
ried a  year — were  living  in  St.  Louis, 
where  my  husband  studied  medicine.  Dad 
was  away  on  business  and  Dinah  was  at 
home,  all  by  herself  to  cope  with  the  situ- 
ation. 

It  came  as  a  double  shock,  because 
Mother  hadn't  even  been  ill.  As  a  matter 
of  fact,  she  had  participated  in  a  golf  tour- 
nament the  day  before.  Fannye  Rose 
seemed  psychic  about  what  was  going  to 
happen,  judging  by  what  she  told  me  after 
Maurice  and  I  rushed  home  upon  receiv- 
ing the  news. 

She  went  to  school  that  Tuesday  morn- 
ing as  usual.  About  ten-thirty,  right  in  the 
middle  of  a  class,  she  felt  something  was 
wrong  with  Mother.  She  didn't  know  why, 
or  what — after  all,  there  had  been  no  indi- 
cations— but  she  knew  she  had  to  get 
home,  quickly. 

Fannye  Rose  asked  to  be  excused  from 
class.  Since  it  was  against  all  rules  to 
leave  class  without  a  concrete  reason,  the 
teacher    turned    her    down    at    first.    But 


Fannye  Rose  was  so  insistent  that  she 
finally  let  her  go. 

My  sister  rushed  home,  even  ran  the 
last  distance  from  the  streetcar  stop  to  the 
house.  The  moment  she  saw  the  doctor  in 
the  hallway,  she  knew  her  fears  were 
justified.  She  walked  into  Mother's  room 
just  five  minutes  before  she  passed  away. 

I've  never  seen  anyone  more  broken- 
hearted than  Fannye  Rose  when  Maurice 
and  I  arrived  from  St.  Louis  for  the  fu- 
neral. 

My  husband — one  of  the  most  wonder- 
ful, understanding  men  in  the  world — 
knew  what  was  on  my  mind  the  day  after. 
That's  why  he  suggested  we  move  back  to 
Nashville,  where  he  continued  his  intern- 
ship. 

Fannye  Rose's  and  my  close  relationship, 
temporarily  interrupted,  was  quickly  re- 
established. Only  now  I  was  sister,  mother 
— and  also  her  strongest  supporter — when 
it  came  to  convincing  Daddy  to  let  her  do 
what  she  wanted  to  do  most:  Act. 

He  hadn't  objected  to  her  being  in  plays 
at  school,  or  appearing  on  our  local  radio 
station  occasionally.  But  this  newest  idea 
of  hers — working  with  a  stock  company — 
he  didn't  approve.  On  the  other  hand,  I 
felt  that,  if  it  meant  that  much  to  her,  she 
should  go  ahead,  and  I  helped  talk  Daddy 
into  giving  his  reluctant  approval. 

It  was  during  Fannye  Rose's  senior  year 
in  college  that  she  really  became  serious 
about  show  business.  As  president  of  her 
sorority,  she  was  sent  to  Vermont  for  a 
convention.  On  the  way  back,  she  visited 
a  friend  in  New  York  City.  There,  as  a 
result  of  an  audition  at  a  local  radio  sta- 
tion, WNEW,  she  was  offered  a  job  and 
immediately  called  home  to  get  Dad's 
blessing.  Instead,  he  became  quite  upset. 

The  next  morning,  Dad,  Maurice,  and  I 
had  a  council  of  war— so  to  speak — to  de- 
cide what  to  tell  Dinah.  And  we  decided 
that,  since  it  had  been  that  easy  for  her  to 
get  a  job,  she  should  come  home,  finish 
college,  then  return  to  New  York,  because 
she  certainly  shouldn't  have  any  trouble 
getting  employment  the  year  after. 

However,  we  agreed  not  to  order  her 
back.  "If  you  don't  finish  college,  you 
might  regret  it  for  the  rest  of  your  life," 
I  told  her  when  I  called  that  afternoon. 

"But  think  of  the  opportunity  I'm  miss- 
ing," she  cried  out  unhappily. 

Point  by  point,  I  went  over  what  Daddy 
and  Maurice  and  I  had  discussed — the 
telephone  bill  was  the  biggest  we've  ever 
had — then  left  the  decision  up  to  her. 
Fannye  Rose  came  home  to  finish  school. 

A  year  later,  having  received  her  B.A. 
degree,  she  was  back  in  New  York  City, 
changed  her  name  to  Dinah  Shore — and 
had  me  worried.  On  the  one  hand,  I  felt 
certain  she  could  look  after  herself  all 
right.  On  the  other — she  was  still  my  little 
sister,  and  I  hated  to  see  her  in  a  big  city, 
all  alone.  And  so  I  talked  some  other  girls 
I  knew,  who  were  also  on  their  way  to 
New  York,  into  moving  in  with  Dinah  to 
look  after  her. 

She  got  the  job  she  was  after,  but  it 
didn't  work  out  as  well  as  she'd  expected. 
Before  long  she  found  herself  without 
enough  funds  to  pay  her  way.  Afraid  that 
Dad  might  use  this  opportunity  to  make 
her  come  home — he  still  didn't  like  the 
idea  that  his  daughter  was  in  show  busi- 
ness— Maurice  and  I  secretly  sent  her 
some  money.  To  our  surprise,  when  Daddy 
found  out  he  insisted  on  doing  his  share, 
too  .  .  .  though  he  didn't  change  his  mind 
about  her  career  till  she  got  her  first  big 
break  at  the  Strand — and  he  sat  in  the 
audience,  watching  her,  proud  as  a  pea- 
cock. You  would  have  thought  then  that 
this  had  been  his  idea  from  the  start! 

Shortly  after,  Maurice  and  I  settled 
down  in  New  York,  and  Dinah  moved  in 


with  us.  We  stayed  together  till  she  went 
to  Hollywood. 

In  a  way,  all  this  seems  like  a  long  time 
ago,  although  it  really  wasn't.  We,  too,  left 
New  York  after  my  husband  went  into  the 
service  during  World  War  II.  When  the 
war  was  over,  thanks  to  Dinah's  "cham- 
ber-of-commerce"  talks,  we  decided  to 
follow  her  to  the  West  Coast.  Until  we 
bought  our  own  home,  we  lived  with  my 
sister  and  George,  whom  she  had  married 
in  the  meantime. 

Even  though  we  were  separated  for  a 
number  of  years,  Dinah  and  I  never  really 
grew  apart.  Whatever  problems  were  on 
her  mind,  whatever  decisions  she  had  to 
make,  she  always  included  me  in  her 
thinking — with  one  notable  exception: 
George   Montgomery. 

Dinah  had  been  going  out  with  quite  a 
number  of  fellows  when  she  met  George, 
and  at  first  I  didn't  think  she  was  serious 
about  him.  But  more  and  more  her  letters 
were  full  of  "George  did  this"  and  "George 
said  that" — to  the  point  where  we  knew 
all  about  him  and  little  about  her  anymore. 
Nevertheless,  I  was  still  surprised  the 
night  she  called  us  from  Las  Vegas,  to  tell 
us  she  and  George  had  gotten  married! 

We  really  learned  to  appreciate  Dinah's 
choice  when  George  came  to  San  Antonio, 
to  make  a  training  film  for  the  Army,  and 
stayed  with  us.  My  husband  was  stationed 
there  at  the  time.  We  also  realized  why 
Dinah  had  fallen  in  love  with  him.  In 
many  ways,  he  is  much  like  Daddy — con- 
servative, considerate,  quiet,  a  wonderful 
person  through  and  through.  We  knew 
then  her  marriage  was  going  to  be  a 
happy  one.  .  .  . 

Since  Dinah  and  George  have  moved 
into  their  new  home  in  Beverly  Hills,  we 
live  just  a  few  miles  apart.  Actually,  we 
are  as  close  as  the  telephone — of  which  we 
make  ample  use.  Dinah  still  calls  me  for 
advice  (lately,  this  has  worked  both  ways 
— when  I  have  a  problem,  I  call  for  her 
opinion  as  well),  particularly  when  it 
comes  to  raising  her  daughter,  Missy. 
Since  I  have  two  children,  a  daughter, 
nineteen,  and  a  son,  fifteen,  she  seems  to 
consider  me  an  authority. 

At  the  same  time,  in  some  respects  her 
advice  carries  more  weight  with  my  chil- 
dren than  my  own.  .  .  .  Take  her  influ- 
ence on  Linda,  who  I  felt  was  getting  just 
a  bit  too  heavy  for  her  age.  Not  much,  just 
a  few  pounds.  But  I  thought  she  ought  to 
watch  it.  For  weeks,  I  tried  to  talk  her 
into  a  diet,  with  no  success.  Dinah  man- 
aged it  almost  overnight. 

When  trimmed  down  to  her  right  pro- 
portions, Linda  can  wear  Dinah's  clothes, 
most  of  which  she  sooner  or  later  inherits 
from  her  generous  aunt.  When  Dinah  no- 
ticed Linda  was  putting  on  too  much 
weight — instead  of  letting  her  take  out  the 
dresses  at  the  seams,  she  insisted  that  she 
lose  a  few  pounds  before  giving  her  an- 
other garment.  It  took  my  daughter  just 
three  weeks  to  get  back  to  her  normal 
weight! 

Dinah  is  not  only  generous,  she  is  also  a 
very  nice  person,  in  the  fullest  sense  of 
the  word.  That's  why  I  got  so  annoyed 
when  I  first  came  to  Hollywood,  and  an 
acquaintance  of  hers  congratulated  me  on 
having  such  a  "normal,  level-headed"  sis- 
ter. .  .  .  "She's  an  intelligent  girl  with 
good  upbringing,"  I  protested.  "Naturally, 
success  wouldn't  change  her."  , 

But  after  I  lived  in  Hollywood  for  a 
while  and  saw  what  success  can  do  to 
people  unaccustomed  to  the  limelight — 
and  even  to  those  who  are — I  really 
learned  to  appreciate  the  fact  that, 
throughout  her  career,  my  sister  has  man- 
aged to  keep  her  sense  of  values. 

I'm  really  very  proud  of  my  little 
Fannye  Rose,  who  grew  up  to  be  Dinah 
Shore. 


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(Continued  from  page  32) 
found  that  some  of  them — the  women,  bless 
'em — feel  that  there  are  things  that  they 
themselves  shouldn't  do. 

"Then,  too,  being  on  the  program  has 
made  me  a  lot  humbler  than  I  was,"  Hugh 
admits.  "Like  a  great  many  men,  I  like  to 
cook,  and  I  used  to  think  that  I  was  pretty 
good  at  it.  But,  since  I've  been  on  the  show 
and  have  seen  some  of  the  things  other 
people — meaning  women! — can  do,  I'm  not 
so  proud  of  the  things  I  can  make. 

"There  are  other  things  I've  learned  on 
Home,  too,"  Hugh  remarks  happily.  "For 
instance,  I've  learned  a  lot  of  new  terms 
for  things  I've  known  all  along  without 
really  knowing  their  names.  There's  the 
bolster.  Now  I  know  that  it's  a  long  pil- 
low you  put  on  a  sofa  or  a  day  bed.  Be- 
fore Home,  the  only  'bolster'  I  knew  about 
had  to  do  with  courage.  It's  the  same 
way  about  'pink.'  I  know  now  that  it's 
more  than  a  color — it's  a  way  of  finishing 
the  edge  of  cloth  so  it  won't  ravel.  There's 
'julienne,'  too.  Before,  I  thought  it  might 
be  a  lady  jeweler  or  something  along  that 
line.  Now  I  know  it's  a  way  of  fixing 
vegetables!" 

r  erhaps  it's  only  natural  that,  being  sur- 
rounded on  the  air  by  so  many  women, 
Hugh  has  had  to  find  ways  of  proving  that 
a  "mere  male"  has  his  accomplishments, 
too.  At  any  rate,  he's  found  himself  per- 
forming a  number  of  feats  which  he  had 
never  attempted  before  he  joined  Home. 
"For  some  reason  or  other,"  Hugh  grins, 
"I  find  that  I'm  more  inclined  now  to  do 
things  that  I  wouldn't  have  done  before. 
For  example,  not  so  long  ago,  Home  was 
out  in  San  Francisco  and  there  was  a  tiger 
shark  we  were  going  to  show  on  the  pro- 
gram. Well,  the  story  got  to  my  wife  Ruth 
that  I  was  going  to  go  swimming  in  the 
pool  with  the  shark,  and  Ruth  didn't  take 
kindly  to  the  idea — to  say  the  least.  Then 
she  was  told  it  was  all  a  gag — which  it  had 
been — and  she  wasn't  to  worry  about  it. 
"But,  for  some  strange  reason,  I  decided 
I  wanted  to  hold  the  shark  for  a  close-up 
on  the  air.  I  didn't  go  into  the  pool,  mind 
you.  But  I  was  shown  how  to  hold  the 
thing  out  of  water — and,  sure  enough,  at 
air  time  I  held  it  and  showed  it.  Ruth 
didn't  see  the  episode  at  the  time  of  the 
performance,  because  it's  a  delayed  tele- 
cast out  there  on  the  Coast.  But,  three 
hours  later,  when  they  showed  the  kin- 
escope and  Ruth  saw  me  handling  that 
shark — well,  I'm  afraid  she  wasn't  too 
pleased  about  it." 

Well  .  .  .  what  wife  would  have  been 
happy,  to  see  her  husband  "wrestling"  a 
tiger  shark!  But,  if  Ruth  wasn't  pleased, 
she  never  showed  her  displeasure.  She 
and  Hugh  lead  a  happy  life  with  their  two 
children.  And,  in  their  home  just  outside 
Stamford,  Connecticut,  Hugh  is  not  out- 
numbered by  women  as  he  is  on  the  tele- 
vision show.  There,  he  has  his  son,  Hugh 
Raymond,  10,  to  side  with  him  against 
Ruth  and  their  daughter,  Deirdre,  7,  in 
those  minor  matters  where  the  masculine 
and  feminine  views  don't  always  coincide. 
The  house  the  Downs  family  lives  in  is 
a  pleasant  one  and  not  at  all  showy.  It's 
situated  on  an  acre  of  grounds  which  are 
in  a  naturally  wild  condition,  with  very 
little  formal  gardening — which  is  the  way 
the  Downses  like  it.  But  what  gardening 
there  is  to  be  done,  Hugh  does,  just  like 
any  other  suburbanite,  on  Saturdays  or  in 

T    the  evenings  after  work. 

v        In  their  home,  Ruth  and  Hugh  do  the 

R  things  they  like  to  do.  They  enjoy  re- 
finishing  early  American  furniture,  and 
they  do  it  well.  Their  interest  in  things 
early   American   may   stem   from   the   fact 

82 


Big  Man-About-Hqme 

that  Hugh  is  widely-read  in  American 
history  and  the  family  enjoys  traveling 
around  New  England  by  car  in  the  sum- 
mertime, seeing  the  places  where  events 
took  place  early  in  our  country's  life. 
They  just  pile  into  the  car  and  drive  in 
any  direction  that  takes  their  fancy,  stop 
whenever  they  want  to,  and  go  back  home 
when  the  spirit  moves  them.  That  way, 
the  children  learn  American  history  in  a 
vivid  and  memorable  way,  and  the  family 
has  a  good  time  together. 

Like  many  people  who  live  outside  New 
York  and  work  in  the  city,  Hugh  is  a 
typical  commuter,  although  he  has  to  get 
an  earlier  train  than  most  commuters  do. 
He  is  due  at  the  studio  at  7:45  every 
morning  of  the  week  and,  in  order  to  get 
there  on  time,  has  to  take  the  7:02  train. 

"I  get  up  at  5:30  every  morning  and 
make  my  own  breakfast,"  Hugh  says. 
"After  all,  that's  too  early  to  ask  anyone 
to  get  up  unless  they  have  to.  Then  I 
drive  to  the  station. 

"When  we  used  to  live  a  little  farther 
out,  at  Westport,  I  had  to  get  up  even 
earlier — I'd  catch  the  same  train,  but  of 
course  it  went  through  Westport  earlier. 
Then,  I  didn't  have  a  chance  to  see  the 
family  in  the  morning,  because  I  had  to 
■  leave  the  house  before  they  were  up. 
Now  I  have  a  little  time  with  them  before 
I  have  to  leave  for  the  station." 

Hugh  drives  to  the  station  in  his  own 
car,  an  old -model  one  which  he  leaves  at 
the  station.  (Ruth  has  a  newer  car  which 
she  uses  to  take  the  children  to  the  near- 
by school,  to  do  the  household  shopping 
and  the  thousand  and  one  things  that  a 
homemaker  has  to  do.) 

When  Hugh  is  a  bit  rushed  to  get  to  the 
studio,  he  leaves  the  train  at  125th  street 
in  New  York  and  takes  a  taxi  to  the 
studio.  Otherwise,  like  thousands  of  oth- 
er commuters,  he  goes  on  to  the  Grand 
Central  Terminal  and  travels  to  the  studio 
by   subway. 

On  the  return  trip,  when  Hugh  Downs 
steps  off  the  commuters'  train  in  Stam- 
ford of  an  evening,  he  looks  like  a  great 
many  of  the  other  men  going  home  from  a 
day's  work  in  the  city.  There  is  nothing 
performer-ish  about  his  appearance.  Hugh 
is  five  feet,  ten  inches  tall,  has  reddish 
brown  hair  and  brown  eyes.  His  com- 
plexion has  a  healthy  ruddy  glow.  He 
dresses  conservatively  and  in  good  taste 
and,  when  he  speaks,  he  does  so  in  well- 
modulated  tones  which  indicate  none  of 
his  Midwestern  background. 

r  or  Hugh  was  born  in  Akron,  Ohio,  on 
February  14,  1921— St.  Valentine's  Day. 
His  family  moved  to  Lima,  Ohio,  soon  aft- 
er his  birth,  and  it  was  in  Lima  that 
Hugh  got  his  grammar-school  and  high- 
school  education.  For  his  college  work, 
he  went  to  Blufton  College  in  Ohio,  and 
to  Wayne  University  in  Detroit. 

During  his  high -school  and  college  days, 
Hugh  began  his  present  career  by  doing 
part-time  work  as  a  radio-station  an- 
nouncer. In  1943,  after  service  in  the 
Army,  he  went  to  Chicago  and  joined  the 
staff  of  the  National  Broadcasting  Com- 
pany, and  he's  been  on  it  ever  since.  It 
was  in  Chicago  that  Hugh  used  to  broad- 
cast news,  rather  like  the  news  segment  on 
Home  which  he  does  these  days.  He  also 
announced  such  shows  as  Kukla,  Fran 
And  Ollie,  Hawkins  Falls,  and  Garroway 
At  Large. 

But  the  most  important  thing  that  hap- 
pened to  Hugh  in  Chicago  was  his  meet- 
ing with  Ruth  Shaheen.  She  was  a  radio 
director  at  NBC  there,  but  Hugh  decided 
that  he'd  change  all  that.  He  did.  He 
married  the  girl. 


Hugh  and  his  family  moved  to  New 
York  from  Chicago,  when  the  executives 
at  NBC  decided  that  Mr.  Downs  was  the 
man  to  appear  with  all  the  women  on 
Home.  Here,  his  duties  include  being 
host,  announcer,  interviewer,  shopping 
editor  and  general  all-around  actor — mak- 
ing him  one  of  the  most  versatile  people 
on  television. 

But  off  the  air,  too,  Hugh  is  a  man  of 
many  talents,  expert  at  any  number  of 
hobbies.  He  cooks,  of  course — although, 
since  being  on  the  program,  he  has  more 
or  less  limited  his  culinary  activities  to 
making  salads,  which  he  does  well.  He 
has  a  singing  voice  so  good  that  he  sings 
on  the  program  about  once  a  month  and 
has  received  letters  from  viewers  asking 
where  his  records  can  be  bought  (Hugh 
hasn't  made  any  records) .  He  likes  high- 
fidelity  sound  reproduction  and  is  good 
enough  at  it  to  have  put  on  a  segment 
about  it  on  Home.  Hugh's  also  something 
of  a  composer  and  has  had  at  least  one  of 
his  pieces  played — and  praised — on  a  na- 
tional network  television  show.  He  reads 
philosophy,  as  well  as  American  history, 
is    able    to    discuss    both    with    authority. 

Still  other  things  that  Hugh  finds  time 
for  are  his  membership  in  a  gourmets' 
club,  sailing  (he  used  to  be  part  owner 
of  a  sailboat),  and  horseback  riding.  Quite 
frequently,  when  Hugh  and  his  family 
are  on  vacation,  they  visit  friends  on  a 
ranch  in  the  Far  West,  where  Hugh  races 
other,  less  citified  horsemen  across  the 
plains — and  often  wins. 

Perhaps  one  of  the  reasons  Hugh  has 
so  much  time  for  his  many  hobbies  is  the 
fact  that  he  can  forget  about  his  work 
completely,  when  he  leaves  the  studio.  He 
has  the  happy  faculty  of  being  able  to 
turn  off  his  "working"  mind  until  the 
next  morning,  when  he  returns  to  the 
studio.  That  leaves  his  mind  free  for 
those  hobbies  of  his. 

One  of  the  things  that  interests  Hugh 
most — outside  of  Home — is  astronomy.  He 
is  a  member  of  the  Royal  Astronomical 
Society  of  Canada  and  is  consultant  for 
NBC  about  such  matters.  He  has  built 
himself  two  telescopes — obviously,  a  dif- 
ficult, time-consuming  and  exacting  ac- 
complishment. And,  when  it  was  an- 
nounced at  the  White  House  that  the 
United  States  was  going  to  launch  a  man- 
made  satellite,  NBC  called  on  Hugh  to 
serve  as  consultant  and  appear  as  host  on 
a  half-hour  special  documentary  televi- 
sion program  discussing  the  project  and 
explaining  it  to  the  public. 

Along  that  line,  Hugh  would  like,  some 
time  in  the  future,  to  put  on  a  couple  of 
really  good  science  shows,  preferably  on 
television.  He  feels  that  there  is  a  dis- 
tinct need  for  such  programs  and  believes 
that  he  would  be  able  to  make  under- 
standable a  good  deal  of  the  scientific 
material  which  the  average  man  doesn't 
"get"  because  he  doesn't  have  the  spe- 
cialized training  needed. 

But,  most  of  all,  Hugh  hopes  to  con- 
tinue on  Home  for  as  long  as  they'll  have 
him.  "I  love  that  program,"  Hugh  says 
with  a  twinkle.  "I  like  the  people  I  work 
with  and  I  like  the  work  that  I'm  doing. 
A  man  can't  ask  for  any  more  than 
that." 

As  things  look  now,  Hugh  Downs  will 
continue  to  be  the  man  with  two  homes — 
the  Home  show,  with  all  the  girls  he  so 
enjoys  working  with — and  the  private 
home  he  goes  to  every  evening,  where  he 
enjoys  life  with  Ruth  and  their  children, 
his  hobbies  and  his  books.  And  he  is 
happy  in  both  homes  because — as  he  him- 
self has  said — "I  love  women." 


Close  as  a  Heartbeat 


(Continued  from  page  62) 
He  isn't  due  at  the  studio  until  eleven- 
thirty  so,  during  warm  weather,  he  got 
up  early  and  worked  from  seven  until 
ten  in  the  courtyard,  which  he  converted 
into  a  back  yard.  He  picked  up  the  flag- 
stone, replaced  it  with  peat,  and  now  has 
one-fiftieth  of  an  acre  of  grass.  He  pa- 
pered the  dining  room  by  staying  up  all 
of  one  night. 

"I'm  'way  behind  schedule,"  he  says. 
"I'll  tell  you  what  gets  in  the  way:  I  get 
work  planned,  and  friends  drop  in  for 
conversation — or  you  start  to  help  the  kids 
out  with  their  homework  and  the  eve- 
ning's shot — or  maybe  Parker  begins  to 
pick  out  a  tune  on  the  piano  and  I  get 
out  a  guitar." 

Parker  puts  it  like  this:  "With  Peter, 
I'd  say  anything  that  has  to  do  with  an- 
other being — child,  wife,  friend  or  dog — 
takes  precedence  over  a  project  or  hobby. 
He  gets  great  satisfaction  out  of  making 
something  with  tools  or  a  spade,  but 
human  beings  come  first.  If  something  has 
to  be  put  off  until  the  next  day,  it's  more 
human  to  put  off  an  electric  drill  than  a 
child  or  wife." 

As  to  that  name  "Parker,"  she  says,  "I 
know  it's  an  unusual  name  for  a  girl. 
After  all,  I  spent  all  of  my  school  years 
defending  and  explaining  the  name — and 
I  have  no  intention  of  giving  it  up."  She 
adds,  less  belligerently,  "My  father  wasn't 
expecting  a  girl  baby  and,  when  they 
asked  him  what  he  wanted  to  name  the 
girl,  he  put  down  "Parker" — a  family 
name— thinking  he  could  change  it  later. 
He  went  down  to  city  hall  later,  but  they 
wouldn't  let  him  change  it." 

Parker  is  very  much  a  feminine  name 
when  applied  to  Mrs.  Hobbs,  for  Mrs. 
Hobbs  is  very  feminine.  She  is  elegant 
and  fair,  with  blue  eyes  and  blonde  hair 
that  is  distinctly  lemonade  pink  in  color. 
"On  television,  I  photograph  better  with 
blonde  hair,"  she  explains.  "But  I'm  a 
natural  redhead  with  Irish  coloring,  so 
I  don't  look  right  with  really  blonde  hair. 
I  didn't  know  what  to  do  about  it,  then  a 
friend  suggested  we  pour  on  some  pink 
vegetable  dye — the  kind  you  use  in  cook- 
ies. It's  harmless  enough,  so  we  did.  I 
became  a  pink  blonde,  and  I  think  it's  a 
friendly  color." 

When  an  actress  with  pink -blonde  hair 
marries  an  actor  with  the  metabolism  of 
a  goat,  anything  can  happen.  It's  usually 
said  that,  when  two  people  marry,  they 
become  one.  Parker  and  Peter  became 
seven.  Both  had  been  previously  married, 
and  Parker  contributed  two  boys  to  the 
wedding;   Peter,  three  daughters. 

Peter  and  Parker  had  never  met  before 
1953,  although  both  were  in  the  theater 
and  both  had  been  raised  in  New  York. 
Actually,  Peter  was  born  in  France,  where 
his  father,  an  American  physician,  was 
serving  with  a  volunteer  medical  unit  at- 
tached to  the  British  army.  But  he  was 
still  an  infant  when  his  father  died  in 
the  flu  epidemic  that  followed  the  war, 
and  his  mother  brought  him  back  to  the 
States,  so  he  grew  up  in  Manhattan. 

"The  child  is  father  of  the  man,"  Peter 
quotes.  "As  a  kid,  I  had  varied  interests, 
too,  and  I  was  very  serious  about  them. 
I  built  radio  sets  for  a  year,  then  went 
into  a  long  period  with  model  airplanes, 
and  then  it  was  stamps." 

His  mother  had  been  an  actress  and  she 
encouraged  him  to  take  part  in  speech 
classes.  In  fourth  grade,  he  won  a  decla- 
mation contest.  As  a  youngster,  he  at- 
tended the  Friends  School  in  Manhattan, 
although  he  is  not  a  Quaker,  and  he  went 


to  prep  school  in  New  Hope,  Pennsylvania. 

"At  the  prep  school,"  he  recalls,  "I  first 
announced  that  I  would  be  an  actor.  It 
seemed  that  all  the  other  boys  knew  ex- 
actly what  they  wanted  to  be,  and  I  didn't. 
But,  since  no  one  else  had  thought  of  being 
an  actor,  I  made  that  my  choice." 

Actually,  circumstances  led  him  to  be 
an  actor.  He  majored  in  dramatics  at 
Bard  College  in  New  York,  and  he  took 
part  in  school  plays  there.  This  got 
him  a  job  as  a  summer-stock  electrician 
at  the  end  of  his  sophomore  year.  He  went 
back  again  the  following  summer,  and  this 
resulted  in  his  getting  small  parts  to 
play.  When  he  got  out  of  school,  he  began 
to  work  with  little-theater  groups. 

"I  was  also,"  he  adds,  "a  guinea  pig  for 
some  Army  doctors  who  were  developing 
atabrine,  a  synthetic  substitute  for  quinine. 
The  stuff  used  to  make  me  awful  sick. 
The  first  time,  I  was  in  a  knot  for  a  couple 
of  hours.  Oh,  I  was  sick.  But  the  medics 
said  I  was  rendering  a  great  service.  They 
particularly  said  this  when  they  asked  me 
to  repeat  the  test.  But  I  tried  it  again  and 
I  got  sick  again." 

Peter  was  saved  by  the  draft  from  fur- 
ther patriotic  agony  in  the  cause  of  medi- 
cal science.  He  was  assigned,  after  train- 
ing, to  the  Third  Army  Combat  Engineers. 
He  served  in  France,  Belgium  and  Ger- 
many and  narrowly  missed  getting  killed 
at  the  Bulge.  He  was  a  buck  sergeant,  and 
his  squad  had  such  duties  as  detonating 
and  lifting  mines,  clearing  road  blocks, 
blowing  up  bridges.  Half  of  his  company 
didn't  return. 

After  the  war,  in  1945,  Peter  made  his 
Broadway  debut  in  a  Theater  Guild  pro- 
duction. The  following  year,  he  under- 
studied Marlon  Brando.  In  1949,  he  played 
in  the  Ingrid  Bergman  production  of 
"Joan  of  Lorraine."  He  had  the  male  lead 
opposite  Joan  Blondell  in  "Happy  Birth- 
day" and,  in  1950,  replaced  Tom  Helmore 
in  "Clutterbuck."  Until  "Teahouse  of  the 
August  Moon"  went  on  the  road,  he  served 
as  an  understudy  and  performed  almost 
a  hundred  times  in  the  Broadway  showing. 

Peter  Hobbs  has  been  on  many  TV 
shows — Suspense,  Studio  One,  You  Are 
There,  Schlitz  Playhouse  and  others — but 
he  got  chosen  for  The  Secret  Storm  under 
unusual  and  rather  trying  circumstances. 

"In  1952,"  he  recalls,  "I  worked  in  the 
summer  theater  at  Westhampton  and, 
when  they  offered  me  a  job  next  year  as 
a  resident  director  and  actor,  I  thought  it 
was  a  good  deal.  It  wasn't,  for,  in  1953, 
most  of  the  plays  were  coming  in  as 
'packages'  and  my  only  work  was  to  coach 
a  couple  of  actors  in  very  minor  parts  and 
to  play  them  myself.  It  wasn't  interesting. 
It  wasn't  much  to  do." 

But  it  happened  that  Robert  O'Byrne,  the 
business  manager  of  the  playhouse,  was  the 
husband  of  Gloria  Monty,  who  was  to  be 
director  of  The  Secret  Storm  when  it  pre- 
miered in  February  of  1954.  She  saw  Peter 
Hobbs  work  at  the  Westhampton  Playhouse 
and  decided  he  was  to  be  Peter  Ames. 

"I  was  disgusted  and  disinterested  at  the 
time,"  Peter  says.  "I  still  can't  see  what 
made  her  like  me." 

"Peter's  wrong,"  says  Parker.  "He's 
never  less  than  marvelous.  He  couldn't  be 
a  bad  actor  if  he  tried." 

Parker  herself  literally  stumbled  into 
show  business.  As  a  child  she  was  sent  to 
the  Metropolitan  Opera  for  ballet  lessons 
to  cure  her  awkwardness.  She  was  so  well 
cured  that  she  was  offered  a  job  in  the 
ballet  corps,  but  turned  it  down,  disillu- 
sioned by  the  pay. 

Her  father,  an  engineer  and  designer  of 
machinery,    died    when    she    was    eleven 


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83 


years  old,  and  Parker  was  raised  by  her 
mother  and  an  aunt.  They  didn't  live  in 
poverty,  but  trees  don't  just  grow  in  Man- 
hattan and  neither  does  money.  When  it 
came  time  for  Parker  to  go  on  to  college, 
a  very  nice  thing  happened  to  her.  The 
parishioners  of  her  church,  Riverside 
Church,  decided  to  finance  her. 

Parker  went  to  Wheaton  College  with 
the  idea  of  becoming  a  writer,  but  she 
began  to  act  in  school  plays  and  made 
such  a  hit — and  enjoyed  herself  so  much — 
that  she  decided  to  switch  ambitions.  She 
notified  the  pastor  of  Riverside  and  he 
took  the  matter  back  to  talk  over  with 
the  congregation.  Everyone  agreed  and, 
after  two  years  at  Wheaton,  Parker  spent 
two  years  at  the  Studio  of  the  Theater 
run  by  the  late,  famous  Theodora  Irvin. 

She  came  out  of  the  Studio  and  into  the 
war.  She  served  in  Iceland  for  a  year  as 
a  CAT  (Civilian  Actor  Technician).  "I 
went  to  Iceland  with  two  other  actresses," 
she  recalls.  "One  was  a  blonde  and  one 
was  a  brunette  and  I  was  the  redhead. 
We  thought  it  was  so  funny.  Three  dif- 
ferent physical  types.  Later  we  discovered 
that  a  General  had  requisitioned  us  by 
size  and  color." 

She  and  Peter  met  in  late  fall  of  1952, 
when  both  had  been  legally  separated  for 
several  years.  No  one  could  anticipate 
their  meeting,  and  the  way  it  came  about 
was  one  of  those  rare  quirks  of  fate. 

"Kodak  Company  was  making  a  color 
film  in  Alabama,"  Parker  recalls,  "and  my 
agent  suggested  that  I  apply  for  the  fe- 
male lead."  It  was  to  be  a  three-month 
job,  which  meant  security,  and  Parker 
was  interested.  Her  agent  explained  fur- 
ther that  she  would  be  applying  for  the 
part  of  a  mother  and  told  Parker  to  take 
one  or  both  of  her  sons  along  so  that  they 
wouldn't  think  she  looked  too  young. 

Parker  took  along  her  older  son,  Dall, 
who  was  then  almost  ten.  And  Dall  took 
over  at  the  audition  and  sold  his  mother — 
and  himself.  "I  remember  the  man  asked 
Dall  if  he  were  an  actor,"  Parker  laughs, 
"and  Dall  said,  'No,  but  if  you  hire  my 
mother  I'll  be  in  it  for  nothing.'  " 

So  Parker  and  Dall  and  her  younger  son, 
Richard,  who  was  about  six,  were  hired 
for  the  picture.  And  the  man  cast  as  the 
father  in  the  picture  was  Peter  Hobbs. 

It  was  during  this  time  that  Peter  got 
very  close  to  the  boys.  "No  film  could 
be  shot  when  there  was  the  slightest  over- 
cast," Peter  recalls,  "and  on  those  days 
we  went  fishing.  It  got  so  the  boys  prayed 
for  rain." 

The  boys  became  fond  of  Peter  and  did 
everything  possible  to  encourage  a  ro- 
mance between  Peter  and  their  mother. 
The  encouragement  consisted  mostly  of 
telling  what  a  great  guy  Peter  was.  And 
they  told  Peter  what  a  great  gal  their 
mom  was.  In  August,  1954,  they  married. 

"My  girls  got  to  meet  Parker  several 
times  before  we  married,"  Peter  remarks. 
'Parker  was  a  little  frightened,  but  the 
girls  thought  she  was  wonderful — and 
were  fascinated  by  her  pink  hair." 

Peter's  and  Parker's  friends  had  wanted 
them  to  get  married  in  the  city  and  have 
a  big  shindig.  Instead,  they  made  a  sneak 
trip  up  to  Concord,  New  Hampshire, 
where  the  boys  were  in  camp.  They 
bought  the  kids  new  suits  and,  at  the  wed- 
ding, Dall  gave  the  bride  away  and  Richie 
was  best  man. 

"I  remember  the  minister  put  the  ring 
on  Richie's  thumb,  so  he  wouldn't  lose  it, 
and  he  stood  there  with  his  thumb  up  in 
T  the  air  like  Jack  Horner  with  a  plum." 
V  Parker  smiles,  and  continues:  "The  boys 
D  took  credit  for  bringing  about  the  wed- 
ding. They  still  insist  that  Pete  married 
me  for  their  sake.  Just  because  he  always 
„,  wanted  sons.  I  know  better.  I  know  that 
84 


Pete    married    me   for   the    grand   piano." 

Peter  loves  music.  He  has  two  guitars 
and  a  banjo.  When  he  married  Parker, 
she  brought  along  a  baby  grand  which 
also  plays  rolls.  Peter  had  already  ac- 
quired a  player-organ. 

Peter  Hobbs  has  a  good  baritone  voice 
and  has  recently  taken  to  song  on  The 
Secret  Storm — for  Peter  Ames  of  TV  had 
once  hoped  to  be  a  composer  or  a  concert 
pianist,  so  is  a  bit  of  a  musician  himself. 

In  the  Hobbs  household,  the  grand  and 
guitars  and  banjo  are  clustered  in  one 
corner  of  the  living  room.  The  player- 
organ  never  got  beyond  main  hall — it  was 
too  wide  to  make  the  turn — but  there  is 
plenty  of  room  in  the  hall.  There  is  lots 
of  space  everywhere  for  it's  a  big  four- 
floor  house  with  thirteen  to  sixteen  rooms. 
As  Peter  says,  "Every  time  we  take  a 
count,  it  comes  out  differently,  so  we've 
stopped  worrying  about  it." 

They  had  to  have  a  large  house.  Peter's 
girls  live  with  their  mother  on  Long 
Island,  but  they  visit  with  Peter  many 
weekends  and  during  vacations,  so  there 
must  be  room  for  them.  In  fact,  Peter  has 
finished  off  only  one  bedroom — for  Ann, 
who  is  just  shy  of  thirteen.  Her  favorite 
colors  are  pink  and  yellow.  Peter  carpeted 
and  painted  the  room  in  these  colors  and 
built  her  a  small  dressing  table.  His  sec- 
ond daughter  is  Jennifer,  almost  nine,  and 
his  youngest  is  Nancy,  seven. 

"Nancy  is  self-sufficient  and  honorable," 
says  Parker.  "She  never  asks  if  she  can 
help  with  the  dishes.  She  just  comes  in 
and  picks  up  a  towel  and  begins  drying. 
And  she's  so  upright.  She  came  to  me  one 
day,  when  something  was  spilled  on  the 
floor,  and  said,  T  really  shouldn't  tell — but, 


FIGHT  CANCEB 
With  A  Checkup 
And  A  Check 


because  I'm  a  Brownie,  I  have  no  choice 
except  to  admit  that  I  did  it!'  " 

Jenny  is  a  wonderful  little  actress  and 
is  studying  ballet.  Ann  is  beautiful  and 
loves  to  swim  and  skate  and  date. 

"When  the  kids  are  all  together  in  the 
house  they  have  a  ball,"  Peter  says.  "They 
really  like  each  other  and  take  good  care 
of  each  other.  You'll  hear  an  argument 
that  sounds  like  it's  getting  rough.  But, 
by  the  time  you  get  there,  they've  got  it 
settled.  After  all,  they've  got  five  minds 
at  work  on  the  problem." 

Another  member  of  the  family  is  Rusty. 

"We  promised  the  kids  a  dog  when  we 
bought  the  house,"  Peter  explains.  "Of 
course,  we  call  him  Rusty  only  when  he's 
good.  When  he's  bad,  he  answers  to  Rus- 
sell. And,  when  he's  bad,  he  eats  every- 
thing. One  evening,  he  ate  up  a  whole 
platter  of  hors  d'oeuvres,  plus  a  pound  of 
cheese.  When  there's  nothing  special 
around,  he'll  settle  for  check  books.  And 
he's  crazy  about  eating  money." 

Another  reason  why  the  Hobbses  need 
a  large  house  is  that  Peter  loves  company. 
As  for  Parker — well,  she  inserted  a  letter 
in  her  alumnae  magazine  with  the  mes- 
sage, "Everyone  who  comes  to  New  York 
must  come  and  stay  with  me." 

The  house  is  still  sparsely  furnished  but 
the  decorative  scheme  will  be  people  and 
beasts.  Peter  says,  "We  intend  using  wall 
paper  that  has  pictures  and  drawings  of 
people  and  animals.  We  will  have  vases 
that  look  like  chickens  and  pussy  cats. 
Lamps  will  stick  out  of  the  heads  of  por- 
celain   dogs    and    nymphs.    Most    of    our 


friends  are  actors  and  when  they  come  in, 
we  want  them  to  feel  as  if  they  were  on 
a  stage." 

The  boys,  Dall  and  Richie,  share  fully 
in  the  living  room  theatricals.  Richie 
claims  his  chief  interest  lies  in  his  rock 
collection,  but  he  displays  talent  and  great 
feeling  for  dramatics.  And  Dall  has  al- 
ready had  his  shakedown  cruise  on  Broad- 
way. During  the  Christmas  holidays,  for 
six  performances,  Dall  took  over  for  the 
youngster  in  "Teahouse  of  the  August 
Moon."  It  was  particularly  interesting,  for 
— not  only  was  Peter  connected  with  the 
show — but  Dall's  father,  John  Forsythe, 
had  been  cast  as  one  of  the  male  leads. 

"Dall  did  very  well,"  Peter  says.  "He 
brought  on  a  goat  and  delivered  two  lines 
in  Korean." 

Parker  has  never  held  a  running  part 
in  a  daytime  drama,  but  she  has  been  on 
most  of  the  major  night-time  shows,  such 
as  Studio  One,  Ponds,  Philco  Playhouse 
and  Kraft  Theater.  She  is  considered  a 
very  good  comedienne  and,  at  present,  is 
being  considered  for  the  title  role  in  a 
new  TV  comedy  series.  "She's  the  most 
talented  person  I  know,"  Peter  says 
proudly.  "I've  never  seen  her  fall  short 
of  being  excellent.  She's  headed  for  star- 
dom. It's  just  a  matter  of  time  and  op- 
portunity." 

Every  once  in  a  while,  the  cast  of  The 
Secret  Storm  has  a  party.  At  the  first  one 
Parker  attended  with  Peter,  she  got  her- 
self a  choice  part  in  a  new  play.  Haila 
Stoddard— Pauline  Harris  of  The  Secret 
Storm — is  also  a  Broadway  producer.  She 
watched  Parker  at  the  party,  and  the  next 
day  offered  her  a  role  in  a  summer  pro- 
duction of  "One  Eye  Closed."  Parker  went 
in  that,  and  was  seen  by  the  producer  of 
"The  Tender  Trap" — which  took  her  to 
Broadway.  From  "The  Tender  Trap,"  she 
went  back  to  Haila's  play  when  it  opened 
on  Broadway. 

Parker  and  Peter  have  never  worked 
together,  although  they  do  things  on  the 
tape  recorder  at  home.  The  tape  recorder 
gets  quite  a  work-out  around  the  Hobbs 
household.  Peter  even  uses  it  to  help  the 
kids  with  lessons.  He  taught  Richie  the 
multiplication  table  by  recording  it  and 
leaving  a  big  pause  before   each  answer. 

"Peter  is  so  creative  and  so  good  at 
almost  everything,"  Parker  says.  "Most 
of  the  time,  I'm  just  honored  to  assist  him. 
He  even  knows  more  about  cooking  than 
I  do." 

He  hasn't  much  time  for  cooking.  In 
the  morning,  he  tries  to  get  in  some  work 
around  the  house.  A  little  before  eleven, 
he  drops  down  into  the  subway  and 
crosses  the  border  into  Manhattan.  Re- 
hearsal of  The  Secret  Storm  starts  at 
eleven-thirty,  and  it  goes  on  the  air  at 
four-fifteen.  Afterward,  there  is  more 
work,  and  it's  about  six-thirty  when  Peter 
gets  home. 

"Doesn't  matter  when  he  gets  in," 
Parker  smiles,  "he's  good  humored.  And 
in  the  morning  he's  actually  funny.  Very 
witty.  He  breaks  us  up  with  double-talk." 
She  concludes:  "But,  you  know,  it's  not 
just  that  Pete's  easygoing  and  charming. 
There's  more  to  it  than  that.  Take  this 
business  of  his  putting  aside  a  project  to 
talk  with  the  kids  or  spend  some  time 
with  me.  .  .  .  It's  not  just  a  matter  of  his 
preferring  to  listen  to  me  rather  than  an 
electric  drill.  If  there's  a  choice  to  make, 
he's  not  going  to  waste  time  on  a  cold, 
inanimate  object.  That's  one  of  the  things 
he  enjoys  about  the  theater.  He  is  working 
with  people.  There  isn't  much  economic 
security,  but  the  warmth  and  quality  of 
friendship  among  actors  more  than  makes 
up  for  it. 

"So  Pete  puts  people  first — me  and  the 
children  and  friends.  Pete  is  alive.  He 
lives  for  things  that  have  pulse." 


Mr.  Boone  Goes  to  Town 


(Continued  from  page  49) 
from  a  theatrical  family.  In  fact,  nobody 
to  his  knowledge  ever  even  thought  of  a 
theatrical  career.  "Except  for  my  great- 
great  -  great  -  great  -  grandfather,  Daniel 
Boone,  we've  all  been  just  ordinary  people." 

But  one  thing  Pat  did  love  was  music. 
And,  even  before  he  could  carry  a  tune- 
he  "sang."  His  first  recollection  of  singing 
before  a  group  took  place  in  early  gram- 
mar school,  in  Nashville,  Tennessee.  One 
day,  during  class  group  singing,  the  teach- 
er heard  his  voice  above  the  rest  and 
asked  him  to  come  up  to  sing  a  solo. 

Then,  when  Pat  was  ten,  he  sang  on 
his  first  real  stage.  Like  most  youngsters, 
Pat  loved  Saturday  matinees  at  the  local 
movie  house.  Children  who  wanted  to  per- 
form were  invited  to  do  so.  Soon  Pat  was 
singing  two  or  three  times  a  month  on  this 
show.  He  remembers  his  first  song  was 
"Single  Saddle"— and,  even  though  many 
years  have  passed  since  he  first  sang  this 
ballad,  he  can  still  remember  it. 

In  a  short  time,  he  developed  quite  a 
local  reputation  and  found  himself  being 
asked  to  entertain  locally  around  Nash- 
ville. "I  enjoyed  singing  for  people  so 
much  that  I  think  I  must  have  entered 
every  amateur  contest  Nashville  had  to 
offer  .  .  .  and  almost  never  won  even 
honorable  mention." 

But  eventually  one  of  these  losses  paid 
off.  While  attending  the  David  Lipscomb 
College  in  Nashville,  seventeen-year-old 
Pat  entered  and  lost  a  contest.  A  talent 
man  from  Station  WSIX  happened  to  see 
the  show  and  liked  Pat's  easy  and  poised 
manner.  So  he  got  in  touch  with  Pat  and 
suggested  that  he  emcee  a  local  teen-age 
show,  Youth  On  Parade,  on  radio  .  .  .  for 
free  and  for  experience.  Pat  worked  at  it 
hard  and  happily  for  two  years. 

Then  it  happened.  Just  after  he  had 
turned  nineteen,  he  won  a  talent  contest 
in  East  Nashville!  The  prize  was  a  trip 
to  New  York  and  an  audition  for  Ted 
Mack.  Actually,  this  threw  Pat  into  some- 
what of  a  dilemma,  since  once  before  he 
had  auditioned  for  Ted  Mack  .  .  .  and  lost. 
So  the  thought  of  winning  on  the  show 
was  about  the  farthest  thing  from  his 
rrind.  After  all,  his  voice  wasn't  trained. 

Pat  remembers  that  audition  very  clear- 
ly. He'll  never  forget  his  amazement  and 
thrill  when  he  learned  he  had  passed  the 
test  and  would  appear  on  the  show.  He'll 
also  never  forget  the  feeling  he  had  when 
he  learned  that  one  of  his  fellow  con- 
testants— a  girl  with  a  beautifully  trained 
operatic  voice — had  lost.  He  felt  she  should 
have  won,  not  he.  But  that  was  one  of 
the  queer  twists  that  life  sometimes  man- 
ages, and  it  was  Pat  who  appeared  on 
the  Saturday-night  Ted  Mack  show. 
It  was  fun.  But  the  returns  on  the  con- 
■  test  wouldn't  be  in  until  Monday  or 
Tuesday,  and  it  never  occurred  to  him 
to  stick  around  to  see  if  he  might  just 
possibly  have  won.  So  the  next  day,  Sun- 
day, he  took  off  for  the  hinterlands  to 
continue  his  summer  work  with  back- 
woods church  and  revival  song-leading. 
Returning  to  civilization  the  following  Fri- 
day, he  learned  that  he  had  won  the  first 
round  and  was  expected  back  in  New 
York  to  appear  the  following  day. 

And  so  it  was  that,  three  weeks  after  his 
first  New  York  appearance  with  Ted 
Mack,  he  sang  as  a  finalist  at  Madison 
Square  Garden.  Did  he  win?  No.  Did  he 
receive  the  most  votes?  He'll  never  know 
—for  fate  stepped  in  at  literally  the  last 
minute.  While  in  New  York  for  Ted 
Mack,  he  was  auditioned  for  Arthur  God- 
frey's Talent  Scouts  and  appeared  on  this 
program  the  very  Monday  night  after  the 


Madison  Square  Garden  appearance.  Since 
Godfrey's  program  is  a  "pro"  (rather  than 
amateur)  show,  Pat's  appearance  on  it  dis- 
qualified him  from  the  Ted  Mack  con- 
test. If  he  lives  another  hundred  years, 
he'll  never  know  whether  he  would  have 
won  if  he  had  not  been  disqualified. 

Pat  didn't  become  an  immediate  star. 
After  the  Godfrey  show,  he  returned  to 
college  for  one  semester  . . .  eloped  with 
Shirley,  his  childhood  sweetheart . . .  and 
transferred  to  North  Texas  State  in  Fort 
Worth,  Texas.  While  in  Fort  Worth,  he 
latched  onto  two  TV  shows  for  teen- 
agers, and  eventually  wound  up  as  host 
of  WBAP-TV's  Barn  Dance  ...  for  the 
grand  total  of  $50  a  week  plus  all  the  spon- 
sor's milk,  ice  cream  and  cottage  cheese 
he  could  consume  during  the  commercials. 

Then  came  February,  1955,  when  Hugh 
Cherry — who  had  been  a  disc  jockey  in 
Nashville  when  Pat  was  on  the  station — 
telephoned  Pat  from  Chicago  and  per- 
suaded him  to  make  a  rock  'n'  roll  re- 
cording for  Dot  Records.  That  first  record 
was  "Two  Hearts,"  and  it  set  some  sort  of 
a  record  in  climbing  to  the  top-ten  listing. 
His  second  song,  "Ain't  That  a  Shame," 
also  lost  no  time  in  becoming  a  hit. 

Close  on  the  heels  of  this  success  came 
an  offer  from  Arthur  Godfrey  to  appear 
as  a  "guest"  on  his  daily  CBS  show.  Be- 
tween Godfrey,  Hugh  Cherry — and  Randy 
Wood,  president  of  Dot  Records — Pat  was 
soon  persuaded  to  pursue  a  theatrical 
career.  Which,  from  where  he  stands  now, 
seems  to  have  been  fantastically  good 
guidance  .  .  .  for,  since  February,  1955, 
when  he  cut  his  first  record,  three  of  the 
music  world's  top  trade  papers — Billboard, 
Cash  Box  and  Record  Whirl — have  voted 
him  the  "most  promising  new  male  vocal- 
ist in  1955."  In  addition,  as  this  story  goes 
to  press,  three  of  his  four  records  (the 
third  being  "At  My  Front  Door")  have  hit 
the  top  ten  and  the  fourth,  "Gee  Whit- 
takers,"  is  well  on  its  way. 

And  Pat's  good  luck  doesn't  begin  and 
end  with  his  professional  career.  His  per- 
sonal life  is  one  of  the  happiest.  On  Decem- 
ber first,  Pat,  Shirley  and  their  two  chil- 
dren— Cherry,  twenty  months  old,  and 
Linda,  five  months — moved  into  a  modest, 
three-bedroom  ranch-style  house  in  Leo- 
nia,  New  Jersey.  "Shirley  and  I  are  both 
small-town  folks,"  says  Pat,  "and  having 
a  yard  and  a  tree  or  two  is  very  im- 
portant to  us. 

"With  my  daily  career  and  study  sched- 
ule, I'm  not  exactly  loaded  with  time  for 
hobbies.  At  the  moment,  the  nearest  thing 
to  it  is  my  interest  in  chinchilla  raising 
.  .  .  and  about  that  I  really  don't  have  to 
lift  a  finger.  When  I  was  at  Fort  Worth, 
a  friend  who  had  a  chinchilla  farm  in- 
terested me  in  investing  in  a  pair — which 
he  let  me  do  on  the  installment  plan, 
so  to  speak.  Well,  I  finally  managed  to  pay 
off  the  original  investment,  plus  upkeep — 
and  by  that  time  I  had  fifteen  .  .  .  you 
know,  chinchillas  are  very  much  like  rab- 
bits in  that  respect.  So,  if  luck  holds  out, 
it  won't  be  too  many  years  before  Shirley 
can  have  a  chinchilla  coat  or  jacket." 

In  the  judgment  of  many  listeners  and 
viewers,  Pat's  luck  is  just  starting.  Daniel 
Boone,  if  he  were  alive  today,  would'  be 
mighty  proud  of  his  youthful  kin. 

At  which  notion,  Pat  Boone  just  grins. 
But  then  he  adds  soberly:  "I  owe  so 
much  to  so  many  folks,  but  I  think  I  owe 
most  to  two  men  .  .  .  Arthur  Godfrey 
for  my  TV  success — and  Randy  Wood  for 
my  recording  success.  Never  will  I  be  able 
to  repay  either  of  these  gentlemen  ...  I 
can  only  hope  that  their  faith  will  not 
have  been  in  vain." 


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85 


(Continued  from  page  31) 
welcome  brought  a  blinding  mist  to  her 
eyes  and  an  unerasable  smile  to  her  face. 
There  were  no  dry  eyes  on  the  set. 

After  the  ovation,  the  crew  presented 
Loretta  with  a  grand  and  elegantly 
wrapped  basket  of  food.  Grinning,  she  took 
the  basket  and  placed  it  on  the  marble 
table.  Then,  hands  on  her  hips,  happily 
calling  attention  to  her  new,  healthily 
rounded  figure,  she  said:  "Bless  you — all 
of  you.    It's  just  what  the  'fat  lady'  needs." 

The  basket  reminded  Loretta  of  the 
baskets  of  fruit  and  flowers  which,  a  half- 
year  ago,  had  rained  down  on  her  from 
hundreds  of  well-wishing  friends  while 
she  was  in  a  hospital  bed  in  Oxnard.  Her 
sudden  illness  had  been  a  shocking  sur- 
prise to  all.  It's  true  that — after  scores 
of  motion  pictures  and  appearances  in 
seventy  TV  shows  of  her  own  anthology 
series  in  the  two  years  just  ended — Loret- 
ta was  tired.  But,  by  the  same  token,  she 
says:  "Everyone  else  in  the  crew  was 
tired,  too." 

Loretta  Young  insists,  very  earnestly, 
that  she  was  not  a  television  casualty.  It 
was  not  the  continuous  hours  of  filming 
her  show  for  TV  that  ran  her  down.  Her 
enthusiasm  for  work — even  sixteen  hours 
a  day,  from  make-up  time  at  5:30  A.M.  to 
seeing  rushes  and  study  time  at  9:30  P.M. 
— cannot  be  blamed  for  her  illness.  "Tele- 
vision," she  says,  "has  been  one  of  the 
biggest  thrills  of  my  life.  A  person  sim- 
ply isn't  made  ill  by  something  so  excit- 
ing, challenging — and  satisfying." 

Since  it  wasn't  the  gruelling  schedule, 
therefore,  we  have  to  look  elsewhere  for  a 
reason  for  Loretta's  illness.  She  explains 
simply,  "It  was  God's  will.  The  lessons 
I've  learned  because  of  it  are  lessons  I 
should  have  wanted  to  learn,  no  matter 
what  I  was  doing." 

What  lessons  did  Loretta  learn?  She 
says,  "I  learned  that  God  gives  us  the  pa- 
tience and  strength  to  stand  long  sieges 
of  pain.  I  had  always  been  terrified  of 
pain.  And  I  learned  that,  through  our 
darkest  hours,  we  do  not  walk  alone." 

Thousands  of  letters  from  friends  and 
fans  were  material  proof  to  her  that  she 
was  not  alone.  "I've  believed — and  now  I 
know — that  there  is  much  good  in  all  of 
us,"  she  says.  "I've  saved  all  those  won- 
derful letters.  They  mean  more  to  me 
than  words  can  tell.  You  find  out  a  lot 
about  the  goodness  of  people  when  some- 
thing not-so-good  happens." 

Loretta  learned  that  she  was  loved — how 
loved,  she  had  never  realized.  When  she 
heard  that  every  drop  of  precious  life- 
giving  blood  she  needed  for  transfusions 
had  been  repaid  to  the  blood  bank  by 
some  members  of  her  own  TV  crew,  tears 
of  grateful  thanks  filled  her  eyes. 

With  humility,  Loretta  says  that  she  also 
learned  she  was  not  indispensable.  When 
it  became  obvious  to  her  sponsors,  the 
Procter  and  Gamble  Company,  that  Loret- 
ta would  not  be  available  to  start  a  new 
season,  they  made  an  unprecedented  an- 
nouncement: "The  Loretta  Young  Show 
would  be  seen  as  usual,  without  format 
change — with  guest  stars,  acting  for  Miss 
Young,  to  be  announced." 

The    immediate    reaction    to    this    news 
illustrates  the  creed  of  the  entertainment 
world.    As  soon  as  the  word  was  out  that 
Barbara  Stanwyck  had  said,  "Tell  me  what 
I  can  do" — all  Loretta's  friends  in  the  in- 
X    dustry    offered    themselves    as    pinch-hit- 
V    ters.     Irene  Dunne,  Van  Johnson,  Rosalind 
R    Russell,  Ann  Sothern  and  Claudette  Col- 
bert were  only  a  few  of  them. 

When  Loretta  heard  of  this  immediate 
response,  she  asked  her  nurse  to  find  out 
86 


For  Blessings  Received 

what  each  star's  favorite  flower  was  .  .  . 
and,  when  they  reported  for  their  first 
day's  work,  their  dressing  room  was  filled 
with  the  flowers  they  loved. 

The  outstanding  characteristic  of  Loret- 
ta Young's  personality  is  her  enthusiasm 
for  her  work.  To  illustrate  how  eager  she 
was  for  the  simple  feel  and  smell  of  grease- 
paint: Even  before  she  was  ready  to  return 
to  work  for  her  first  appearance  on  the 
Christmas  show,  she  made  numerous  vis- 
its to  her  set — you  simply  couldn't  keep 
her  away.  In  fact,  as  soon  as  she  was  out 
of  the  hospital,  she  was  champing  at  the 
bit  to  get  back  in  front  of  the  camera.  The 
day  of  her  first  visit  to  the  set,  Merle 
Oberon  was  her  guest  star.  The  scene 
was  set  in  an  outdoor  cafe.  Loretta 
couldn't  resist  the  temptation  to  get  into 
the  scene.  Back  to  the  camera,  she  sat 
at  the  cafe  table  with  another  extra! 

Another  time,  Sam  Goldwyn  was  shoot- 
ing his  now  famous  "Guys  and  Dolls"  on 
a  stage  at  the  same  studio,  and  Loretta 
couldn't  resist  the  temptation  to  get  into 
the  act.  The  entire  cast  of  "Guys  and 
Dolls"  were  rehearsing  a  Broadway  scene 
— dressed  fit  to  kill,  in  Damon  Runyon- 
type  costumes.  Loretta  had  on  a  simple 
cotton  dress.  As  she  walked  nonchalant- 
ly into  their  rehearsal  scene,  the  dress  stood 
out  like  a  beacon. 


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"Who's  that  country  girl  in  the  cotton 
dress?"  shouted  the  director.  "What's  she 
doing  in  the  middle  of  Broadway?"  As 
Loretta  revealed  her  identity,  the  stage 
shook  with  the  laughter  of  the  entire  com- 
pany— a  characteristic  salute  to  Loretta's 
never- failing  sense  of  humor. 

Like  all  other  habits,  personality  charac- 
teristics are  built  up  over  a  long  period  of 
years.  They  are  not  easily  changed  or 
broken.  The  doctors  told  Loretta  that,  if 
she  were  to  continue  in  her  career,  her 
enthusiasm  for  work  would  have  to  be 
modified — the  enthusiasm  which  had  been 
built  up  from  childhood.  They  told  Loret- 
ta, recuperating  in  the  Oxnard  hospital, 
that  she  would  have  to  slow  down.  No 
matter  how  proud  of  her  TV  company  she 
was,  the  doctors  said  there  should  be  no 
more  sixteen-hour  days  for  its  star.  Lo- 
retta would  have  to  learn  some  new  habits. 

She  says  now,  "A  good  habit  is  one  of 
the  hardest  things  in  the  world  to  form. 
It  takes  day-after-day  concentration.  Even 
now,  I  know  I  don't  dare  to  say,  'I'll  never 
smoke  another  cigarette.'  I  don't  intend 
to  do  so — but,  if  I  say  I  won't,  I'm  sure 
to  lose. 

"The  only  way  to  build  a  good  habit  is 
with  the  day-by-day  method.  For  in- 
stance, you  say  to  yourself,  'Just  for  to- 
day, I  won't  eat  anything  fattening.'  Next 
morning,  you  say  it  again.  Before  long, 
you  get  used  to  a  good  new  habit — I  hope!" 
With  a  wry  smile,  she  adds:  "Building  a 
good  habit  is  the  hardest  thing  in  the 
world." 

While  still  under  the  doctors'  constantly 


disciplined  schedule  and  their  orders  'to 
take  it  easy,'  it  was  not  too  difficult — Lo- 
retta had  only  to  obey.  She"  learned  that 
the  hospital  was  like  school — a  school 
teaching  its  theories.  And  Loretta  can 
tell  you  there's  an  ocean  of  difference  be- 
tween theory  and  practice. 

In  terms  of  changing  an  old  habit — in 
particular,  curbing  her  enthusiasm  for 
work — Loretta  is  a  unique  case.  She  finds 
it  more  difficult  than  most  of  us.  Why? 
Because  Loretta  has  been  "working"  since 
she  was  four.  Her  career  really  got  un- 
derway, though,  when  director  Mervyn 
Le  Roy  called  one  day  for  her  older  sis- 
ter, Polly  Ann.  "Polly  is  on  location," 
Loretta,  then  edging  twelve,  told  the  di- 
rector. Then  pulling  herself  to  her  full 
height,  she  said,  "Won't  I  do?" 

Since  that  day,  acting  has  been  her  life. 
Even  the  bulk  of  her  education  by  tutors 
on  studio  sets  was  directed  toward  her 
greater  preparation  as  a  performer.  And, 
when  she  had  spare  time,  she  went — not 
to  play  games  with  other  kids — but  to  dra- 
matic, ballet  and  voice  classes. 

Every  aspect  of  her  craft  has  been  built 
into  Loretta's  career  from  the  ground  up. 
As  a  result,  after  years  of  this  diamond - 
polishing,  Loretta  is  a  jewel  of  a  perform- 
er. The  screen  is  her  life.  And — since 
she  knows  her  job  so  well,  and  loves  her 
work — her  product  is  superlative.  Hence, 
the  enthusiasm.  Loretta  loves  that  old 
habit. 

In  addition,  Loretta  faces  a  paradox:  The 
doctors  told  her  to  take  it  easy,  to  fill  her 
spare  time  with  other  interests.  But,  as 
her  public  relations  counsel  and  close 
friend,  Helen  Ferguson,  says:  "On  the  lit- 
tle things  which  Loretta  has  obediently 
and  earnestly  taken  up  to  fill  her  'spare 
time,'  she's  working  harder  than  ever! 
I'm  waiting  for  that  crisp  mind  to  realize 
you  don't  better  a  thoroughbred  race- 
horse by  harnessing  him  to  a  milk  wagon. 
He's  bred  for  the  race.  Loretta's  trained 
for  'camera.'  And,  one  of  these  days, 
she'll  sift  the  good  advice  and  use  it — 
not  just  literally,  but  wisely." 

It's  not  difficult  to  understand  why  this 
should  be  so:  Since  it  has  been  established 
that  Loretta's  heart  beats  in  rhythm  to  a 
Mitchell  Film  Camera,  any  interest  off  her 
set  is  going  to  lose  by  comparison. 

Today,  Loretta  learns  her  lines,  polishes 
her  performance,  devoting  all  of  her 
studio  working  time  to  acting.  During 
last  season's  typical  sixteen-hour  day,  she 
had  spread  her  talents — making  sugges- 
tions to  her  company  manager,  conferring 
with  her  director  over  the  movement  in 
every  scene,  or  suggesting  story  points  to 
her  writers. 

Virginia  Griffith,  Loretta's  stand-in, 
thinks  the  time  is  not  far  off  when  Loretta 
will  begin  rationalizing:  She'll  slowly  dis- 
card her  other  interests,  one  by  one,  and 
pick  up  where  she  left  off,  saying,  "I'm  so 
much  more  at  ease  on  the  set — it  takes  less 
out  of  me.  Why  don't  I  just  do  the  things 
I  really  enjoy?" 

Chances  are  that  Loretta  will  heed  the 
doctors'  advice,  but  in  her  own  way.  For 
to  the  two  dominant  aspects  of  her  per- 
sonality— her  love  for  people  and  her  en- 
thusiasm for  work — has  been  added  a 
third,  and  that  is  .  .  .  wisdom. 

It  was  God's  will  to  bring  Loretta  out 
of  her  recent  illness  with  her  appreciation 
of  others  intact  .  .  .  with  her  enthusiasm 
for  work  somewhat  modified  .  .  .  and  with 
this  added  quality  of  wisdom,  a  wisdom 
she  will  bring  into  our  homes  each  week 
as  she  steps  through  the  door — now  so 
symbolic  of  the  bright  future  before  her — 
and  into  the  hearts  of  the  American  tele- 
vision audience. 


"You  Get  What  You  Give" 


(Continued  from  page  36) 
was  'Oh,  By  Gee,  By  Gosh,  By  Gum,  By 
Jo.'  He  sang  it  everywhere,  in  the  living 
room,  bathroom— though  the  kitchen  was 
his  favorite  play  area  ...  he  loved  to  sit 
under  the  sink  by  the  hour  building  block 
houses  and  singing. 

"When  he  was  only  four  years  old," 
laughs  Mrs.  Gobel,  "I  took  him  with  me 
on  the  streetcar  to  downtown  Chicago, 
when  suddenly  he  burst  out  singing  at  the 
top  of  his  lungs,  'Oh,  By  Gee  .  .  .'  I  was  so 
embarrassed  we  had  to  get  off  the  car. 

"It  was  always  easy  to  find  George — 
you  simply  followed  his  voice.  But,  if  he 
was  in  one  of  his  rare  quiet  moods,  you 
looked  for  Nellie.  Nell  was  a  beautiful 
collie  we  had  up  until  George  was  four. 

"When  George  was  still  a  baby  taking 
his  afternoon  nap  in  the  buggy  in  front 
of  the  store,  Nellie  would  lie  under  it  on 
guard.  If  any  of  the  neighbors  came  by, 
she  would  get  up  and  stand  between  them 
and  George.  They  used  to  say,  'I'd  hate 
to  see  anybody  touch  that  boy!'  We  never 
looked  for  George — we  looked  for  Nellie. 

"By  the  time  he  was  ten,"  Mrs.  Gobel 
recalls,  "George  was  singing  sacred  music 
better  than  anything  else."  The  Gobels 
lived  in  a  little  suburb  on  Chicago's  North- 
west side.  There  was  only  one  church,  St. 
Stephen's  Episcopal,  in  the  neighborhood. 
In  fact,  it  was  just  a  mission  then,  and  one 
Sunday  the  neighbors'  children  invited 
George  to  go  with  them  to  Sunday  School. 

Before  long  George  was  given  a  little 
hymn  to  do  and  was  such  a  success  he  was 
asked  to  repeat  it  at  the  evening  memorial 
service.  Mrs.  Gobel  was  invited  to  hear 
George's  solo  and,  after  that,  St.  Stephen's 
became  the  family  church. 

The  church  had  a  small  congregation 
and,  since  George  sang  louder  than  any- 
one else,  it  wasn't  long  before  he  was 
asked  to  join  the  choir.  The  teacher,  Mrs. 
Jane  Ogden  Hunter,  recognized  George's 
ability.  Looking  for  something  different 
to  distinguish  her  choir  from  others  in  the 
city,  Mrs.  Hunter  wrote  special  obligatos 
with  George's  high  soprano  carrying  over 
the  choir's  background  humming.  Always 
small  for  his  age,  George,  at  eleven,  was 
made  to  seem  even  smaller  by  comparison 
with  all  the  older  boys.  His  small  frame 
and  big  voice  made  an  effective  contrast. 

One  Sunday  afternoon,  Mrs.  Gobel  re- 
calls, the  choir  was  invited  to  sing  over 
WLS,  the  Chicago  radio  station.  George 
was  so  small  he  had  to  stand  on  a  chair 
to  reach  the  mike — he  was  then  thirteen, 
but  still  wearing  size-9  clothes.  George 
was  thrilled  at  being  on  the  radio  and  sang 
his  heart  out.  Surprised  with  this  tre- 
mendous voice  coming  out  of  such  a  small 
boy,  WLS  executives  invited  him  back. 

Every  other  Sunday  he  did  the  offertory 
solo  at  church,  alternating  with  Sunday 
singing  at  WLS.  Other  choir  directors, 
hearing  him  on  radio,  frequently  called 
with  invitations  for  him  to  guest  at  their 
churches.  Mrs.  Gobel  thinks  George  has 
sung  at  every  Chicago  church,  no  matter 
what  denomination. 

With  his  success  in  and  around  Chicago, 
George  was  asked  by  WLS  to  guest  on 
some  of  their  other  shows.  For  example, 
he  did  the  WLS  Barndance  Revue,  Satur- 
day Afternoon  Merry-Go-Round  and  the 
Air  Juniors.  When  he  was  twelve,  he  sang 
for  Morgan  Eastman  on  the  Edison  Sym- 
phony program— that  was  the  first  really 
big  coast-to-coast  show  George  did. 

"Then,"  says  Mrs.  Gobel,  "somebody  at 
the  station  gave  George  a  book  on  ukulele 
playing,  and  someone  at  the  Barndance 
gave  him  a  cowboy  hat,  and  his  choir 
teacher,  Mrs.  Hunter,  gave  him  some  les- 


sons. I  had  a  fair  knowledge  of  music  and 
I  guess  I  played  a  little  part  in  helping 
him  out,  too.  It  wasn't  long  before  he  was 
a  regular  on  the  Barndance. 

"When  he  was  thirteen,  George  became 
a  regular  on  the  Barndance,  where  he 
graduated  to  guitar.  We  were  thrilled  with 
this.  But  we  have  always  been  just  plain, 
ordinary  home  folks.  We've  always  taken 
things  in  stride.  George's  climb  to  success 
has  been  so  gradual  that  it  was  never  any- 
thing 'grand.'  I  guess  we're  just  not  the 
type  to  get  excited.  Some  people  are  sur- 
prised that  we  don't  make  more  of  it,  but 
that's  the  way  we  are." 

Then  George's  voice  changed.  Instead 
of  singing  and  straining  his  voice,  he  read 
commercials  on  Amos  V  Andy  and  The 
Goldbergs.  He  also  did  children's  shows, 
among  them  The  Eye  Of  Montezuma. 
When  he  was  eighteen,  he  formed  a  little 
band  of  his  own  and  made  short  jaunts 
around  the  countryside.  He  was  in  St. 
Louis  and,  later,  Chattanooga  for  a  few 
months,  then  back  to  WLS,  before  he  went 
into  service. 

During  the  years  George  Gobel  worked 
at  WLS,  building  his  reputation,  a  num- 
ber of  people  approached  his  mother  to 
say,  "George  ought  to  be  in  a  specialized 
acting  school.  There  is  a  good  one  in  New 
York.    He  could  get  into  the  movies." 

"But,"  says  George's  mother,  "Mr.  Gobel 
and  I  had  our  business  in  Chicago.  When 
George  was  in  Cleveland  Grammar  School, 
we  ran  a  general  store,  and  later,  when 
George  was  at  Roosevelt  High,  Mr.  Gobel 
had  gone  into  landscape  gardening.  If  we 
sent  George  away  to  school,  we  knew  one 
of  us  would  have  to  go  with  him.  We  have 
always  been  a  close  family.  We  didn't 
want  to  sacrifice  the  unity  of  the  family 
for  his  specialized  school  training.  George 
was  our  only  child,  and  being  together  was 
more   important. 

"George  was  always  a  little  bit  shy  at 
school,"  says  Mrs.  Gobel.  "Everybody 
knew  him  as  'Little  Georgie  Gobel,  the 
radio  actor.'  Wherever  he  went,  he  was 
pointed  out.  Even  now,  he's  embarrassed 
about  the  attention  he  gets.  When  he  was 
younger,  he  was  even  more  sensitive,  so 
he  didn't  go  out  too  much.  He  and  Alice 
Humecke,  who  lived  two  blocks  away, 
were  classmates.  They  went  to  the  movies, 
sometimes,  or  to  private  parties  where  the 
guests  had  known  George  all  his  life.  He 
wasn't  much  for  dancing  or  big  affairs  like 
that.  In  fact,  I  think  the  Senior  Prom  in 
1937  was  the  only  big  dance  he  and  Alice 
attended." 

Lillian  Gobel  says  that  George  has  been 
interested  in  flying  ever  since  Lindbergh 
crossed  the  Atlantic.  In  his  late  teens,  he 
spent  a  great  deal  of  time  at  Chicago's 
Sky  Harbor  Airport.  He  entertained  the 
owners  and  pilots  with  his  stories  and 
they,  in  turn,  fascinated  him  with  their 
tales  of  the  air.  One  day,  a  small  group 
was  taking  a  five-passenger  plane  to  a 
tournament  in  Minneapolis.  George  made 
them  laugh  so  hard  that  the  owner  invited 
him  to  come  along  with  them  for  company. 

George  made  a  big  hit  with  the  Sky 
Harbor  owners  and  it  wasn't  long  before 
he  was  taking  flying  lessons.  Besides  the 
fact  that  it  was  expensive,  Mrs.  Gobel 
wasn't  too  sure  she  liked  the  idea,  any- 
way. "But  his  dad  just  loved  the  thought 
of  George's  flying,"  she  smiles.  "Mr.  Gobel 
wouldn't  get  in  an  automobile  to  ride 
around  the  block.  But,  when  George  said, 
'Come  on,  Herb,  let's  go  for  a  fly' — they 
were  off." 

In  addition  to  his  romance  with  air- 
planes, George  was  courting  Alice.  Mrs. 
Gobel  describes  George's  and  Alice's  seven 


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88 


years  of  dates  as  "a  'maybe  7  or  8  P.M.' 
date — the  time  was  always  tentative,  be- 
cause George  was  subject  to  call  at  WLS." 
She  adds  happily,  "Mr.  Gobel  and  I  say 
no  parents  ever  had  a  finer  daughter-in- 
law.  Alice  was  always  very  understand- 
ing and  never  demanding  of  George." 

In  September,  1942,  George  enlisted  in 
the  Army  Air  Corps  and,  when  Alice  and 
George  found  he  would  be  leaving  soon, 
they  decided  to  get  married  in  December. 
After  their  marriage,  Alice  had  a  very 
nice  job  as  secretary  to  an  Army  colonel 
in  Chicago  and  George  was  shipped  to 
Texas  as  a  flying  cadet.  A  lot  of  the  boys 
who  took  the  train  from  Chicago  were 
leaving  home  for  the  first  time.  One  day 
out  and  they  were  already  homesick.  A 
friend  of  George's  later  told  Mrs.  Gobel 
that  George  took  his  guitar  and  walked  up 
and  down  the  train  playing  funny  songs 
and  telling  jokes  to  cheer  the  boys  up. 

Once  in  Texas,  George  was  just  as  lone- 
some as  the  others.  It's  true  that  he'd 
been  away  from  home  before,  but  only  a 
few  weeks  at  a  time.  George  filled  the 
air  with  letters  to  his  friends  at  the  sta- 
tion, to  Alice  and  his  mother.  He  put  on  a 
brave  front  in  his  letter  to  the  WLS  gang 
telling  them  how  great  the  Air  Corps  was. 
In  one,  he  said  kiddingly,  "They  are  either 
going  to  kill  me  or  make  a  man  out  of 
me!" 

When  George  left  for  Texas  training,  it 
had  been  decided  Alice  would  stay  in 
Chicago  with  her  folks.  Since  George 
was  still  a  cadet  living  in  the  barracks, 
he  wouldn't  get  much  chance  to  see  Alice, 
anyway.  Nevertheless,  Mrs.  Gobel  says 
she  knew  Alice  was  just  waiting  for  an 
excuse  to  join  George.  Then  he  called 
one  day,  saying  that  he  was  very  lone- 
some and  that  he  hated  to  ask  her  to 
come  down  because  she  would  be  leaving 
her  folks  .  .  .  and  there  might  not  be 
much  for  her  to  do  until  he  got  his  lieu- 
tenant's commission  .  .  .  but  it  sure  would 
be  nice,  he  concluded,  if  she  came  for  a 
visit.  "That  was  the  only  excuse  Alice 
needed,"  says  Mrs.  Gobel.  "She  had  been 
ready  to  go  since  the  day  he  left." 

While  he  was  in  the  Air  Corps,  George 
took  part  in  a  number  of  camp  shows. 
He  even  wrote  some  of  the  scripts.  Of 
course,  George  was  an  immediate  hit,  and 
the  officers  invited  him — while  still  a 
cadet — to  entertain  at  the  club  parties. 
When  he  was  commissioned,  and  stationed 
at  Altus,  Oklahoma,  these  Saturday-night 
dances  were  a  custom  to  help  the  boys 
relax  from  the  extreme  tension  of  the 
week.  Somebody  always  went  over  to 
George's  room  to  get  his  guitar.  "But," 
one  of  George's  Air  Corps  friends  says, 
"he  never  finished  any  one  song.  He 
would  tell  some  jokes  and  go  into  a 
monologue  that  was  good  for  at  least  an 
hour."  His  buddies  in  Oklahoma  were 
sure  George  was  to  be  the  comedian  of 
the  generation.  In  fact,  before  he  left  the 
Air  Corps,  he  was  flying  all  over  the 
Middle  West  to  appear  at  bond-raising 
and  Army  functions. 

When  George  left  the  Air  Corps  in  late 
1945,  he  had  every  intention  of  becoming 
a  commercial  pilot.  Alice,  however,  had 
other  ideas.  She  had  seen  him  perform 
in  front  of  countless  audiences  and  she 
had  confidence  that  George  was  a  natural 
comedian.  But,  at  first,  George  lacked 
confidence.  He  didn't  think  he  was  funny 
enough  to  get  up  in  front  of  a  "people 
audience,"  as  he  called  it,  and  make  them 
laugh.  He  told  Alice,  "An  Army  audience 
is  different."  But  Alice  insisted  that  he 
give  his  comedy  role  a  try.  George  now 
says,  "Alice  was  always  the  best  student 
in  school.  In  this  family,  she's  the  smart 
person." 

"When    George    and    Alice    returned    to 


Chicago,"  Mrs.  Gobel  recalls,  "he  con- 
tacted his  present  manager,  David  O'Mal- 
ley,  asking  for  a  spot  as  a  comedian.  Mr. 
O'Malley  said  he  remembered  George  as 
a  singer.  He  told  George  he  had  a  pretty 
yodel,  a  nice  voice,  but  said  he  couldn't 
imagine  George  being  funny.  George 
said,  'Maybe  not,  but  Alice  thinks  I 
should  give  it  a  try.' 

"Next  Sunday  afternoon,  at  a  service- 
men's show  in  the  Auditorium  Theater, 
George  went  on  as  a  comic.  He  went  over 
so  well  that  Mr.  O'Malley  told  him  to  come 
back  the  next  day  and  they  would  talk 
business."  George's  sincerity  and  hon- 
esty must  have  hit  Mr.  O'Malley  as  hard 
as  it  did  the  servicemen  in  the  Auditorium 
Theater — for,  the  next  day,  their  contract 
was  sealed  with  a  handshake,  the  effect  of 
which  has  lasted  to  this  day. 

JL  ater,  Mr.  O'Malley  booked  George  at 
the  Bismarck  Hotel  in  Chicago,  where  he 
played  for  six  or  seven  weeks,  then  the 
Edgewater  Beach  Hotel,  and  finally  the 
Empire  Room  of  the  Palmer  House.  But 
his  first  date  after  that  Sunday  audition 
was  in  Grand  Rapids.  George  now  tells 
everyone  that  it  wasn't  his  talent  that  got 
him  that  booking,  but  the  fact  that  Mr. 
O'Malley  knew  George  had  a  car  .  .  .  his 
manager  had  some  other  acts  he  wanted 
to  get  to  Grand  Rapids — that's  why  he 
took  George,  too. 

"Then,  after  his  growing  success,"  con- 
tinues Mrs.  Gobel,  "George  and  Mr. 
O'Malley  went  to  California  in  1953  to 
prepare  for  his  NBC-TV  show.  Alice 
stayed  here  with  the  two  children.  She 
and  I  talked  to  each  other  every  day — 
for  moral  support,  I  suppose,  because  we 
both  missed  George.  Then,  two  years  ago, 
Alice  joined  George.  Unconsciously,  I 
found  myself  walking  toward  the  phone 
to  call  around  the  corner. 

"In  October  of  1955,  the  family  called 
me  from  California  asking  that  we  come 
out  for  the  opening  of  the  second  season's 
show.  We  didn't  have  anyone  to  look 
after  the  place,  so  Mr.  Gobel  said,  'You  go 
ahead  to  California  and  see  how  you  like 
it.' 

"I  had  never  been  much  of  a  globe- 
trotter, never  been  to  California — and 
flying  there  was  an  added  thrill,  too  .  .  . 
I  hadn't  been  in  a  plane  since  the  time 
George  took  me  up  in  his  Piper  Cub 
when  he  was  about  twenty  years  old  and 
had  just  earned  his  private  flying  license." 

Lillian  Gobel  laughs,  as  she  says,  "I 
came,  intending  to  spend  a  week,  and 
stayed  a  month.  Of  course,  it  was  the 
first  time  I  had  seen  the  baby,  year-and- 
a-half-old  Leslie.  So  we  had  to  get 
acquainted. 

"A  mother  couldn't  ask  for  a  more  so- 
licitous son.  George  wouldn't  rest  until 
he  was  sure  I'd  seen  all  the  sights.  He'd 
say,  'Alice,  do  you  think  we  should  take 
Mom  to  see  the  Pacific  Ocean  today  or  the 
Farmer's  Market?  .  .  .'  We  ended  up  going 
two  or  three  places  each  day.  We  went 
to  the  premiere  of  'Desperate  Hours' — 
which  was  my  first  premiere  and  a  real 
thrill — and  we  had  dinner  at  places  like 
Moulin  Rouge  and  the  Sportsman's  Lodge 
in  the  Valley  near  George's  home. 

"Those  nice  people  at  the  Sportsman's 
Lodge  just  love  George.  The  waiter,  for 
example,  called  my  granddaughter  Geor- 
gie  'Little  Princess'  and  promised  her 
that,  if  she  cleaned  up  her  plate,  he 
would  give  her  some  dough  to  feed  the 
fish  with — they  have  a  trout  stream  there 
where  the  patrons  can  catch  their  own 
dinner!" 

In  a  more  reflective  mood,  Mrs.  Gobel 
says,  "George  hadn't  changed — I  found 
him  to  be  a  wonderful  father,  as  always. 
When  he  was  in  the  East,  George  had  to 
spend  a  summer  in  New  York  away  from 


the  children,  and  he  felt  he  had  cheated 
them  by  his  absences.  His  philosophy 
of  life  has  always  been  'You  get  out  of 
life  what  you  give'  .  .  .  and  George  feels 
this  holds  for  his  relationship  with  his 
children,  too.  Too  many  of  these  absences, 
he  once  told  me,  and  the  children  would 
be  grown  before  he  had  a  chance  to  be 
with  them  at  all.  That's  why  Hollywood 
TV  has  been  a  real  boon  to  George — it  lets 
him  be  with  his  family  every  day  of  the 
year. 

"George  accepts  his  role  of  father  seri- 
ously. He  is  gentle,  patient,  understand- 
ing and  sensitive  ...  in  fact,  he's  been 
that  way  ever  since  he  was  a  child.  When 
he  was  a  youngster,  he  was  uniquely  de- 
voted to  his  pets.  He  had  a  covey  of 
white  pigeons,  a  big  torn  turkey,  and  a 
pen  full  of  ducks  and  chickens.  (This 
was  well  before  the  suburbs  were  built 
up.)  If  we  had  chicken  for  dinner,  George 
had  to  make  sure  it  wasn't  one  from  the 
yard — he  loved  them  all.  Mr.  Gobel  was 
the  same  way.     If  we  wanted  chicken  or 


turkey,  we  finally  had  to  go  to  a  restau- 
rant to  get  it.  George  was  too  kind- 
hearted  to  kill  any  of  his  pets." 

According  to  Lillian  Gobel,  George 
doesn't  play  favorites  among  his  children. 
For  example,  he  and  six-year-old  Georgia 
play  bicycle  tag  (George  always  lets 
Georgia  win),  and  he  takes  two-year-old 
Leslie  for  buggy  rides.  "When  he  was 
ten-year-old  Gregg's  age,"  recalls  Mrs. 
Gobel,  "George  wanted  to  be  a  baseball 
player.  Once  a  week,  he  takes  Gregg 
over  to  play  in  the  Sherman  Oak's  Little 
League  ...  so,  today,  George  is  sort  of 
realizing  his  ambition  by  coaching  Gregg. 

"Alice  is  as  wonderful  and  loving  a 
mother  as  George  is  a  devoted  father. 
The  one  thing  she  wants  most  in  life  is  to 
spend  time  with  her  children.  Mr.  Gobel 
and  I,"  concludes  Mrs.  Gobel,  "feel  no 
parents  ever  had  a  finer  daughter-in- 
law.  She  has  always  been  just  as  close 
to  us  as  George.  And  we  certainly  feel 
no  parents  ever  had  a  more  loving  and 
devoted  son." 


Honeymoon  Time 


(Continued  from  page  53) 
a  few  songs,  you  are  sadly  mistaken. 
What  with  rehearsals,  conferences,  public 
appearances,  and  all  the  other  business 
involved  with  such  an  enterprise  as  Eddie 
Fisher  Inc.,  they  were  lucky  to  snatch  an 
occasional  evening  together. 

So,  when  Eddie  told  Debbie  that  almost 
the  last  long  assignment  before  he  moved 
his  show  to  Hollywood  for  thirteen  weeks 
would  be  for  the  bottlers'  convention  in 
Miami  Beach,  she  was  enchanted. 

Although  the  public  never  heard  any- 
thing about  it,  Debbie  had  made  a  flying 
visit  there  the  previous  January.  Eddie 
was  in  town,  staying  as  usual  in  the  Sax- 
ony, spending  most  of  his  days  isolated 
in  the  men's  solarium.  And  he  got  lone- 
some as  only  a  man  in  love  could  be — 
particularly  when  separated  from  his 
fiance  by  three  thousand  miles  and  reams 
of  disagreeable  column  paragraphs. 

So,  on  an  impulse,  he  phoned  Debbie  in 
California,  and  she  caught  a  plane  and  flew 
in   for   a   day   or   two. 

On  the  second  day,  they  had  a  spat,  and 
Debbie  swept  out  of  the  Pagoda  room 
and  onto  a  plane  for  California  .   .   . 

Well,  that's  the  way  love  goes.  The 
members  of  the  Saxony's  staff,  who  had 
been  understandably  disturbed  by  this 
quarrel,  were  among  the  happiest  of  all 
those  who  read  the  news  when  Eddie  and 
Debbie  were  married  later  in  the  year. 
And  then,  less  than  two  months  after  the 
wedding,  the  Fishers  were  back  in  Miami 
again,  on  their  first  real  honeymoon. 

To  those  who  think  of  a  honeymoon 
as  a  vacation  alone — days  and  evenings 
spent  learning  the  joyous  new  pattern  of 
living  that  comes  with  marriage — the 
week  the  Fishers  spent  in  Miami  may  seem 
more  like  a  "busman's  holiday"  than  a 
lovers'  idyl.  But,  for  Eddie  and  Debbie, 
it  had  its  own  special  brand  of  beauty  and 
happiness.  To  them,  it  was  a  "really,  truly 
honeymoon,"  and  these  pictures,  this  story, 
will  go  into  the  scrapbook  so  they  can 
remember  it  always,  just  as  it  was. 

First,  since  they  were  going  to  have  to 
combine  business  and  pleasure,  they  ar- 
ranged to  have  two  places  to  live.  The 
Coca-Cola  people  and  members  of  Eddie's 
own  gang  were  headquartered  at  the 
hotel,  so  the  Fishers  registered  there.  Then 
they  accepted  the  invitation  of  Jennie 
Grossinger  to  stay  at  her  beautiful  winter 
home  on  the  beach.  Thus,  for  just  about 
the  first  time  since  the  wedding,  they 
could  actually  get  completely  away. 


The  first  evening,  while  they  were  rest- 
ing from  the  trip,  they  strolled  arm  in  arm 
in  Jennie's  garden  by  the  sea  and  talked 
of  the  coming  week. 

"It's  heaven,"  Debbie  said.  "Let's  make 
use  of  every  free  moment  to  be  by  our- 
selves." 

"We'll  have  lots  of  time  for  that,"  Eddie 
assured  her.  "Let's  see,  tomorrow  will 
be  rehearsal  and  the  show,  and  then  the 
big  shindig  in  the  Orange  Bowl,  and  a 
small  dinner  here  Wednesday  night,  and 
Friday's  the  big  bottlers'  banquet  at  the 
auditorium,  and  another  show — " 

"And  then  back  to  New  York,"  Debbie 
said.  She  took  a  deep  breath.  "I  don't 
care,  we're  going  to  find  time  for  what  we 
want  to  do.  There's  that  invitation  to  go 
water-skiing  Thursday  at  the  Pollacks' — 
and  what  about  that  'small  dinner  party' 
you  mentioned  for  Wednesday  night?  If 
it's  just  for  about  six  people  we  could 
make  it  fun." 

"It's   just   family,"   he   said.    "Why?" 

"Because  I'm  going  to  ask  Jennie  to 
let  me  run  it,"  she  told  him.  "We've  been 
married  almost  two  months  and  I  still 
haven't  had  a  chance  to  be  a  hostess  for 
my  husband.  A  fine  thing!" 

He  looked  at  her  fondly.  "It's  a  fine 
thing,    all    right.    Everything    about   you." 

While  Eddie  was  at  rehearsal  the  next 
day,  Debbie  began  making  her  plans.  She's 
not  an  all-around  cook,  but  a  few  years 
ago  she  did  learn  to  make  some  Mexican 
dishes,  simply  because  she  loved  them  and 
so  few  restaurants  prepared  them  proper- 
ly— tacos  and  enchilladas  and  black 
beans  and  tamales.  Eddie  had  introduced 
her  to  savory  knishes,  herring  in  sour 
cream,  and  all  the  wonders  of  Jewish 
cookery.  Now  she'd  let  him  have  a  taste 
of  the  Southwest. 

Jennie  was  agreeable,  but  a  trifle  dubi- 
ous. "You  know  these  little  family  parties," 
she  said.  "They  seem  to  grow — at  least 
when  Eddie's  the  host.  But  it's  all  yours. 
I'll  be   around   if  you  need   me." 

Wise  Jennie,  who  had  given  Eddie  his 
start  and  had  been  his  friend  ever  since, 
knew  what  she  was  talking  about.  By 
Wednesday,  the  guest  list  had  reached 
twenty-five,  and  there  was  no  question 
of  Debbie's  putting  on  an  apron  and  mov- 
ing into  the  kitchen.  But  one  thing  she 
was  determined  to  do:  She  would  show 
Eddie  that  he  had  married  a  woman  who 
knew  how  to  entertain  for  him. 

So  it  was  Debbie  who  planned  the  menu, 
and  ordered  the  food  and  the  flowers.  It 


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was  she  who  set  the  big  buffet  table,  plac- 
ing the  china  and  silver,  arranging  the 
flowers.  It  was  she  who,  exquisitely 
groomed  and  dressed — as  the  wife  of  a 
star  should  be  when  she  receives  at  din- 
ner— was  waiting  at  the  door  when  the 
first  guests  arrived.  It  was  she  who  super- 
vised every  detail  of  the  evening  and 
moved  from  group  to  group,  making  sure 
that  everyone  had  food  and  drink,  being 
charming  and  gay,  sparking  the  talented 
guests    into    impromptu    entertainment. 

One  Coca-Cola  executive  told  me  later 
that  he  could  never  remember  a  better 
party.  "And  Eddie,"  he  added,  "was  burst- 
ing with  pride.  He's  got  himself  a  doll, 
there — and  a  true  lady." 

The  next  day  was  when  their  friends 
the  Pollacks  (he  is  owner  of  several 
hotels  and  motels,  among  them  the  fabu- 
lous new  Thunderbird)  had  asked  them 
over  for  the  afternoon,  to  learn  how  to 
water-ski.  They  had  a  little  surprise  for 
him.  Debbie  was  an  expert  at  the  sport, 
and  she'd  taught  Eddie. 

This  seemed  to  be  the  best  time  to  catch 
them,  when  our  color  cameras  could  show 
you  the  rare  sight  of  Eddie  and  Debbie 
just  having  fun.  We  met  them  at  the  Sax- 
ony, out  in  the  pool  and  cabana  area 
where,  if  the  residents  of  the  hotel  stared 
at  them,  it  was  mainly  because  Eddie  had 
brought  along  his  boxer,  "Junior" — and 
the  Saxony  doesn't  allow  dogs. 

At  least,  that's  the  way  it  began.  But 
somehow  a  dozen  or  so  people  suddenly 
appeared  right  out  of  the  air,  crowding 
in  and  spoiling  the  show.  It  just  never 
fails,  whenever  Eddie  appears  where  peo- 
ple can  get  at  him,  and  he's  so  good- 
natured  he  often  uses  up  an  entire  after- 
noon or  evening  exchanging  casual 
pleasantries  with  people. 

This  was  perhaps  his  pleasure  and  privi- 
lege before  his  marriage,  but  it  wouldn't 
do  on  this  day,  on  this  very  special  after- 
noon. Debbie  held  still  for  it  for  half  an 
hour.  Then  she  said,  distinctly  so  that  all 
might  hear,  "Let's  get  out  of  here." 

They  had  a  big  powder-blue  convertible 
waiting  under  the  marquee,  and  at  their 
invitation  we  hopped  in  the  back  for  the 
ride  out  past  the  row  of  glittering  hotels 
to    Bay    Drive,    where    the    Pollacks    live. 

The  boat  (fortunately,  it  was  a  big  one) 
was  pretty  full  by  the  time  we  started 
out.  But,  compared  with  the  crowd  that 
usually  surrounds  them,  Eddie  and  Debbie 
were  comparatively  alone.  They  had  a  won- 
derful time,  pretending  that  they  didn't 
know  what  to  do — then  getting  up  on  the 
skis  and  zipping  expertly  back  and  forth. 

There  were  a  lot  of  things  we  wanted 
to  know,  now  that  their  marriage  was 
almost  two  months  old.  How  was  it  really 
working  out?  Was  there  any  real  problem 
because  Debbie  had  been  reared  in  one 
faith  and  Eddie  in  another?  What  were 
their  plans?  What  did  the  future  hold? 
How  exactly  were  they  planning  to  work 
out  their  separate  careers,  once  they  got 
off  the  present  merry-go-round?  And 
what  about  that  house  Debbie  had  got  for 
them  out  in  California? 

It  was  Debbie  who  explained  how  she 
had  been  taken  first  by  realty  agents  to 
look  at  a  number  of  other  houses.  "They 
were  like  hotels,"  she  said.  "One  of  them 
was  a  dead  ringer  for  the  Taj  Mahal.  Much 
too  big  for  us.  But  when  I  saw  this  ranch- 
style  house,  with  its  four  acres  of  garden 
and  all  the  beautiful  early  American 
furniture,  I  knew  it  was  just  right.  I  know 
Eddie  will  adore  it." 

She  also  had  the  word  about  the  fact 
that  theirs  is  an  inter -faith  marriage.  Dif- 
ficulties? "None  whatsoever."  She  made 
it  very  plain.  "As  long  as  Eddie  and  I  be- 
lieve in  God,  I  don't  think  we'll  have  any 
problems." 


As  for  the  future,  that  still  had  to  be 
worked  out.  They  had  done  everything 
humanly  possible  to  arrange  things  so 
they  could  be  together  and  still  continue 
their  work.  Agents,  networks,  studios  had 
cooperated  to  the  fullest.  Debbie's  picture 
schedule  had  been  shifted  to  fit  the  time 
when  Eddie's  show  could  be  moved  to  the 
Coast.  Maybe  things  could  be  planned  so 
they  could  do  a  picture  together.  Maybe 
they  might  have  to  spend  some  time  apart 
— but  other  married  couples  survived 
separations,  when  it  was  necessary. 

"We  want  it  all,  you  see,"  Eddie  said. 
"Our  careers,  and  to  be  together,  and  chil- 
dren, and  a  home.  You  can't  work  out 
something  like  that  with  just  a  snap  of 
your  fingers." 

Those  who  know  both  Eddie  and  Deb- 
bie best  feel  that  their  salvation  is  in  the 
rented  house  overlooking  the  Pacific,  and 
the  home  they  will  some  day  find  and 
buy.  Although  they  will  be  able  to  use  it 
only  half  of  each  year,  a  home  will  still  be 
there,  restful  and  peaceful. 

It  will  be  a  place  where  children  may 
someday  play  safely,  away  from  crowded 
streets.  There  will  be  dogs  and  cats  and  a 
bird  or  two,  and  fires  will  crackle  on 
the  hearth  when  the  nights  grow  cold, 
and  good  smells  will  drift  from  the  kitchen. 
When  the  work  day  is  over,  the  gate 
will  snap  shut  against  the  broadcasting  and 
movie-making  worlds,  and  the  Fishers  can 
meet   and   kiss   hello   at   their   own   door. 

This  is  the  kind  of  life  Debbie  knows 
and  loves  and  must  have,  at  least  half  the 
time,  if  she  is  to  find  happiness. 

It  is  not  the  life  Eddie  has  ever  known. 
To  him,  home  has  always  meant  an  apart- 
ment or  a  hotel  suite.  If  he  had  a  dog,  he 
had  to  walk  it  along  a  pavement  where 
there  were  signs:  "Curb  Your  Dog."  Heat 
came  from  a  steam  radiator.  Food  came 
upstairs  from  a  subterranean  kitchen  he 
had  never  seen.  As  for  peace  and  quiet  and 
solitude — what  would   he  do  with   them? 

Well,  Debbie  has  made  her  pitch  at  ad- 
justing herself  to  Eddie's  way  of  life  in 
these  two  months  since  the  wedding.  She 
has  managed  remarkably  well.  Marriage 
seems  to  have  sobered  her  somewhat — 
or  matured  her.  She  used  to  move  like  a 
flash  and  sparkle  all  over  the  place.  Now, 
when  she  is  with  Eddie,  she  moves  at  his 
easygoing  pace.  Her  smile  is  softer,  and  not 
as  flashing. 

For  a  girl  who  was  always  the  center  of 
attention  herself,  it  has  not  been  easy  to 
become,  overnight,  the  dutiful  wife  who 
waits  politely  while  her  husband  is  the 
great  star.  Away  from  all  her  tried-and- 
true  friends  in  Hollywood,  forced  by  cir- 
cumstances to  accept  graciously,  and  all 
at  once,  a  veritable  multitude — who,  while 
complete  strangers  to  her,  are  Eddie's 
closest  pals — she  has  comported  herself 
with  charm  and  dignity. 

Now  it's  up  to  Eddie  to  return  the 
compliment  on  the  Coast.  Of  course,  he 
will  not  be  on  vacation  from  his  work  as 
Debbie  was,  but  otherwise  he  will  be  com- 
pletely out  of  his  familiar  element  much 
of  the  time.  His  wife  will  have  had  a 
hard  day's  work  behind  her,  too,  when 
finally  they  get  together  in  the  house  on 
the  Palisades. 

Surely,  it  will  be  during  those  restful 
evenings  together,  a  billion  miles  from 
Manhattan  and  crowds  and  noise  and  the 
hassle  of  business,  that  they  will  discover 
together  the  true  measure  of  their  happi- 
ness in  marriage. 

Because  they  believe  in  God,  and  they 
have  their  love — and  you  can't  beat  that 
combination. 

•••••••••••••••••••••••••a** 

BUY  U.  S.  SAVINGS  BONDS 
•••••••••••••••••••••••••••a 


Magic  in  Numbers 


(Continued  from  page  56) 
remain  in  love  with  their  wives  and/or 
husbands  until  death  does  them  part, 
fifteen  years  must  be  considered  "the 
honeymoon,"  relatively  speaking.  However, 
in  the  unpredictable,  quicksilver  world  of 
show  business,  where  stars  rise  and  fall 
and  scenes  constantly  shift — and  homes 
and  hearts,  too— it  takes  a  bit  of  doing  to 
be  a  solid  citizen.  Nor  is  it  easy  for  mar- 
riages, even  when  made  in  heaven,  to 
remain  there  ...  as,  rather  surprising- 
ly, the  still-in-love,  still-happily-married 
Peter  Lind  Hayes  and  Mary  Healy  admit 
their  marriage  does. 

"Emotionally,"  says  Peter,  "Mary  and  I 
have  as  good  a  set-up  as  it's  possible  to 
get — no  doubt  of  it — in  order  to  stay  mar- 
ried in  show  business,  for  the  simple  rea- 
son that  we're  together  .  .  .  together  behind 
the  footlights,  as  well  as  by  the  fireside 
at  home  in  New  Rochelle — or,  to  be  more 
literal  about  it,  in  front  of  the  TV  set, 
which  is  where  we  spend  all  the  leisure 
time  we  have  or  can  borrow.  After  dark, 
that  is.  Daytimes,  it's  golf — but  that  is 
another  story. 

To  share  as  many  interests  as  possible," 
Peter  continues,  "to  be  together  as  much 
as  possible,  this  is  an  important  factor  in 
all  marriages.  But,  for  people  in  show 
business,  'together'  it  the  talismanic  word, 
the  secret  formula  for  happy  and  lasting 
marriage.  Tell  you  why  .  .  . 

"You  have  to  be  emotionally  unstable  to 
be  in  show  business,  or  you  wouldn't  be 
in  it.  Instead  of  selling  intangibles  like 
emotions,  laughter  and  tears,  you'd  be 
selling  something  solid  like  groceries — or 
gum-soled  shoes.  Since  the  emotionally 
unstable  are  more  susceptible  to  influence 
than  less  volatile  individuals,  it's  awfully 
tough — it's  dangerous,  when  one  half  of  a 
Mr.-and-Mrs.  entity  is  in  show  business 
and  the  other  isn't.  And  equally  rugged 
when  both  are,  but  not  together. 

"Mary  and  I  learned  this  by  personal 
experience.  In  the  early  days  of  our  mar- 
riage, we  worked  separately — which  nearly 
resulted  in  our  living  separately.  Mary 
gives  me  the  credit  for  saving  our  mar- 
riage when,  aware  of  the  widening  breach 
between  us,  I  suddenly  decided  that  to  do 
our  play-acting  together  was  the  way  to 
heal  it.  'Here  and  now,  Miss  Healy,'  I  said, 
'I'd  like  to  sign  you  up.  We'll  be  the  Lunt 
and  Fontanne  of  the  saloons.'  And  so  we 
were.  And  so,  happily  ever  after,  we  are. 

"It  was  Father  Peyton  of  Los  Angeles, 
I  believe,  who  said:  'The  family  that  prays 
together  stays  together' — which  is  pro- 
foundly true  of  all  families,  of  whatever 
race,  creed,  color  or  occupation,  the  wide 
world  over.  To  paraphrase  the  Father's 
wise  statement,  as  I'm  about  to  do:  'The 
family  that  plays  together  stays  together' 
is  also  true — of  show-business  families,  in 
particular." 

Certainly  it  is  as  a  family  .  .  .  the  whole 
family  .  .  .  that  the  Hayeses — Mary,  Peter, 
seven-year-old  son  Michael  and  five-year- 
old  daughter  Cathy — work,  play,  pray  and 
stay  together. 

"Take  last  Christmas  as  a  sample,"  says 
Peter.  "Last  Christmas  morning,  the  kids 
were  at  the  tree  bright  and  early.  I  was 
there,  too,  fog-bound — but  not  too  fogged, 
to  notice  that  Michael  was  hot-looking. 
We  called  the  doctor.  The  kid  had  a 
temperature  of  102,  and  rising.  He  had  to 
go  to  bed.  And  stay  there.  Alone.  On 
Christinas.  When  we  sat  down  to  our 
dinner  ...  Mary,  our  guests  Eddie  Foy, 
Jr.,  and  his  son,  Cathy  and  I — with  poor 
Michael  out  of  the  act  ...  I  'cut  him  in' 
by  connecting  the  Vocatron,  a  two-way 
talk-back  gadget  in  his  bedroom  and  the 


dining-room,  and  asked  Michael  if  he 
would  say  Grace.  Clearly  then,  his  voice 
came  over:  'Bless  us,  oh,  Lord,  for  these 
Thy  gifts  which  we  are  about  to  receive 
from  Thy  bounty  through  Christ,  our 
Lord,  Amen  .  .  .  Roger — and  over!' 

"Everyone  fell  down!  Sounded  like  from 
an  airplane.  'Come  in,  Flight  7!'  That,  in 
addition,  we  were  able  to  picture  him  in 
bed  with  his  pilot's  uniform  on — his  keep- 
ing it  on  was  the  condition  under  which 
he  agreed  to  go  to  bed — kept  us  prostrate!" 

On  the  road,  as  at  home,  the  kids  are 
"cut  in,"  too.  "We  take  our  kids,  our  jokes 
and  silently  slip  away  to  Florida,"  says 
funnyman  Hayes.  But  Mary  has  this  to 
say,  concerning  this  glib  masculine  ver- 
sion of  what  actually  takes  a  bit  of  doing: 

"Last  winter,  for  two  or  more  months, 
this  was  our  life:  We  were  rehearsing  our 
new  act  for  The  Sands  at  Las  Vegas,  which 
we  play  twice  a  year.  En  route  to  Vegas 
this  year,  we  also  played  the  Fontainebleau 
in  Florida.  In  addition  to  the  main  act,  I 
do  a  hula  (a  very  genteel  hula)  and  Peter 
a  skit  in  which  he  plays  a  croupier.  Since 
I'd  never  hulaed  before,  I  was  taking 
lessons  from  the  dance  coach  at  CBS  .  .  . 
and  Peter,  the  perfectionist,  was  combing 
the  city  for  a  pair  of  glasses  with  sleepy- 
looking  eyes  (like  Mortimer  Snerd's)  — 
and  like  all  the  croupiers  we  have  ever 
seen.  In  the  meantime,  I  was  shopping 
for  clothes  (for  the  act),  the  children's 
clothes  (for  the  trip),  and  preparing  to 
tutor  the  children  for  the  seven  weeks 
we're  on  the  road.  'Slip  away'  indeed!' " 
says  Mrs.  Hayes. 

1  he  Hayeses  live,  as  they  have  for  some 
years  now,  in  a  rambling,  brown-shingled 
country  house  midway  between  Pelham 
and  New  Rochelle,  New  York.  "House  on 
the  Third  Hole,"  they  call  it,  situated  as 
if  it  is  on  the  very  hem  of  the  skirt  of 
the  Pelham  Golf  Club.  ...  "A  golf  course," 
says  Hayes,  "is  an  insane  asylum  peopled 
by  madmen  suffering  from  the  delusion 
that  they  will  eventually  conquer  the 
game.  The  more  violent  cases  think  they 
already  have!" 

This  is  an  over-reaction,  of  course,  prov- 
ing that  he  loves  the  game.  So  does  Mary. 
She  and  Peter  play  golf  together.  They 
play  alone.  They  play  with  Perry  and 
Roselle  Como  when,  every  so  often — 
usually  on  a  Tuesday,  which  is  Perry's 
day  off  before  starting  rehearsals  for  the 
next  show — the  Comos  drive  up  from  their 
home  on  Long  Island.  When  Peter  and 
Mary  are  on  the  road,  they  play  in  Florida, 
in  Vegas,  anywhere  they  can  set  up  a  tee. 

One  of  the  contributing  factors  to  the 
success  of  the  Hayes  marriage  is  that — 
although  they're  teamed  with  equal  bill- 
ing on  stage — their  personal  relationship 
is  a  nicely  balanced,  normal  one  of  the 
wife  who  runs  the  home  and  the  husband 
who  runs  the   (show)   business. 

It  is  Peter  who  conceives  the  idea  for, 
writes  and  produces  the  acts,  which  are 
based,  primarily,  on  the  current  novelty 
or  personality  of  the  year  just  past.  Any- 
thing that  hits  the  newspapers,  the  weekly 
magazines  and  the  disc  jockeys  is  grist  to 
the  Hayes  mill.  One  year,  his  act  was 
based  on  the  character — if  you  will  pardon 
the  expression — of  that  lampooned  Lor- 
thario,  ex-King  (Fatso)  Farouk.  Last  year, 
"Peter  Pan"  got  the  pixilated  treatment. 

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motorcycle  craze,  based  on  the  pop  record, 
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Healy  &  Hayes  in  dual  roles.  As  the  cur- 
tain rises,  "Marilyn  Brando"  and  "Marlon 
Monroe"  are  discovered  parked  in  a  little 
Messerschmitt  car  in  front  of  a  drive-in 


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movie,  behaving  more  or  less  as  you  might 
suppose  Miss  Brando  and  Mr.  Monroe 
might  behave!  On  screen,  there's  a  slim 
blonde  waitress,  wearing  a  sweater  and 
skirt,  and  a  rough  kid  with  a  long  hair- 
cut, wearing  the  black  denim  trousers, 
boots  and  black  leather  jacket  with  the 
Eagle  on  the  back — which  is  the  "Delin- 
quent" uniform — and  the  dramatis  per- 
sonae  are  riding  a  genuine  Harley-"Delin- 
quent"  motorcycle. 

"We  get  into  an  argument  with  the 
kids  on  the  screen,  Marlon  Monroe  and 
I,"  Mary  laughs,  "and  they,  with  us — 
claiming  they  can't  play  a  love  scene  if 
we  sit  there  smooching  all  the  time.  To 
feel  strictly  for  the  birds,  just  try  talking 
to  your  shadow  some  day  .  .  .  you'll  be 
flying!" 

In  addition  to  creating  the  acts  in  which 
he  also  performs,  Peter — whose  versatility 
has  made  him  a  living  legend  in  show 
business  in  his  thirties — sings,  dances, 
plays  piano,  mimics.  By  means  of  the 
fifty-odd  hats  that  hang  upon  the  famed 
Hayes  hatrack,  virtuoso  Hayes  runs  a 
gamut  of  characterizations  from  John 
Barrymore  to  Ethel  Waters  (singing 
"Cabin  in  the  Sky")  to  a  punch  drunk  ex- 
pug,  and  et  cetera! 

But  .  .  .  whereas  Peter's  versatility  ends, 
by  his  own  admission,  at  home —  "I  am 
the  one  you've  heard  about,  but  never 
met,  who  can't  boil  water!"  .  .  .  Mary 
adds  to  her  singing,  dancing  and  acting 
repertoire  the  many-faceted  role  of,  to 
quote  her:  "The  mother  of  children  going 
to  school,  the  wife  of  a  writer -producer, 
the  manipulator  of  our  tape-recorder  here 
at  home  when  Peter  is  on  radio  in  New 
York.  I  even  attend  to  some  of  the  busi- 
ness details,  too.  In  Nevada,  since  Peter 
can't  resist  a  slot-machine,  I'm  the  Keep- 
er of  the  Coin!  Otherwise,  I'm  a  bag- 
loser,  so  Peter  handles  the  loose  change — 
at  home. 

"It's  a  many-faceted  role  that  a  wife 
plays  generally — every  wife —  but  mine  is 
a  little  more  so.  ...  As  a  sample  of  what 
I  mean,  let's  take  a  day  in  the  life  of  the 
Hayes  family.  Let's  make  it  one  of  the 
days  when  Peter  is  substituting  for  Arthur 
Godfrey  on  the  morning  show,  as  he  does 
once  every  five  weeks  or  so — and,  when 
Arthur  is  on  vacation,  every  morning  for 
two  weeks.  Since  the  show  is  on  at  ten 
in  the  morning,  we  get  up  at  6:30,  have 
breakfast — all  four  of  us  together.  After 
Peter  gets  off  for  New  York,  by  car,  I  drive 


the  kids  to  school,  get  back  home  and — 
promptly  at  ten — take  my  place  by  the 
tape-recorder,  push  buttons,  and  record 
the  show.  At  11:45,  I  drive  back  to  school, 
pick  up  my  daughter,  have  lunch  with  her, 
put  her  down  for  her  nap. 

"If  we  are  rehearsing,  I  then  take  the 
train  to  New  York,  put  in  two  to  three 
hours  in  the  rehearsal  studio  at  CBS,  after 
which  Peter  and  I  drive  back  home  to- 
gether. Immediately  after  we  get  there, 
Peter  sits  and  listens  to  the  tape  while  I, 
having  heard  it,  go  about  taking  care  of 
telephone  calls,  making  sure  that  Michael 
is  doing  his  homework,  that  dinner  will 
be  on  time.  Since  we  try  to  live  a  very 
sensible  life  at  home,  dinner  is  at  the 
same  hour  every  night,  seven  o'clock,  and 
the  children  usually  have  it  with  us. 
Since  Peter  is  strictly  a  bread,  meat  and 
potato  man,  nothing  unsuitable  for  chil- 
dren appears  on  the  menu.  Then  after 
dinner,  we  watch  TV.  Love  it.  We're  fans — 
rabid   fans." 

They've  enjoyed  being  on  television,  too, 
ever  since  they  made  their  video  debut 
on  the  Chevrolet  show  in  1949  and  fol- 
lowed this  by  launching  the  CBS  Stork 
Club  show.  Later,  they — and  the  viewers 
— enjoyed  their  unique  Star  Of  The  Fam- 
ily series.  Now,  on  Tuesday  nights,  Mary 
is  getting  kicks  as  one  of  the  panelists 
on  ABC -TV'S  Masquerade  Party. 

One  of  the  many  pleasant  things  about 
Peter  and  Mary  is  that,  although  their 
enthusiasm  for  what  they  do  is  as  fresh 
as  if  minted  yesterday,  neither  of  them 
is  hag-ridden  with  ambition  .  .  .  the  fever- 
ish kind,  that  is,  the  kind  that  drives. 
Peter,  who  has  been  under  contract  to 
Arthur  Godfrey  for  three  years,  with  two 
more  to  go  and  who  has  substituted  for 
Arthur  on  the  evening  TV  shows,  as  well 
as  the  morning  radio  show — has  been 
rumored,  via  the  grapevine,  to  be  God- 
frey's "heir-apparent."  .  .  .  Peter  shrugs 
off  rumors  with  a:  "No  truth  to  them. 
Even  if  there  were,  I  couldn't  qualify. 
Vitality  insufficient.  Last  report  from  me, 
after  doing  the  daytime  and  evening  shows, 
came  from  an  oxygen  tent.  Last  words: 
'Only  Godfrey  could  stand  the  pace.'  " 

They  shrug  off  many  things  which  many 
people  in  show  business  find  important. 
Parties  that  make  the  columns,  for  in- 
stance. Show-off  things.  Gossip  that  makes 
the  columns — and  hurts  the  victims.  "I 
don't  like  ugly  thoughts,"  says  Mary.  So 
she  doesn't  harbor  them.  Neither  of  them 


$1,000.00  REWARD 


92 


...  is  offered  for  information  leading 
to  the  arrest  of  dangerous  "wanted" 
criminals.  Hear  details  about  the 
$1,000.00  reward  on  .  .  . 

TRUE  DETECTIVE  MYSTERIES 

Every    Monday    Evening    on    MUTUAL    Stations 


Be  sure  to  read  "TEN  FRIENDLESS  MEN"— exciting,  double- 
length  story  of  the  Walla  Walla  prison  break — in  April 
TRUE  DETECTIVE  MAGAZINE  at  newsstands  now. 


does.  They  believe  a  person  is  what  he 
appears  to  be,  unless  proven  otherwise. 

At  the  testimonial  dinner  given  Helen 
Hayes  last  winter,  for  instance,  they  sat 
at  the  same  table  with — as  Mary  put  it — 
"the  up-and-coming  Princess  of  Monaco. 
She  was  alone.  And  although  Grace  .  .  . 
a  star  herself — and,  at  that  time,  on  the 
front  page  of  every  newspaper  in-  the 
country — might  have  been  pardoned  for 
being  somewhat  absorbed  in  herself  .  .  . 
she  wasn't.  She  sat  there  for  three  hours, 
her  glasses  on,  attentive  to  every  word 
spoken,  every  gesture  made  by  the  great 
stars  who  were  there  in  honor  of  Miss 
Hayes.  I  don't  believe  any  of  the  silly  ru- 
mors you  hear  about  her.  I  believe 
it's  a  fairy-story  romance  and  they'll 
marry  and  live  happily  ever  after." 

Mary  admits  to  being  very  extravagant 
about  her  professional  clothes.  She  buys 
Diors,  Sophie  Originals,  Elizabeth  Ardens. 
But,  at  home,  she's  the  casual  sweater  - 
and-skirt  type  and  keeps  things  for  years. 
"I  have  a  niece  who  can  wear  my  clothes 
and,  every  now  and  then,"  Mary  laughs, 
"she'll  look  at  me  and  say  rather  plaintive- 
ly, 'Are  you  still  wearing  that?' 

"My  husband's  the  fastidious  one,  the 
Beau  Brummel  in  our  family.  He  has  an 
odd  quirk  about  dressing,  too.  The  grayer 
the  day,  for  instance,  the  brighter  he 
gets.  Shirts  the  color  of  a  Bloody  Mary. 
Ties  that  bleach  out  the  rainbow.  .  .  ." 

"On  bright  days,"  Peter  puts  in  mildly, 
"I'm  dreary." 

"Shoes,  however — he's  mad  about  shoes 
— leave  him  alone  in  New  York  for  five 
minutes  and  he  vanishes  into  a  shoe  store, 
and  comes  out  wearing  new  ones!  Anyone 
who  can  wear  new  shoes  without  breaking 
them  in  has  got  to  be  mad  about  them! 

"He's  a  hi-fi  man,  too.  A  gimmick  man, 
really.  The  Vocatron.  A  coffee  pot  in  the 
basement  playroom,  which  turns  out  to  be 
a  telephone.  A  chair  that  is  a  chair— a 
table  that  is  a  table — have  no  message  for 
Peter. 

"We're  kind  of  mixed  up,  so  our  house, 
as  Peter  puts  it,  is  mixed  up,  too.  Our 
living  room  and  music  room,  which  open 
into  each  other — we  just  did  them  over — 
are  quite  normal,  I'd  say.  Gray  walls,  gray 
wall-to-wall  carpeting,  solid  gray  drap- 
eries in  the  living  room,  two  huge  pink 
couches  and,  in  the  music  room,  white 
print  draperies  with  pink  flowers.  But, 
in  the  little  Oriental  alcove  by  our  bar, 
there  are  the  Oriental  masks  Peter  brought 
back  from  Tokyo,  his  Samurai  sword,  and, 
overhead,  a  bell  we  brought  back  from 
Switzerland.  .  .  .  We  have  never,  I  need 
hardly  add,  had  a  decorator — refused  to 
have  one.  We  like  our  house  to  represent 
us,  let  the  pictures  hang  as  they  may. 
And  besides — after  we've  been  in  a  house 
for  six  months — believe  me,  we  have  lived 
in  it  and  it  looks  it! 

"But  it's  a  sort  of  gentle  look,  and  warm, 
and  homey.  .  .  ." 

Like  the  people  who  live  in  it  .  .  .  for, 
talented  as  they  are,  successful  as  they 
are,  in  the  limelight  as  they  are,  they  are 
gentle,  and  warm,  and  homey  .  .  .  with 
each  other,  with  the  children,  with  friends. 

In  parting,  Peter  tells  a  little  story:  "A 
father  gave  his  little  ten-year-old  boy  a 
rather  intricate  map  of  the  world  to  put 
together.  In  five  minutes,  it  was  done. 
'How  did  you  do  it  this  soon?'  the  father 
asked,  'On  the  other  side  of  the  puzzle,' 
the  little  boy  said,  'there  was  the  figure 
of  a  man.  Put  the  man  together  and  the 
world  takes  care  of  itself.' 

"That  about  says  everything,  doesn't  it?" 
Peter  observes  gently. 

It  does.  By  the  same  token,  put  the 
right  people  together,  and  marriage — in 
or  out  of  show  business — takes  care  of 
itself,  too  .  .  .  and  Peter  Lind  Hayes  and 
Mary     Healy     are     the     "right     people." 


odess 


Only  New  Design  Modess  gives  you  the  luxury  of  a  new 
whisper-soft  fabric  covering  ...  no  gauze  ...  no  chafe. 


PICK  HER  PICTURE  IN 


Camay's  <£ 


F,om  farther  West 
C  ,  paSsed  the  test. 


O  My  Vate  start, 
^^^^^     "' 3  show. 


Here's  all  you  do! 

1.  On  the  Official  Entry  Blank, 
just  identify  the  baby  above  who 
became  Miss  America  1956.  (The 
other  3  pictures  are  of  runners-up 
in  the  Miss  America  Pageant.  The 
hints  refer  to  the  state  or  city 
each  one  represented.) 

2.  Then,  simply  complete  this 
sentence  in  25  additional  words 
or  less:  "Like  Miss  America,  I  use 
Camay  because  .  .  ." 


It's  easy  to  win  $20,000 

because  you'll  discover  so  many 
nice  things  to  say  about  cold 
cream  Camay!  You'll  love  its  lux- 
urious lather,  exclusive  perfume, 
satiny-smooth  feel.  And  once 
you've  used  Camay  for  your  com- 
plexion care  and  beauty  bath, 
you'll  find  even  more  compli- 
ments for  Camay's  skin-pamper- 
ing mildness!  Then  in  your  own 
words; finish  the  contest  sentence. 


• 

* 
• 
* 

• 


FOLLOW   THESE   EASY   RULES: 

1.  Check  which  of  the  above  4  pictures  you 
think  is  Miss  America  as  a  baby. 

2.  In  25  additional  words  or  less,  complete 
this  sentence:  "Like  Miss  America,  I  use 
Camay  because  ..."  Use  the  Official  Entry 
Blank  in  this  advertisement  or  write  on  one 
side  of  a  sheet  of  plain  paper.  Print  your 
name  and  address  plainly. 

3.  Mail  to:  Camay,  Dept.  H,  Box  75,  Cincin- 
nati 1,  Ohio.  Enter  as  often  as  you  wish, 
but  each  entry  must  be  accompanied  by  3 
Camay  wrappers  (or  facsimiles),  any  size. 
Entries  must  be  postmarked  before  midnight, 
April  27  and  received  by  midnight,  May  1 1, 1956. 

4.  Any  resident  of  the  Continental  United 
States  (including  Alaska)  and  Hawaii  may 
enter,  except  employees  of  Procter  &  Gamble, 
its  advertising  agencies,  and  their  families. 
Contest  subject  to  all  Federal  and  state 
regulations. 


5.  Entries  will  be  judged  on  correct  identifica- 
tion of  Miss  America's  baby  picture,  and  on 
the  originality,  sincerity  and  aptness  of 
thought  in  completing  the  contest  sentence. 
Judges'  decisions  final.  Except  for  incidental 
help  from  families  and  friends,  entries  must 
be  wholly  the  work  of  the  person  in  whose 
name  the  entry  is  submitted,  and  will  be 
disqualified  for  outside,  professional  or  com- 
pensated help.  Only  one  prize  to  a  person. 
Duplicate  prizes  in  case  of  ties.  No  entries 
returned.  Entries,  contents  and  ideas  therein 
belong,  unqualifiedly,  to  Procter  &  Gamble. 

6.  Prizes  will  be: 

1st  Prize $20,000 

2nd  Prize $5,000 

3rd  Prize $2,000 

22  4th  Prizes $1 ,000  each 

Next  40  Prizes Philco 

Miss  America  24"  TV  sets 

7.  All  prize  winhers  will  be  notified  by  mail. 
List  of  winners  available  on  request— approx- 
imately  2   months   after   close   of   contest. 


Check  the  letter  here  which     [" 

refers  to  Miss  America's    LAJ        g  ^        W 

baby  picture  above: 

Complete  this  sentence  in  25  additional  words  or 

less:  "Like  Miss  America,  I  use  Camay  because  .  .  . 


mail  TO:  Camay,  Dept.  H,  Box  75 
Cincinnati  1,  Ohio 

(FLEASC    PB.NT   PLAINLY, 

<"itv 

7nnp 

Srnfp 

With  each  entry  enclose  3  wrappers 
from  any  size  Camay 


RADIO  FECIAL 

MIRROR   S 


DIO  MIRROR'S  N.  Y.,  N.  J.,  Conn.  Edition 

[Y  •  25? 


YOUR  FAVORITE  STARS 

and  SHOWS 
by  NATIONWIDE  VOTE 


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getting 
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\!VORY 


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/i\  IVORY 


f«C    ■    IT  f=t.OATS 


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r  J 


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A>  for  the  price  of  3 

NOW-  TIED  IN  ONE  BEAUTY  BUNDLE 


4  cakes  of  pure,  mild  Personal  Size  Ivory  cost  about 

the  same  as  3  cakes  of  other  leading  toilet  soaps! 

Any  way  you  look  at  it — Personal  Size  Ivory's  new  Beauty  Bundle 

is  a  beauty  of  a  buy.  Now — 4  cakes  all  tied  in  one  neat  bundle — 

so  handy  ...  so  thrifty.  And  how  those  dainty  cakes  of  pure  mildness 

pamper  your  skin!  You  see,  the  milder  the  beauty  soap,  the  prettier 

your  skin,  and  Ivory  Soap  is  mild  enough  for  a  baby's  skin.  So  for  that  fresh, 

radiant  look,  That  Ivory  Look,  get  your  Beauty  Bundle  now. 


99  100%    PURE         IT    FLOATS 


THE  BEAUTY  BUNDLE  IS  YOUR  BEST  BEAUTY  BUY 


GSb  WW 


MUM 


PHOTOGRAPH     BY    RICHARD    AVEDOts 


G*  R  EAM 


The  doctor's  deodorant  discovery 
that  now  safely  stops  odor  24  hours  a  day 


Underarm  comparison  tests  made 
by  doctors  proved  a  deodorant  without 
M-3  stopped  odor  only  a  few  hours  — 
while  New  Mum  with  M-3  stopped 
odor  a  full  24  hours! 


You're  serene.  You're  sure  of  yourself.  You're  bandbox  perfect  from  the  skin  out. 

And  you  stay  that  way  night  and  day  with  New  Mum  Cream. 

Because  New  Mum  now  contains  M-3  (hexachlorophene)  which  clings  to 

your  skin  — keeps  on  stopping  perspiration  odor  24  hours  a  day. 

So  safe  you  can  use  it  daily— won't  irritate  normal  skin  or  damage  fabrics. 


ANOTHER  FINE  PRODUCT  OF  BRISTOL-MYERS 


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LOOK.. 


what£  new 
in  eye  beauty ! 

Look  prettier — through 
curly  lashes  in  just 
seconds — with  the  new 
soft-cusfuon 

'  PROFESSIONAL 

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I     naturally, 
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You  must  try  the  wonderful  new 
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EYEBROW  PENCIL 

never  needs  sharpening 
— spring-locked  crayon 
can't  fall  out . 
Velvet  Black,  Dark  or 
Light  Brown,  and  now  in 
Dove  Grey  or  Auburn  .  .  . 
39£  for  two  long-last  ing  refills 

Tweeze  with  ease-with  the  new  silvery  j 

EYEBROW  TWEEZERS 

designed  with  a  grip  that 

can't  slip— straight 

or  slant  edge  .'.  ,    29^ 

Last  but  not  least— the  world-famous 

'MASCARA 

for  long,  dark,  velvety 
lashes— Solid  Form  in 
gorgeous  gold-plated 
vanity  case  — or  Cream 
Form  in  smart  kit 

SPECIALISTS   IN   EYE   BEAUTY 


TV; 


RADIO 
MIRROR 


MAY,  1956 


N.  Y.,  N.  J.,  CONN.  EDITION 


VOL.  45,  NO.  6 


Ann  Higginbotham,  Editor 


Ann  Mosher,  Executive  Editor 
Teresa  Buxton,  Managing  Editor 
Claire  Safran,  Associate  Editor 
Sonia  Gould,  Assistant  Editor 


Jack  Zasorin,  Art  Director 
Frances  Maly,  Associate  Art  Director 
Joan  Clarke,  Art  Assistant 
Bud  Goode,  West  Coast  Editor 


PEOPLE  ON  THE  AIR 

Together  With  John  Cameron  Swayze 4 

Howdy,  Pardner!   (Bob  Smith) 6 

Sparkie's  Big  Pal   (Jon  Arthur) 7 

He  Scores  Again  (Bill  Stern) 8 

Adventure   Calling    (Lowell  Thomas) 14 

What's  New  From  Coast  to  Coast by  Jill  Warren  16 

Two  for  All  (Roy  Rogers  and  Dale  Evans) 18 

The  Flying  Yankee   (Mel  Allen) 20 

A  Champ  Named  Ed  Sullivan by  Frances  Kish  36 

Old-Fashioned  Love,  Modern  Style  (Hal  March).... by  Joan  Carter  44 

The  Secret  Passion  of  Garry  Moore by  Martin  Cohen  46 

The  Peaceful  Pastoral  Panic  (Eve  Arden) by  Fredda  Balling  48 

They're  Real  Characters by  Robert  Q.  Lewis  50 

Nice  Guy  (Perry  Como) 52 

Nice  Gal  (Patti  Page) 53 

New  Look,  Old  Favorite  (Jack  Webb) 54 

Fibber  McGee  And  Molly  (Jim  and  Marian  Jordan) 56 

Mirth  and  Melodye  (Martha  Raye) 57 

Who's  Who  on  The  Lawrence  Welk  Show 58 

The  Woolworth  Hour  (Percy  Faith) by  Lilla  Anderson  60 

Two  For  The  Money  (Herb  Shriner) by  Helen  Bolstad  61 

House  Party  Host  (Art  Linkletter) by  Hyatt  Downing  62 

One  Man's  Family   (Bernice  Berwin) 64 

Sincerely  Loretta  Young 65 

Living  Legend  (Hugh  O'Brian) by  Jerry  Asher  66 

Heart's  Haven  (Sandy  Becker) by  Mary  Temple  67 

Hooray  for  Gene  Autry! 68 

Cheers  for  the  Queen  (Queen  For  A  Day) 69 

The  Guiding  Light    (short  short  from  your  favorite  radio  daytime 

drama)  70 

Four  Star  Triple  Threat  (Dick  Powell) by  Bud  Goode  72 


FEATURES  IN  FULL  COLOR 

TV  Radio  Mirror  Award  Winners,  1955-56 31 

Loyal  and  True  (Jan  Miner  and  Terry  O'Sullivan) by  Gladys  Hall  38 

Always  for  the  Home  Team  (The  Nelsons) by  Dee  Phillips  40 

Search  For  Tomorrow   (short  short  from  your  favorite  TV  daytime 

drama)  42 


YOUR  SPECIAL  SERVICES 

What's    New 12B 

New  Patterns  for  You  (smart  wardrobe  suggestions) 13 

Information    Booth 26 

New  Designs  for  Living  (needlework  and  transfer  patterns) 28 

Inside  Radio  (program  listings) 80 

TV  Program  Highlights 82 


BUY    YOUR    JUNE    ISSUE    EARLY     •     ON    SALE    MAY    8 


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by  Art  Color  Printing  Company. 

Member  of   the   TRUE   STORY   Women's    Group 


Richard  Hudnut  3-month  test  proves 


NEW  PIN-QUICK  OUTLASTS 
ANY  OTHER  PINCURL  PERMANENT 


3  MONTHS  AGO 

"I  loved  my  new  Pin-Quick  wave  from  the  first  minute," 
says  pretty  model  Bonnie  Davies.  "Pin-Quick's  so  easy," 
Bonnie  goes  on,  "it's  as  simple  as  setting  your  hair.  And 
I  dried  it  with  a  dryer  in  just  minutes!"  (Note  lovely 
lanolin  shine  in  Bonnie's  soft  Pin-Quick  curls.) 


TODAY 

"Would  you  believe  it?"  asks  Bonnie.  "After  all  this  time 
and  repeated  shampoos,  my  Pin-Quick  wave  still  gives  me 
all  the  soft,  casual  curls  I  love.  This  pincurl  permanent  is 
really  permanent ! "  That's  because  the  Magic  Curl-Control 
in  Pin-Quick  locks  in  curls  till  you  cut  them  off. 


Richard  Hudnut  guarantees 

Pin-Quick  to  last  longer 

than  any  other  pincurl  permanent 

D3CK     !  I    PLUS   TAX 


N  EW 


U>m-Quick 

HHk.  ^nolized 

#tmi  P'N.CURL 

»M(*r»«{  Permanent 


or  your  money 


■■^^^^^■■M 


An  aspiring  actor  from  Kansas  City 
found  real  drama  in  world  news 


WfS 


W 


FAVORITE  TV  NEWS  COMMENTATOR 

A  winner  in  every  way,  John's  received  laurels  from  stylists, 
speech  institutes  and  news  experts — all  crazy  for  Swayze! 


Sightseeing  is  a  family  affair.    "Tuffie,"  Suzanne, 
John,  Jr.  and  John  vacationed  with  the  TV  camera. 


TOGETHER    WITH   SWAYZE 


The  year  was  1929,  when  a  young  man,  fresh  out  of  the 
University  of  Kansas,  set  out  to  crash  Broadway.  His 
hopes  ran  high — he  could  visualize  his  name  splashed 
across  the  marquees — John  Cameron  Swayze.  But  the 
year  was  1929 — a  year  when  sheer  enthusiasm  couldn't 
stop  the  reality  of  impending  disaster — a  year  that  dark- 
ened the  world  of  the  footlights.  An  event,  quite  beyond 
his  control,  had  changed  the  course  of  his  life.  Perhaps  it 
is  no  accident,  then,  that  today  John  Cameron  Swayze  is 
not  only  vitally  concerned  with  current  events,  but  brings 
it  to  a  vast  television  audience  in  a  personal  and  vivid 
style,  revealing  a  man  who  believes  in  his  work. 

The  name,  John  Cameron  Swayze,  is  one  of  the  most 
colorful  on  TV  and  one  of  the  most  respected.  But  it  was 
a  thoroughly  stage-struck  youth  at  the  University  of 
Kansas  who  took  elocution  lessons  to  cultivate  that  dis- 
tinguished speaking  voice.  John  was  impatient  with  col- 
lege drama,  so  he  bought  a  one-way  ticket  to  Broadway. 

Making  the  rounds  of  theatrical  producers'  offices,  John 
was  told  that  he  was  "too  green."  So  he  enrolled  in  a 
drama  school  and  began  to  feel  not-so-green — then  the 
Wall  Street  Stock  Market  crashed  and  swept  the  theater 
out  of  existence.  However,  a  bright  spot  shone  in  the 
person  of  Beulah  Mae  Estes  of  Little  Rock,  Arkansas,  a 
fellow  student.  Together,  they  pondered  their  theatrical 
future.  Actually,  their  future  was  to  be  an  exceedingly 
happy  one.  But  for  the  present,  John  and  Beulah  went 
separate  ways  back  home. 

In  Kansas  City,  John  joined  the  Journal  Post.  When 
that  paper  arranged  with  Station  KMBC  to  broadcast 
news  bulletins,  the  new  cub  reporter  was  tapped  for  the 
job — and  a  fifteen-dollar  raise.  John  lost  not  time  in 
calling  Beulah  Mae  Estes  and  changing  her  legal  name 
to  Mrs.  John  Cameron  Swayze.  To  John,  she  is  "Tuffie." 

In  1947,  NBC's  head  office  in  New  York  called  John 
to  work.   The  next  year  was  a  presidential  election  year. 


Television  was  new  on  the  communications  horizon.  (A 
little  known  fact  is  that  John  is  a  pioneering  TV  man — 
he  had  experimented  with  the  medium  in  Kansas  City, 
in  1933!)  Now,  NBC  had  a  new  man  they  felt  should  be 
seen  as  well  as  heard.  John  marked  a  television  milestone 
at  the  Philadelphia  conventions. 

The  Swayze  bandwagon  boomed.  Now,  let  him  drop 
the  familiar  News  Caravan  sign-off — "Well,  that's  the 
news,  folks.  Glad  we  could  get  together" — and  NBC  is 
stormed  with  complaints.  Recently,  a  mother  wrote  in  to 
tell  John  her  small  son  was  ending  his  prayers:  "Well, 
that's  the  story,  Lord.  Glad  we  could  get  together.  Amen." 

The  Swayzes  are  now  Connecticut  Yankees — from 
Greenwich.  John  and  "Tuffie"  have  two  children:  John 
Cameron,  Jr.,  22,  a  Harvard  man,  presently  serving  his 
country  in  Germany,  and  Suzanne,  19,  who  attends 
Wellesley  College.  The  family's  favorite  pastime  is  travel. 
In  fact,  they  have  shared  their  transcontinental  jaunts 
with  televiewers  on  Sightseeing  With  The  Swayzes.  John 
also  appeared  on  the  first  successful  TV  quiz  program, 
Who  Said  That?  All  eyes  turned  to  him  when  no  one 
else  could  identify  the  quotations  of  news  figures.  The 
newscaster  himself  cuts  quite  a  handsome  figure  and  is 
often  on  ten-best-dressed-men  lists. 

John's  style  is  naturally  casual  and  warm.  One  evening, 
on  News  Caravan,  he  introduced  Dr.  Ralph  Bunche — and 
instead  switched  to  Chicago.  Right  before  the  camera's 
eye,  John  quipped,  "That,  ladies  and  gentlemen,  is  an 
example  of  the  human  element  in  television."  The  human 
element  in  television  is  a  winning  and  knowledgeable  ap- 
proach, a  whimsical  smile,  a  superb  speaking  voice — 
that,  ladies  and  gentlemen,  is  John  Cameron  Swayze. 

John  Cameron  Swayze  is  heard  on  News  Caravan,  NBC-TV,  M-F,  7:45 
P.M.  EST,  sponsored  by  R.  J.  Reynolds  Tobacco  Company  (Camel 
Cigarettes)    and   the   Plymouth    Division    of    Chrysler    Corporation. 


NOT-SO-LONESOME  GEORGE   SAYS 


"you  don't  hardly  get 

movies  like  this  no  more... 


11 


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"I'm  right  in  the 

middle  of  a  great  big 

movie,  romancin'  that 

'Anything  Goes  gal' 

Mitzi  Oaynor  , . , 

and  there's  singin' 

and  dancin'  and 

there  you  are..." 


the  birds*"3 


the 


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Jaw, 


FAVORITE  TV  CHILDREN'S  PROGRAM 

Songs  beget  smiles  in  all  of  Doodyville — from  Maine  to 
California — as  chorused  by  Heidi,  Howdy,  Buffalo  Bob. 


In  the  ever-ever  land  of  Doodyville 

there's  mystery  and  deviltry, 

fun  and  fantasy — and  Buffalo  Bob 


Iittle  Judy  and  her  littler  brother  Bobby  whizzed 
■  through  the  canyons  of  Manhattan  in  "Mummy's" 
power  steered,  push-button  horseless  carriage.  They 
"whoaed"  to  a  power-braking  halt  in  front  of  one  of 
thosfe  skyscraping  peaks  and  the  doorman  offered 
to  post  their  "carriage."   Judy  jumped  out,  her  pink 
dress  bobbing  over  three  crinoline  petticoats  while 
all  three-feet,  six-inches  of  Bobby  hurtled  to  the 
sidewalk,  looking  distinguished  in  his  grey  flannel  suit 
and  pink  shirt.   "Mummy"  thanked  the  doorman. 
They   dashed  toward  the   elevator — Judy   all   agog, 
Bobby's  eyes  popping,  and  "Mummy"  quite  breathless. 
"Where  to?"  asked  the  elevator  man.    And  the 
mountain  trembled  as  Judy  and  Bobby  screeched 
in  unison,  "To  Doooodyville!" 

After  a  moment,  the  elevator  man  recovered, 
pushed  a  button,  and  said,  "Up  and  awayyyy!" 
Judy  bubbled  and  her  blond  hair  bobbled  as  she 
blurted  in  sing-song   crescendo-vivace,   "And  we're 
gonna  see  Dilly  Dally  and  Phineas  T.  Bluster  and 
Windy  Scuttlebut  and  the  Flubadub  and  Mambo,  the 
dancing  elephant,  and  Tizzy,  the  dinosaur,  and  the 
Bloop  and  Hyde  and  Zeke,  the  tiny  bears,  and 
Heidi  Doody  and  .  .  ."    Bobby  was  mouthing  his 
sister's  every  word,  couldn't  contain  himself,  and 
picked  up  from  there  with  ".  .,.  and  Clarabell  and 
Chief  Thunderthud  and  Mr.  Cobb  and  the  Story 
Princess  who  does  the  greatest  magic  and  old  Oil 
Well  Willie  and  Dr.  Singasong  and  Sandy  McTavish 
and  Professor  Fitznoodle  and  .  .  ."  Judy  was  see- 
sawing up  and  down  as  her  brother  spoke.   Then, 
they  drew  a  deep  breath,  pressed  their  noses  together 
and  whooped,  ".  .  .  and  Buffffalo  Bob — and 
Howdy  Doooody!" 

The  elevator  came  to  a  halt  (Continued  on  page  12) 

The  Howdy  Doody  Show  is  seen  in  both  color  and  black-and-white 
over  NBC-TV,  M-F,  5:30  P.M.  EST,  under  multiple  sponsorship. 


HOWDY, 
PARDNER! 


Music  is  in  the  air  in  New  Rochelle,  as  well,  where  Bob  Smith 
finds  inspirational  warmth  for  his  show,  with  his  lovely  wife 
Mildred,  his  constant  source  of  courage  when  he  needed  it. 


SPARKIE'S 
BIG   PAL 

Jon  Arthur  is  a  one-man  crowd 
who  speaks  for  a  cast  of  characters 
as  alive  as  your  imagination 


Jon's  not  a  father  who  arrives  "after  the  day's  problems 
are  solved."  His  and  Rosalie's  "problems"  are  teen-size  for 
Kathy  and  Lloyd,  tot-size  for  Debbie,  baby-size  for  Danny. 


FAVORITE  RADIO  CHILDREN'S  PROGRAM 

Jon  Arthur  thinks  someday  Sparkie  might  grow  up  to  be 
a  real  boy.  After  all,  an  ad  lib  became  an  Award  winner. 


There  was  school  that  day  at  the  home  of  No 
School  Today — the  Saturday  celebration  which 
has  won  its  third  Award  as  your  favorite  radio 
children's  program.   But  only  two  of  the  Arthur  clan 
were  off  learning  their  three  R's.  Four  others  were 
either  too  young  or  too  old  for  pencils,  books 
and  teachers'  looks.  .  .  .  Big  Jon  Arthur  may  be  a 
bachelor  on  Saturday  mornings.    At  all  other 
times,  he  heads  a  household  of  two  adults,  four 
youngsters,  one  puppet-elf  who  wants  nothing  more 
than  to  be  a  real  little  boy,  one  imaginary  cat, 
one  real  dog,  a  collection  of  imaginary  characters 
for  whom  Jon  speaks — and  an  imaginary  little  boy 
named  Dickie  for  whom  young  Debbie  speaks. 

Fortunately,  the  Connecticut  house  is  spacious 
enough  to  accommodate  all  (Continued  on  page  85) 

No  School  Today  is  heard  over  ABC  Radio,  Sat.,  from  9  to  10:30 
A.M.  EST  (over  Station  WABC,  New  York,  from  12:30  to  1  P.M.). 


Producer  Bill   Mahoney,   often  called 
"the  invisible  leprechaun,"  cues  Jon. 


Books  are  a  passport  to  make-believe 
for  Jon,   Debbie  and   their  elfin   pal. 


Rosalie    helps    answer   the   fan    mail, 
has   "endless  cups  of  coffee"   ready. 


HE    SCORES   AGAI 


Bill  Stern  rates  tops  in  radio 
sportscasting  for  the  lucky  seventh  time! 


FAVORITE  RADIO  SPORTSCASTER 

Champion  of  the  men  in  the  playing  field,  Bill  Stern  is  him- 
self a  fine  champ  who  catches  sports  drama  and  hits  home. 


Behind  every  event,  there  is  the  man.   Behind 
every  man,  there  is  drama.  No  one  knows 
this  better  than  sportscaster  Bill  Stern.    When 
the  crowd  at  the  ball  park  roars  for  the  man 
who  broke  the  tie,  or  boos  him  ten  minutes 
later  for  dropping  the  ball,  it's  Bill  who's  always 
in  there  rooting  for  the  man  himself.    The 
moments  of  a  home -run  or  touchdown  are 
fleeting.   Bill  keeps  his  eye  on  the  stuff  that 
makes  sportsmen  .  .  .  there's  the  clue  to  this  man. 

It  took  heart  and  courage  for  Bill  to  begin 
a  radio  career  again,  after  having  beaten  death 
itself.  Tragedy  struck  him  in  the  fall  of  1935. 
He  was  driving  back  to  New  York  after 
broadcasting  the  grid  games  of  Centenary  College 
in  Shreveport,  Louisiana,  when  an  automobile 
accident  necessitated  amputation  of  a  leg.   This 
was  a  crushing  blow  for  a  man  who  had  been 
so  active — but  it  proved  only  to  have  nourished 
Bill's  gift  for  human  interest. 

Most  Wednesday  nights  will  find  Bill  at  one 
of  the  veterans'  hospitals  with  a  troupe  of 
show-people  or  sports  figures,  entertaining  these 
men— many  of  them  "forgotten  men."    Once, 
on  a  stifling  hot  summer's  day,  the  air  condi- 
tioners in  the  rooms  of  a  New  York  hospital 
weren't  plugged  in  and  the  men  were  literally 
suffocating.     It  was  Bill,  himself,  who  went 
around  to  every  room  in  the  hospital  plugging 
the  air  conditioners  into  their  outlets.  His  friends 
at  the  hospital  won't  soon  forget  him. 

Born  in  Rochester,  New  York,  Bill  attended 
Hackley  Prep,  but  not  for  long.   It  seems  he 
sneaked  off  campus  one  day  to  catch  a  certain 
Ruby  Stevens  who  was  appearing  in  a  local 
show.    This  was  a  decided  infringement  of  the 
rules,  but  Bill  was  willing  to  risk  it.  He  took  the 
consequences — but  to  (Continued  on  page  10) 

Sports  Today  With  Bill  Stern  is  heard  on  ABC  Radio,  M-F, 
6 :30  P.M.  EST  ( Station  WABC,  New  York,  at  6 :45 ) ,  under 
alternate  sponsorship  of  the  Allstate  Insurance  Company. 


Ring  king  Rocky  Marciano  gives  the  lowdown  on  the 
art  of  fisticuffs  to   Bill,   who   is   his  ardent  rooter. 


T 

Bill  makes  a  point  to  Fred  Haney,  Milwaukee  Braves'  coach, 
as  Chuck  Dressen,  Washington  Senators'  manager,  tunes  in. 


8 


For  1  Lucky  Woman  in  400-  6U,  Crfctks  "TWlcC  U/UOMO ^WHs  TrOW/fr/todC / 

*>        if/ 


"The  Birds 
and  the  Bees 
Blouse 


In 


Disciplined  Mist  Lawn 

>00 


^J-U         original  for  only     «^  "v^ 


and  2  Dial  Soap  wrappers. 


inspired  by  "The  Birds  and  the  Bees" 

A  Paramount  Picture  in  VistaVision.  Color 
by  Technicolor— Starring  George  Gobel 
in  his  motion  picture  debut 


magine  you  wearing  an 
original  creation  by  Holly- 
* --^T 'v"L_  wood's  most  applauded  de- 
signer, Edith  Head!  That's  your  opportunity, 
just  for  using  Dial  Soap.  Made  of  Bates  Disci- 
plined Mist  Lawn*  (finest  quality  cotton), 
your  blouse  comes  in  Chalk  White  printed  in 
the  most  wanted  colors  for  Spring — Avocado 
Green  and  Azalea  Pink.  A  bargain  at  $10.00, 
it's  yours  for  only  $3.00  and  2  Dial  wrappers ! 
But  only  one  lucky  woman  in  400  can 
own  this  exclusive  blouse  because  the  supply 
is  very  limited.  Get  mild,  fragrant  Dial  Soap 
— regular  or  bath  size — and  send  for  your 
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*Registered  Bates  cotton  that  washes  easily,  dries 
quickly,  never  needs  starch,  irons  smooth  with  a 
stroke,  shrinkage  controlled. 


Aren't  you  glad 
you  use  Dial  Soap? 

(don't  you  wish  everybody  did!) 


CLIP  AND  MAIL  THIS  HANDY  ORDER  BLANK  TODAY 

address  Dial,  P.  O.  Box  5707,  Chicago  80,  Illinois 

Send  me blouses.    I  enclose  §3.00,  check    D   cash    □   money  order    □,   and  2  DIAL 

SOAP  wrappers,  either  regular  or  bath  size,  for  each  blouse  ordered.    I  have  circled 
correct  size  below.    (Please  print  plainly.) 

Na  m  e 

Address 

City 


.Zone 


.State- 


CIRCLE  size: 


Small  (30-32) 


Medium  (34-36) 


Large  (38-40) 


We  pay  the  postage!  Offer  void  where  taxed,  prohibited,  restricted, 
or  license  is  required.  Allow  up  to  5  weeks  for  delivery.  Offer 
expires  June  30,  1950.  Refund  guaranteed  wheu  supply  is  exhausted. 


1 


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He  Scores  Again 

(Continued  jrom  page  8) 
tell  the  truth — there  were  no  regrets.  Bill 
had  made  a  lifelong  friend,  who  is  known 
today  as  Barbara  Stanwyck. 

At  Penn  Military  College,  Bill  learned 
the  art  of  self-discipline  and  played  foot- 
ball, basketball  and  polo.  He  was  also  the 
leader  of  the  college  orchestra  and  played 
a  mean  saxophone.  "That  combo,  wow!" 
Bill  laughs.  They  played  countless  "de- 
mand performances,"  he  recalls,  but  "the 
demand  was  our  own — no  one  else's!"  So 
they  took  to  the  high  seas  in  1929.  "We 
decided  to  make  a  summer  trip  to  Europe. 
First  night  out,  we  played  for  the  first  class 
passengers,  second  night  for  the  second 
class  travelers  and  the  third  night  for 
ourselves." 

In  1930,  Bill  decided  to  try  his  hand  in 
Hollywood.  And  that's  exactly  what  he 
did — digging  postholes  at  five  dollars  a 
week,  on  the  RKO  lot.  These  labors  lasted 
for  three  days.  But  Bill  made  a  friend — 
Sam  Rothafel — the  great  Roxy.  When  Bill 
headed  back  to  New  York,  he  took  a  job  as 
usher  in  Rothafel's  Roxy  Theater.  Bill's 
practical  jokes  amused  the  great  showman 
and,  in  time,  Bill  became  stage  manager. 

But  the  radio  bug  bit  Bill  in  early  1934. 
"I  started  pestering  John  Royal,  a  radio 
exec  at  NBC,  for  a  sportscasting  job.  He 
got  so  sick  and  tired  of  me  bothering  him 
that  he  told  the  great  Graham  McNamee 
to  'take  this  fresh  kid  to  the  Navy- William 
and  Mary  football  game  and  let  him  do  a 
two-minute  bit  that  will  end  his  career.'  " 
Knowing  Bill,  it  is  no  surprise  that  these 
two  men  were  later  to  become  his  most 
loyal  boosters.  McNamee,  says  Bill,  saw 
to  it  that  he  got  every  break.  His  work 
with  him  won  Bill  a  steady  job  on  NBC. 
The  new  sportscaster,  anxious  for  success, 
had  his  friends  wire  Royal  that  they 
thought  "Stern  was  the  best  ever."  Royal 
promptly  fired  him. 

The  next  year,  when  the  tragic  automo- 
bile accident  occurred,  it  was  John  Roya! 
who  came  to  visit  Bill,  to  give  him  en- 
couragement and  offer  him  another  an- 
nouncing job.  The  rest  is  history,  marking 
the  rise  of  a  seven-time  gold  medal  winner. 
Bill  Stern  is  no  armchair  sportsman. 
He  takes  his  Thunderbird  "anyplace 
there's  a  race."  Another  familiar  sight  is 
Bill  racing  about  on  his  motorcycle — nor 
is  he  a  stranger  on  the  golf  links. 

Bill  Stern's  association  with  sports 
figures  has  given  him  an  intimate  appre- 
ciation and  admiration  of  their  qualities. 
He  says  of  golfers,  "They're  the  finest  type 
of  people — ladies  and  gentlemen.  Anyone 
associated  with  the  sport  develops  a  sense 
of  refinement."  As  for  tennis  enthusiasts, 
he  says,  "They've  got  breeding.  The  very 
demands  of  the  game  call  for  politeness 
and  fine  behavior."  Football  players? 
"They're  a  good  lot.  Those  kids  went  to 
war.  They  have  confidence  and  manliness." 
And  baseball  figures?  "They  haven't 
had  the  advantages  to  gain  suaveness.  But 
you'll  never  meet  a  greater  bunch  of  reg- 
ular guys."  Of  the  men  in  the  ring,  Bill 
says,  "The  greatest  of  them — the  Demp- 
seys,  the  Tunneys,  the  Rosses,  the  Joe 
Louises,  were  hungry  fighters.  They  were 
fighting  for  a  cause  .  .  .  great  champs  and 
greater  men." 

Then  Bill  speaks  of  Joe  Louis,  "the  finest 
man  in  sports  I've  ever  known.  I've  seen 
him  emerge  as  a  poor,  yes,  illiterate  boy, 
into  a  man  of  incomparable  distinction. 
Joe  never  has  knocked  a  man.  He  is  a 
complete  gentleman — a  gentleman  by  in- 
stinct." It  takes  a  gentleman  like  Bill 
Stern  to  recognize  what's  behind  a  man — 
it's  this  very  ability  that  makes  him  a 
winner. 


For  the  figure  of  your  fondest  day-dreams — Maidenform's  lovely  new  Concerto*  gives  you  curves  that  are  more 
curvaceous,  brings  an  exciting  line  to  your  outline!  And  it's  all  accomplished  with  row 
upon  row  of  tiny,  interlocked  stitches!  Each  stitch  catches  up  an  inner  cup-lining,  pre-shapes  this  bra  just  enough 
to  mould  a  fabulous  form!  In  white  stitched  broadcloth,  lace-margined.  AA,  A,  B  and  C  cups . . .  2.00 


*reg.  u.  s.  pat.  off. 


©19?6  MAIDEN   FORM    BRASSIERE  CO.,   INC. 


m 


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Cream 
or  Lotion 


"Yes,  I  use  Lustre-Creme 
Shampoo,"  says  Dana  Wynter. 
It's  the  favorite  of  4  out  of  5 
top  Hollywood  movie  stars! 

It  never  dries  your  hair!  Lustre- 
Creme  Shampoo  is  blessed  with 
lanolin  .  .  .  foams  into  rich  lather, 
even  in  hardest  water  .  .  .  leaves 
hair  so  easy  to  manage. 

It  beautifies!  For  soft,  bright,  fra- 
grantly clean  hair — without  special 
after-rinses — choose  the  shampoo  of 
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Use  the  favorite  of  Hollywood  movie 
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12 


Dcu^il 


.tarringin"THE  SIXTH  OF  JUNE" 

A  '20th  Century-Fox  Production.  In  CinemaScope.  Color  by  DeLuxe, 


Howdy,  Pardner! 


(Continued  from  page  6). 
and  the  door  opened.  "Mummy"  found 
the  nearest  seat.  Bobby  and  Judy  immedi- 
ately found  Doodyville — the  pet  shop  with 
live  animals,  the  general  store  with  well- 
stocked  cracker  barrels  and  candy  jars, 
the  Doodyville  Bugle  office,  the  Hatch  a 
Hutch  Indian  room,  the  Doodyville  harbor 
and  park  where  Clarabell  was  meander- 
ing in  his  Clarabus. 

By  this  time,  Doodyville  was  well-pop- 
ulated with  visitors  who  were  ogling  the 
trick  walls  that  appear  and  disappear. 
Then,  Buffalo  Bob  came  along,  looking 
very  dashing  in  his  vivid  blue  pioneer 
outfit.  The  Lollypop  set  swarmed  about 
him,  chorusing,  "Howdy  Doody,  Bob," 
Their  hero  never  totes  a  gun,  rides  a  horse 
or  engages  in  fisticuffs.  He  flashed  his 
familiar,  warm  smile,  clasped  extended 
hands  and  said,  "Howdy,  Pardners!" 

Bob  counted  his  pals  to  make  sure  there 
would  be  room  for  all  of  them  in  the 
Peanut  Gallery.  For  Bob  Smith,  each 
is  as  adored  as  his  sons,  Robin,  almost 
14,  Ronnie,  12,  and  baby  Christopher,  one 
and  a  half.  Perhaps  Bob  appreciates,  more 
than  most,  the  people  close  to  him. 

Less  than  two  years  ago,  Bob  Smith  was 
in  danger  of  losing  his  life  from  a  heart 
attack.  His  life  had  been  ideal.  His 
lovely  wife,  Mildred  Metz  Smith,  was  a 
constant  source  of  strength.  Their  New 
Rochelle  home  was  something  of  a  dream 
house.  What  wonderful  times  they  shared 
there — those  jam  sessions  with  Bob  at 
the  piano  and  Ronnie  and  Robin  at  the 
clarinet  and  trumpet. 

When  Bob  recovered  and  went  back  to 
work,  gone  was  the  tension  and  irritability 
he  had  been  feeling  for  so  long.  He  re- 
laxed— opened  his  heart  and  mind  to  the 
things  around  him — no  longer  had  that 
fidgety    feeling   at   show    time. 

Judy  and  Bobby  and  all  the  other  mop- 
pets mobbed  the  Peanut  Gallery  at  Buf- 
falo Bob's  suggestion.  He  sat  informally 
against  the  Gallery,  frolicking  with  the 
youngsters.  Then  he  asked,  "What  time 
is  it?"  And  the  youngsters  chorused,  "It's 
Howdy  Doody  Time,  it's  Howdy  Doody 
Time.  .  .  ." 

It  was  really  the  little  ones  who  had 
named  the  show.  The  freckle-faced  pup- 
pet debuted  on  ,TV  in  1947,  when  the  pro- 
gram was  called  Puppet  Playhouse  Pre- 
sents. Bob  Smith  was  then  known  as 
"Elmer,"  who  always  greeted  the  chil- 
dren with,  "Well,  Howdy  Doody,  kids." 
The  mail  came  pouring  in  addressed  to 
"Howdy  Doody" — and  so  the  show's  name 
was  born.  And  when  the  1948  elections 
came  around,  millions  of  youngsters 
boosted  "Howdy  for  President." 

All  the  Judys  and  Bobbys  sat  trans- 
fixed as  the  perpetually  ten-year-old 
Howdy  Doody  entered,  spearheading  a 
safety  campaign,  telling  of  informative 
places  to  visit  and  causing  thumbs  to  fall 
out  of  mouths  as  he  lectured  on  good 
manners.  Doodyville's  official  greeter 
made  all  welcome  to  his  unique  town. 
And  though,  over  the  years,  it  grows 
larger — Howdy  remains  his  modest,  lov- 
able self.  His  new  friend  from  Africa, 
flaxen-haired  Heidi,  joined  him  and  they 
spoke  of  her  long  trek  to  America.  She, 
too,  feels  very  much  part  of  Doodyville. 

Judy  and  Bobby,  in  the  vibrating  Pea- 
nut Gallery,  may  not  have  been  aware  of 
it,  but  their  visit  to  Doodyville  had  been 
televised — in  color,  too!  On  their  way 
down  the  push-button  elevator,  they  were 
only  aware  that  they'd  been  to  Paradise, 
Eden  and  Mecca  all  at  once — an  ever- 
ever  land,  where  people  and  animals  and 
even  puppets  live  so  very  happily,  in  a 
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13 


FAVORITE  RADIO  NEWS  COMMENTATOR 

Newscaster,  author,  lecturer  and  world  traveler, 
Lowell  Thomas  looked  "beyond  that  horizon," 
found  adventure,  fame — and  four  gold   medals. 


14 


ADVENTURE 
CALLING 

The  world  is  his  beat,  but 
Lowell  Thomas's  greatest  story 
is  that  of  his  own  life 


Wife  Frances  is  Lowell's  companion  at  their  home 
in  Pawling  or  on  trips  to  remote  parts  of  the  world. 


Also  a  globetrotter,  Lowell  Jr.  poses  with  his  father  and 
Tibetan   nobles  at  the  fabulous   Dalai   Lama's   palace. 


Lowell  Thomas  is  by  way  of  being  an  institution — 
but  one  with  windows  that  open  wide  on  the 
world.  He  has  been  on  radio  for  more  than  three 
decades,  and  his  current  news  program  has  been 
heard  at  its  same  time  ever  since  September  29,  1930. 
This  makes  the  longest  continuous  run  of  any 
news  program.  It's  also  the  longevity  record  for  all 
programs,    of   all   types,   in   the   history    of   network 
broadcasting.  But  Mr.  Thomas  himself  is  more 
interested  in  height  than  in  length. 

"High"  is  how  Lowell  Thomas  likes  his  adventure — 
and  the  taller  some  of  his  stories  sound,  the  truer 
they  are.  The  trail  to  his  fourth  gold -medal 
Award  in  TV  Radio  Mirror's  polls  began,   ap- 
propriately enough,  in  a  gold-mining  town  on  a  peak 
high  in  the  Rockies,  some  10,000  feet  above  sea 
level — which,  as  he  says,  "is  much  higher  than  most 
people  live."  Lhasa,  Tibet,  is  one  of  the  few  places 
in  the  world  that  matches  that  rarefied  altitude. 

There  were  no  high  mountains,  but  the  corn  grew 
tall  in  Ohio,  where  Lowell  was  born.  Both  his 
parents  were  country-school  teachers  who  placed 
great  stress  on  correct  speech  for  the  broadcaster- 
to-be  and  also  gave  the  future  (Continued  on  page  24) 

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15 


Nothing   could   be  finer  than  that   Dinah   Shore 
will  star  in  a  music-variety  gala  on  Chevy  Show. 


Chicago's  Station  WNBQ  is  the  first  to  convert  to  all-color — 
compatible,  of  course.  Singer  Mike  Douglas,  Jules  Herbuveaux, 
NBC  veep  and  WNBQ  general  manager,  music  conductor  Joseph 
Gallicchio  and  songstress  Nancy  Wright  examine  a  new  set  model. 


By  JILL  WARREN 


18 


Spring  finds  the  networks  blossoming 
out  with  plans  for  good  sights  and 
sounds. 

Judy  Garland  is  doing  a  special 
half-hour  for  General  Electric  Theater 
on  Sunday  night,  April  8,  over  CBS -TV. 
Though  most  of  these  shows  are  on 
film,  Judy's  stint  will  be  live,  originat- 
ing in  Hollywood.  The  program  will 
be  mostly  musical,  though  G-E  is  also 
planning  an  extra  salute  to  the  whole 
electrical  industry  on  this  night. 

Another  popular  song  lady,  Dinah 
Shore,  will  star  on  The  Chevy  Show, 
on  NBC-TV,  Tuesday  night,  April  10. 
The  format  will  be  musical-variety 
with  Marge  and  Gower  Champion  as 
the  featured  performers.  This  is  the 
second  big  hour  wingding  for  Dinah 
this  season.  Dinah's  auto  sponsors  are 
in  very  high  gear  about  the  rave  re- 
views she  got  for  the  show  she  did  with 
Perry  Como  a  few  months  ago. 

CBS  Radio  Workshop  will  brave 
Friday,  April  13,  with  a  dramatic  adap- 
tation of  "Jacob's  Hand,"  a  new  orig- 
inal story  by  Aldous  Huxley  and 
Christopher  Isherwood,  with  Huxley 


himself  doing  the  narration.  Huxley 
won  critical  kudos  several  weeks  ago 
for  his  first  narration  job  on  this  pro- 
gram on  "Brave  New  World." 

And  the  same  network  will  try  an 
interesting  casting  combination  on  tel- 
evision when  it  teams  Orson  Welles 
and  Betty  Grable  in  "Twentieth  Cen- 
tury," the  Ben  Hecht  and  Charles 
MacArthur  play  to  be  seen  Saturday 
night,  April  7,  on  Ford  Star  Jubilee. 

The  Alcoa  Hour  has  planned  a  spe- 
cial starring  vehicle  for  Gertrude  Berg 
for  their  April  29  show.  It's  an  orig- 
inal play,  "Paris  and  Mrs.  Perlman," 
in  which  Gertrude  plays  a  widow  who 
gets  tangled  up  with  a  French  gigolo. 
It's  a  comedy,  but  definitely,  and 
sounds  like  just  the  ticket  for  the  tal- 
ented "Mrs.  Goldberg." 

An  American's  visit  to  Europe  will 
also  be  the  theme  of  Producers'  Show- 
case on  Monday  night,  April  30,  on 
NBC-TV.  There's  more  drama  than 
comedy  involved  here,  though,  for  this 
will  be  a  video  version  of  "Dodsworth," 
one  of  Sinclair  Lewis's  finest  novels. 

Maurice    Evans    will    produce    and 


direct  "Cradle  Song"  for  the  Hallmark 
show  on  Sunday,  May  6,  on  NBC-TV. 
And  what  a  cast,  even  for  a  television 
special — Helen  Hayes,  Judith  Ander- 
son, Susan  Strasberg,  and  the  Irish 
star,  Siobhan  McKenna.  This  should 
prove  to  be  ninety  minutes  of  drama 
at  its  best. 

Tony  Martin  lost  his  sponsor  for  his 
NBC -TV  show  on  Monday  nights,  and 
the  network  has  filled  the  time  with 
Gordon  MacRae  and  a  new  client. 
Gordon  is  very  happy  with  his  new 
quarter -hour  program  because  it's  the 
first  time  he's  had  a  regular  show  since 
the  popular  Railroad  Hour  went  off 
the  air  several  seasons  ago.  Of  course, 
in  the  meantime  MacRae  has  become  a 
top  movie  star  via  his  "Oklahoma"  and 
"Carousel"  films. 

Imogene  Coca  will  be  the  star  on 
the  United  States  Steel  Hour  on  Wed- 
nesday night,  April  11,  on  CBS-TV. 
Imogene  is  doing  "Funny  Heart,"  a 
new  play  by  Mel  Goldberg,  in  which 
she  plays  a  dramatic  role,  with  no 
music.  With  the  exception  of  an  oc- 
casional skit,  this  will  mark  the  first 


Weekend  with  a   star  was  the  prize  for   Mr.   and   Mrs.  James  Wyss   in   our 
recent  contest.  They  visited  Hollywood  as  maestro  Lawrence  Welk's  guests. 


time  on  TV  that  the  comedienne  has 
done  a  straight  play,  and  the  rehearsal 
rumors  have  it  that  she's  excellent  do- 
ing the  serious  stuff. 

ABC-TV  has  a  brand-new  addition 
to  their  Monday-night  network  sched- 
ule which  should  please  the  movie 
fans.  It's  a  new  Film  Festival  series, 
which  will  run  for  two  hours,  with  a 
different  picture  each  week.  ABC  has 
purchased  some  one  hundred  and  thir- 
ty-five top  British  films  from  J.  Arthur 
Rank,  so  now  is  your  chance  to  catch 
up  with  some  of  those  good  English 
movies  you  missed.  The  Dotty  Mack 
Show  and  Medical  Horizons  have  been 
moved  to  other  time  periods. 

The  Stuart  Foster  Show,  which  was 
announced  as  a  definite  new  program 
on  the  CBS  Radio  schedule,  has  been 
temporarily  postponed.  The  network 
was  unable  to  find  a  suitable  time  spot 
for  it. 

Comedienne  Joan  Davis  has  already 
begun  film  production  in  Hollywood 
on  her  new  situation-comedy  TV  se- 
ries, set  for  this  fall  on  ABC.  The  show 
is  yet  untitled,  but  Joan  will  play  a 


grandmother   who    also   has   a   career. 

This  'n'  That: 

It's  a  boy,  Jonathan,  for  Susan  Doug- 
las, who  plays  Kathy  on  The  Guiding 
Light,  and  her  husband,  concert  singer 
Jan  Rubes. 

Songstress  Joan  Edwards  and  her 
husband,  musician  Julius  Schacter, 
have  a  new  baby  girl  whom  they've 
named  Bonnie.  Their  small  fry  now 
total  four.  Joan  hopes  to  resume  her 
vocal  career  in  a  few  months. 

The  stork  delivered  a  double  pack- 
age to  Eileen  Palmer  of  the  21st  Pre- 
cinct program.  Eileen  was  surprised 
with  twins,  a  boy  and  a  girl.  She  is 
married  to  Frederick  J.  McMorrow, 
Long  Island  newspaperman. 

Night-club  comedian  Lee  Goodman 
has  been  making  quite  a  name  for  him- 
self doing  the  commercials  on  ABC's 
Ethel  And  Albert  TV-er.  The  hilari- 
ous antics  he  goes  through  to  sell  ce- 
real for  his  sponsor  have  proved  so 
amusing  that  Lee  may  be  the  star  of 
his  own  comedy  show  before  long. 

Famous    Evangelist    Billy    Graham 


may  soon  make  his  television  acting 
debut  in  the  dramatic  version  of  "Devil 
at  My  Heels,"  which  is  in  the  works  at 
CBS.  This  is  the  autobiography  of 
the  Olympic  athletic  star,  Louis  Zam- 
perini,  just  published  by  E.  P.  Dutton 
and  Co.  Graham  figures  very  promi- 
nently in  Zamperini's  life  story. 

Gloria  De  Haven  was  offered  a  per- 
manent TV  deal  in  New  York,  but 
turned  it  down  in  favor  of  remaining 
in  Miami  Beach,  Florida,  to  be  near 
Richard  Fincher,  Florida  auto  dealer. 
Gloria  and  Fincher  have  announced 
they  plan  to  be  married  in  September. 

Frank  Sinatra  is  still  saying  no  to 
TV,  simply  because  he  doesn't  have  the 
time.  But  he  has  found  a  few  spare 
hours  to  launch  his  own  recording  out- 
fit, to  be  called  Tabb  Records. 

Video  actress  Lurene  Tuttle  and  her 
husband,  Fred  Cole,  sound  engineer, 
have  ended  it  all  via  the  divorce  court 
in  Los  Angeles,  after  five  years  of  mar- 
riage. Lurene,  who  plays  "Vinnie" 
in  the  Life  With  Father  series,  was  mar- 
ried at  one  time  to  the  well-known 
actor  and  an-  (Continued  on  page  22) 


17 


TWO 
FOR   ALL 

.  .  .  and  everyone's  for 
Roy  and  Dale,  who  reign 
as  king  and  queen 
of  the  Golden  Rule 


FAVORITE  TV  WESTERN   PROGRAM 

King  and  Queen  of  the  West,  Roy  Rogers  and  Dale  Evans,  mount 
their  famous  horses,  Trigger  and  Buttermilk,  then  alight  to  join  side- 
kick and  jester,  Pat  Brady,  with  canine  Bullet  barking  sweet  nothings. 


18 


The  king  of  the  West  is  no  figurehead.     The  laws  of 
his  kingdom  are  eternally  true.     This  regent's 
philosophy  is  one  by  which  he  lives  and  works.    Roy 
Rogers  is  no  part-time  king.  .  .  .  He  states  the  rules  of 
his  kingdom  simply,  "The  basic  thing  in  drama,  in 
history  and  in  life  is  the  conflict  between  good  and  evil. 
It  goes  on  inside  us  all  the  time  and  it  goes  on  outside 
us  all  the  time."    A  ruler  who  knows  the  Good  Book 
well,  Roy  continues,  "It  starts  in  the  Bible  with  Adam 
and  Eve  and  it  goes  on  .  .  ."  Roy  is  speaking  of  the 
challenges  he  meets  when  he  goes  into  action  on 
television  against  all  manner  of  evil.     But  it  might  also 
be  the  story  of  his  private  experience. 

Roy  can  recall  his  earliest  battle  with  an  insidious  evil 
— the  evil  of  poverty.     Born  in  Cincinnati,  Ohio,  he  was 
reared  on  a  little  farm  in  Duck  Run.     During  his 
grammar-school  days,  when  a  boy's  energy  should  be 
spent  on  the  pursuit  of  fun,  Roy  recalls  the  sweat  of 
labor  on  the  farm,  helping  his  father,  Andrew  Slye. 
His  knowledge  of  carpentry,  plumbing,  electrical  work 
and  farming — which  he  now  considers  hobbies — were 
once  the  responsibilities  of  a  small  boy.     Less  dire 
circumstances  have  caused  victimized  youth  to  tread 
the  wrong  path. 

As  he  matured,  Roy  knew  that  he  had  to  aim  high. 
He  decided  on  a  career  in  den-  (Continued  on  page  24) 

Roy  and  Dale  star  in  The  Roy  Rogers  Show,  NBC-TV,  6:30  P.M. 
EST,  as  sponsored  by  the  Post  Cereals  Division  of  General  Foods. 


The  "castle"  in  Chatsworth,  California,  houses  the  mu- 
sic-loving and  talented  royal  family — Dale  and  Dodie, 
Roy,  Cheryl,  Linda  Lou,  Sandy  and  Dusty — in  harmony. 


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^Exclusive  criss-cross 
elastic  front  dips  low, 
holds  the  separation. 


*Elastic  Magic  Midriff 
"magics''  inches  away 
for  the  long,  lean  look. 


^Exclusive  elastic 

bias-cut  panels  and 

all-elastic  back. 


©1956    by  International  Latex  Corporation.. PLAYTEX   PARK.  .Dover  Del  ■£  In  Canada:  Playtex  Ltd.  ..PLAYTEX  PARK..  Arnprior,  Ont.  *u.s.  pat.  Foreigm pats,  pending. 


19 


THE  FLYING  YANKEE 


Quicker  than  you  can  say 

"How  about  that,"  Mel  Allen  is  off 

to  prove  the  game's  the  thing 


Uften  called  "a  one-man  Yankee  knothole  gang,"  Mel  was 
the  first  to  go  on  the  road  with  his  team.  He  reported  the 
ploys  that  made  Yogi  Berra   1 955's  "Most  Valuable  Player." 


20 


From  March  through  January,  Mel's  a  traveling  man.  Among 
the  things  he  misses  most  are  leisurely  dinners  with  his  parents 
and  his  newlywed  brother  Larry,  who  works  on  Mel's  shows. 


FAVORITE  TV  SPORTSCASTER 

Mel  Allen  has  won  just  about  every  award  that  can 
be  given  to  a  sportscaster.  This  year,  he  scores 
for  his  fifth  gold  medal  Award  in  as  many  years. 


A  tall,  modest  man,  with  a  quick,  honest 
smile,  Mel  Allen  pointed  to  an  offending  shoe. 
A  walk  at  the  upstate,  Bedford  Village  home 
that  he  shares  with  his  parents  had  muddied  the 
footwear.  It  was  now  six  in  the  evening.  Be- 
tween now  and  ten,  Mel's  agenda  listed  a  maga- 
zine interview,  a  meeting  with  press  photogra- 
phers, a  speech  at  a  charity  dinner,  a  newsreel 
to  be  narrated  and,  at  ten,  a  plane  to  be  caught. 
Fitting  in  a  shoeshine  was  clearly  a  problem. 

But  speaking  fan  to  fan,  which  is  Mel  Allen's 
sportscasting  habit,  the  muddy  shoe  was  really 
not  pinching.  A  hectic  schedule,  and  a  more 
hectic  one  to  come,  fazed  Mr.  Allen  not  in  the 
least.  Mr.  Allen  had  caught  an  advanced  case 
of  spring  fever.  A  new  baseball  season  was 
a-borning  and  that  ten  o'clock  plane  would  take 
him  to  St.  Petersburg  and  the  New  York  Yankees 
baseball  club. 

It's  seventeen  years  since  Mel  first  rendez- 
voused with  the  Bronx  Bombers,  but  there's 
nothing  routine  in  the  meeting.  "It's  a  thrill 
each  time,"  grins  the  Alabaman  who  has  become 
the  "Voice  of  the  Yankees."  And  this  excite- 
ment is  not  confined  to  activities  on  the  diamond. 
Mel  feels  it — and  conveys  it  to  radio  and  TV 
audiences — before  the  beginning  of  every  sports 
activity  except  possibly  chess — which  is  the  only 
competition  he's  never  described  to  an  audience. 

In  the  air  as  often  as  he  is  on-the-air,  Mel 
Allen  averages  some  seventy -five  thousand  air- 
borne  miles   a   year.    (Continued   on   page   25) 

Mel  Allen  is  the  "Voice  of  the  Yankees,"  as  sponsored  by 
Ballantine  Ale  and  Beer,  and  Winston  and  Camel  Cigarettes 
(Stations  WPIX  and  WINS,  New  York;  check  papers). 


HOW  MUCH  OF  THIS 


IN  CASH  J 
PRIZES  "T 

ME  YOU  GOING  TO  WIN  IN  THE  GREAT  NATIONAL  PUZZLE  CONTEST 


As  you  read  this,  one  of  the  greatest  puzzle  contests  ever  held  in  the  U.  S.  A.  is  getting  under  way! 
A  contest  that  offers  fun,  excitement,  thrills  for  everyone!  A  contest  that  may  make  you 
$25,000  richer! 

Just  think  what  you  could  do  with  prize  money  like  that ...  all  yours  in  a  lump  sum!  It  could  buy 
you  a  beautiful  new  home  . . .  free  and  clear!  A  stunning  new  car,  a  boat,  a  luxury  vacation  cruise 
around  the  world!  It  could  pay  for  a  college  education  for  your  youngsters,  or  make  your  own 
retirement  easier.  It  could  give  you  a  start  in  your  own  business.  It  could  bring  you  the  wonderful 
security  that  comes  with  a  big,  solid  bank  account!  Enter  now,  and  you  may  be  first  prize  winner 
or  winner  of  .any  of  400  big  cash  prizes  that  must  be  paid.  Enter  now  and  make  yourself  eligible 
to  win  a  fabulous  $5000  promptness  bonus  along  with  first  prize  of  $20,000— a  grand  total 
of  $25,000.00! 


YOUR   COMMON   SENSE    CAN    MAKE    YOU    A    WINNER! 


THIS  HOUSEWIFE 
WON  $52,000! 


FIRST  PRIZI 

AS  MUCH  AS 

25,000.00 

200  CASH  AWARDS 


The  keynote  of  this  great  National  Puzzle  Contest  is 
absolute  fairness.  There  are  no  essays  to  write ...  no 
jingles  to  rhyme ...  no  gimmicks  to  trip  you  up.  You 
don't  need  a  college  degree  to  win!  All  that  counts  is 
■  your  skill  and  common  sense.  These  fascinating  picture 
puzzles  are  so  much  fun  to  get  the  hang  of,  you'll  have 
a  good  time  doing  them.  Even  if  you've  never  entered  a 
contest  before,  you've  got  a  great  chance  of  being  a 
winner  in  this  one. 

Best  of  all,  this  unusual  contest -actually  gives  you  a 
chance  to  check  your  own  answers  and  make  sure 
they're  right,  before  sending  them  in!  Not  only  do  you 
have  this  opportunity  for  checking  once . . .  you  get  a 
second  chance!  Shortly  after  you  complete  your  puzzle 
answers,  we  will  mail  you  an  Official  Substitute  Solution 
Form,  so  you  can  correct  any  error  or  omission  ...  so 
you  can  double-check  your  solutions.  What  could  be 
fairer! 


TRY   THIS    SAMPLE   PUZZLE   RIGHT   NOW! 


PRIZES  \ 
PAID  f 
PROMPTLY! 


2nd  Prize 

3rd  Prize 

4th  Prize 

5th  Prize 

6th  thru  1 0th  each 

11th  thru  20th  each 

21st  thru  50th  each 

51st  thru  200th  each 


$7,500.00 

3,000.00 

1,500.00 

1,500.00 

500.00 

150.00 

100.00 

30.00 


Total . 


$50,000 


"As  the  first  prize  winner 
of  $52,000  I  compliment 
you  on  running  the  fairest 
and  most  interesting  con- 
test I  ever  entered.  And  the 
check  for  $52,000  made 
our  family's  dreams  come 
true."  Marion  Starr 

Kensington,  Maryland 


READ  WHAT  OTHER 

CONTESTANTS  SAY  ABOUT 

FORMER  NATIONAL 

PUZZLE  CONTESTS! 


FLORIDA...  "I  wish  to 
thank  you  and  your  staff 
for  the  wonderful  way  you 
have  conducted  this  con- 
test. Your  fairness  and  the 
correct  way  you  have  sent 
out  the  solution  forms 
have  been  wonderful." 

CALIFORNIA ...  "I  wish  to 
take  this  opportunity  to 
thank  you  for  the  check 
for  $100.00  which  I  re- 
ceived as  a  prize.  This  is 
the  first  major  contest  I 
have  ever  entered  and  won 
anything." 

CANADA ...  "I  not  only  ad- 
mire the  way  you  handle 
your  contest .  .  .  and  the 
opportunity  to  solve  these 
puzzles  . . .  but  especially 
the  way  in  which  you  an- 
swer all  questions." 


HOW  MUCH  FUNl 


Clue  No.  2:  The  7  letters  forming  the  correct  name  of 
this  State  total  exactly  52  points  using  the  Official  Table 
of  Letter  Values. 

This  is  a  typical  contest  puzzle  that  was  actually  used 
in  a  former  contest.  See  how  easy  it  is  to  get  the  hang 
of  these  interesting  picture  puzzles  by  trying  this  one. 
See  how  much  fun  they  are  to  solve!  In  the  sample 
puzzle  shown,  you  will  see  a  sink,  a  dial,  the  sole 
of  a  shoe  and  various  letters  of  the  alphabet.  There 
are  two  plus  and  minus  signs.  First,  write  down  sink. 
Then  add  dial  to  it.  Next,  add  onea.  All  this  equals 
sinkdialonea.  Now,  you  must  subtract  the  letters  in 
sole  and  K.  When  this  is  dope  you  are  left  with 
Indiana.  Indiana  is  the  Hoosier  State,  so  the  result 
checks  with  Clue  No.  1. 

You  Can  Now  Check  Your  Answer  with  Clue  No.  2, 
by  using  the  Official  Table  of  letter  Values: 


IN  2  YEARS  $133,500.00  AWARDED 
FROM  NATIONAL  PUZZLE  CONTESTS! 

National  Puzzle  Contests  have  offered  $133,500.00  in  prizes  within  the  short 
space  of  2  years!  That's  a  whale  of  a  lot  of  money!  But  now  the  new  National 
Puzzle  Contest . . .  with  prizes  of  an  additional  $50,000  . . .  will  raise  that  grand 
total  to  $183,500.00!  If  you  are  18  years  of  age  or  older  and  live  in  the  U.  S., 
Canada  or  a  U.  S.  Possession,  you  are  eligible  to  enter  this  fabulous  contest. 
It  is  sponsored  by  the  American  Church  Union,  Inc.,  a  state  chartered,  non-profit 
organization.  All  judging  will  be  conducted  in  an  impartial,  impersonal  manner 
to  assure  absolute  equality  of  opportunity  to  all.  All  contestants  will  receive  exact 
information  on  the  outcome  of  the  contest . . .  including  names  of  all  winners, 
plus  correct  puzzle  solutions.  All  prizes  will  be  paid  promptly,  in  full. 

JTlfTfD  Af  AM/  MAHE  roufis£LF  eligible  to  win  a 
C  fllC  II    fwl/rr    PROMPTNESS  BONUS  OF  A 

CADILLAC,  A  MINK  COAT,  fxV»N  $5,000! 


This  is  a  contest  with  a  magnificent  plus!  Mail  the  handy  coupon  at  once,  and 
well  rush  your  contest  entry  blank  to  you,  with  the  date  of  contest  deadline,  rules, 
etc.  As  a  contestant,  should  your  score  be  highest,  in  addition  to  the  prize  you 
win  you  also  receive  your  choice  of  any  one  of  the  three  extra  bonus  prizes  you 
choose . . .  either  a  Cadillac  Convertible,  genuine  Ranch  Mink  Coat,  or  an  addi- 
tional $5,000  in  Cash! 


GIVE  YOURSELF  A 
CHANCE  TO  WIN 


$5,000  EXTRA! 


MAIL  COUPON  TODAY! 


A-1 

E.5 

1-9 

M-13 

0-1 7 

U-21 

X-24 

B-2 

F-6 

1-10 

N-14 

R-18 

V-22 

Y-25 

C-3 

G-7 

K-11 

0-15 

S-19 

W-23 

Z-26 

D-4 

H-8 

1-12 

P-16 

T-20 

^^^^^ 



According  to  the  Table  above,  1=9,  N=14,  D=4, 1=9, 
A=l,  N=14,  A=l,  for  a  grand  total  of  52.  Check  with 
Clue  No.  2,  and  you  can  make  sure  you  are  right  ort  the 
nose!  Every  puzzle  in  the  contest  will  have  2  clues  so- 
you  can  always  make  sure  you're  right! 


National  Puzzle  Contest  Oept.  US 

P.  O.  Box  777,  'General  Pest  Office,  Brooklyn  1,  N.  Y. 

I  want  full  particulars  about  the  $50,000.00  NATIONAL  PUZZLE 
CONTEST.  Please  mail  me  FREE  the  Official  Entry  Form,  Rules  and 
First  Series  of  Puzzles. 

Name 


Address.. 
City 


National  Puzzle  Contest,  Deft  118    P. 0. Box 777, G. P.O. Brooklyn, N.Y.  !_ _p.LiAi!.p!,!lI_piAJ^.Y- j 


.State.. 


21 


.M 


MOOOOOOOOOOOOOOOOOOOOOOOOOOOOOHHO^Ol 


TAMPAX 
CAN  BE  WORN 
IN  SHOWER 
OR  TUB 


Tampax  can  be  worn  in  shower  or  tub. 
These  words  emphasize  the  vast  differ- 
ence between  internal  sanitary  protection 
and  any  other  kind.  But  that's  not  all! 
There  is  no  bulk  with  Tampax.  No  pins, 
no  belts — no  supports  of  any  kind. 
Nothing  to  cling  or  chafe.  Never  a  dis- 
posal problem.  Tampax  is  simply  and 
purely  surgical  cotton,  so  made  that  the 
wearer's  hands  need  not  touch  it  at 
any  time  at  all. 

Imagine  what  a  sense  of  freedom  this 
gives  you!  Tampax  even  prevents  odor 
from  forming — relieves  you  of  that  pos- 
sible embarrassment.  Millions 
of  women  have  used  billions  of 
Tampax  since  it  was  invented 
by  a  doctor  for  the  benefit  of  all 
women.  But  even  more  impor- 
tant, new  millions  will  choose  it  in  the 
future — for  modern  women  always  prefer 
the  better,  more  convenient,  far  more 
modern  way.  Naturally! 

Choice  of  three  absorbencies  at  drug 
or  notion  counters.  Ask  for  Regular, 
Super,  or  Junior.  Tampax  Incorporated, 
Palmer,  Mass. 


.110.L    UU3" 


22 


Invented  by  a  doctor—— 
now  used  by  millions  of  women 


WHAT'S  NEW  FROM  COAST  TO  COAST 

(Continued  from  page  17) 


nouncer  Melville  Ruick,  and  their  daugh- 
ter, Barbara,  plays  a  lead  in  "Carousel." 

Herb  Shriner  and  CBS  Television  have 
signed  a  five-year  contract  with  each  oth- 
er, which  begins  in  the  fall.  At  that  time 
the  comedian  will  be  starred  in  his  own 
full -hour  variety  show  once  a  week. 
Shriner  will  not  continue  on  Two  For  The 
Money,  the  quizzer  he  has  done  for  the 
past  four  seasons.  This  show  was  orig- 
inally planned  for  Fred  Allen,  who  be- 
came ill  before  he  could  do  it.  But  now 
it  looks  likely  for  Allen  to  take  over  when 
Shriner  departs  in  June. 

Georgiann  Johnson,  who  played  the 
saucy,  blonde  "Marge  Weskit"  on  the 
Mr.  Peepers  show,  and  more  recently  has 
been  seen  as  a  panelist  on  Down  You  Go, 
is  set  to  wed  comedian  Stanley  Prager, 
now  on  Broadway  in  "The  Pajama  Game." 

Bob  Burns,  top  radio  comic  of  a  decade 
ago,  succumbed  to  cancer  in  North  Holly- 
wood, California,  at  the  age  of  64.  Burns 
became  popular  through  his  bazooka 
playing  and  Arkansas  jokes,  and  appeared 
for  many  years  on  network  radio,  chiefly 
with  Bing  Crosby  and  Rudy  Vallee.  Upon 
his  retirement  from  show  business  ten 
years  ago,  he  invested  heavily  in  San 
Fernando  Valley  real  estate  and  developed 
his  own  farm. 

Radio  listeners  also  mourn  the  passing  of 
actress  Jane  Seymour,  at  the  age  of  57, 
in  New  York  City.  A  veteran  of  the  New 
York  stage  and  of  the  movies,  Jane  was 
also  well-known  for  her  work  in  many 
daytime  radio  serials,  among  them  Clau- 
dia, Big  Sister,  and  The  Aldrich  Family. 

The  Errol  Flynn  Theater  telepix  series 
will  start  shooting  in  England  almost  im- 
mediately, with  the  dashing  Errol  dou- 
bling as  director  in  several  of  the  films. 
He  has  planned  thirty-nine  in  all,  and  so 
far  has  signed  Paulette  Coddard,  Linda 
Christian,  Laurence  Olivier,  and  Ralph 
Richardson  as  stars.  The  series  is  slated 
to  be  seen  in  America  this  fall. 

Julius  La  Rosa  and  Rory  Meyer  -are 
planning  their  wedding  for  April  7  in 
Rory's  home  town  of  Manitowoc,  Wiscon- 
sin. The  marriage  vows  will  be  presided 
over  by  Rev.  Robert  Parella,  better  known 
among  show  folk  in  New  York  as  Father 
Bob.  The  beloved  priest  is  a  long-time 
personal  friend  of  Perry  Como,  who  also 
happened  to  be  Rory's  boss. 

Mulling  The  Mail 

Mrs.  H.M.,  Youngstown,  Ohio:  When 
Fibber  McGee  and  Molly,  alias  Jim  and 
Marian  Jordan,  were  in  New  York  re- 
cently, there  was  much  talk  that  they 
were  planning  a  television  show  for  NBC, 
in  addition  to  the  radio  program  which 
has  won  them  awards,  but  nothing  definite 
has  been  announced.  .  .  .  Mrs.  E.J.S., 
Whitehall,  New  York:  Allan  Copeland 
has  been  with  The  Modernaires  since  1948 
and  he  is  in  his  late  twenties.  .  .  .  Mrs. 
R.V.H.,  York,  Pennsylvania,  and  others 
who  wrote  about  Tennessee  Ernie:  Ernie 
Ford  asked  CBS  for  a  release  from  his 
radio  contract  in  order  to  concentrate  on 
his  TV  show.  Curt  Massey  took  over 
Tennessee's  air  time.  .  .  .  Mrs.  G.  McB., 
Brunswick,  Maine:  Since  leaving  the 
Robert  Q.  Lewis  Show,  Lois  Hunt  has  not 
appeared  regularly  on  any  other  program. 
Earl  Wrightson  has  been  fulfilling  con- 
cert dates  in  and  around  New  York  City. 
.  .  .  Miss  L.S.,  Richmond,  Virginia:  Fred 
Astaire  has  consistently  turned  down  of- 
fers for  guest  appearances  on  TV.  He 
recently  made  a  statement  in  Hollywood, 


Sisters  Jayne  and  Audrey  Meadows 
join  in  the  crusade  against  cancer. 


"Why  should  I  guest  on  shows  when  I've 
been  offered  $100,000  to  do  my  own  spec- 
tacular?" Okay,  Fred,  we're  waiting  for 
it.  .  .  .  Mrs.  B.L.,  Dallas,  North  Carolina: 
CBS-TV  recently  acquired  an  Erie  Stan- 
ley Gardner  catalog  of  stories  and  titles, 
including  many  "Perry  Mason"  tales.  They 
are  planning  to  film  a  series  of  one -hour 
"Perry  Mason"  shows  to  be  seen  in  the 
fall  of  this  year.  ...  Mr.  C.N.,  Kansas  City, 
Missouri:  The  girl  you  mean  is  Marion 
Ross,  who  played  the  cockney  maid  in 
Noel  Coward's  "Blithe  Spirit"  TV  special. 
She  also  plays  the  Irish  maid  on  Life  With 
Father. 

Whatever  Happened  To  .  .  .  ? 

Bea  Wain,  who  was  a  well-known  ra- 
dio songstress  for  many  years,  and  made 
many  hit  records?  For  the  past  few  years, 
Bea  hasn't  been  too  active  professionally 
and  has  spent  most  of  her  time  at  home 
with  her  children.  But  a  few  weeks  ago 
she  and  her  husband,  announcer  Andre 
Baruch,  started  a  Monday-through-Fri- 
day radio  program  over  WABC  in  New 
York.  It's  a  chatter-interview-disc  show 
and  Bea  has  also  done  some  singing,  prov- 
ing she  still  knows  her  way  around  a  song. 

Ann  Hillary,  who  played  "Sandra"  on 
The  Brighter  Day  show,  and  suddenly  left 
the  cast?  Ann  departed  Brighter  Day  in 
order  to  accept  a  role  in  the  hit  Broadway 
show,  "The  Lark."  Diana  Gentner  is  the 
new  "Sandra." 


If  you  have  a  question  about  one  of  your 
favorite  people  or  programs,  or  wonder 
what  has  happened  to  someone  on  radio 
or  television,  drop  me  a  line — Miss  Jill 
Warren,  TV  Radio  Mirror,  205  E.  42nd 
Street,  New  York  17,  New  York,  and  I'll 
try  my  best  to  find  out  for  you  and  put 
the  information  in  the  column.  Unfortu- 
nately, we  don't  have  space  to  answer  all 
questions,  so  I  try  to  cover  those  person- 
alities about  whom  I  receive  the  most  in- 
quiries. Sorry,  no  personal  answers,  so 
please  do  not  enclose  stamped  envelopes 
or  postage,  as  they  cannot  be  returned. 


Doctor  develops  home  treatment  that      / 

rinses  away  folacrfcHef 

by  Claire  Hoffman    v>_ < v? 


in  15  minutes 


A  leading  New  York  derma- 
tologist has  developed  a  sim- 
ple medicated  home  treatment 
that  rinses  away  blackheads 
and  whiteheads  in  a  matter  of 
minutes. 

I  saw  it  demonstrated  recently 
on  five  women  and  two  teen- 
age boys.  The  results  were  al- 
most breath-taking.  Black- 
heads really  rinsed  away.  In 
fact,  many  could  be  seen  on 
the  cleansing  tissues  that  fin- 
ished each  treatment. 

But  this  wasn't  all!- 1  saw  en- 
larged pores  reduced,  and 
rough,  muddy  complexions 
made  cleaner,  clearer  and 
smoother-looking.  In  the  case 
of  two  older  women,  I  saw 
flabby,  sagging  skin  tighten 
and  wrinkles  flatten  and  fade. 
. . .  After  seeing  these  results, 
I  can  well  understand  why  so 
many  beauticians  are  now  ac- 
claiming this  doctor's  treat- 
ment one  of  the  most  impor- 
tant beauty  discoveries  of  the 
century. 

Anyone  Can  Use  It 

The  treatment  starts  with  a 
thorough  skin  cleansing.  A 
special  laboratory -developed 
•whipped  cleansing  cream  is 
used  that  takes  off  not  only 
surface  dirt,  but  also  softens 
and  loosens  pore-caked  grime 
with  its  emollient  action.  It  li- 
quefies as  soon  as  it  is  applied 
and  literally  floats  the  dirt 
right  off  your  face. 

After  this  is  tissued  off,  a  de- 
lightful mint-scented  cream  is 
applied.  Within  2  or  3  minutes 
an  absorbing  agent  called 
Argilla  dries  and  turns  this 
specially  medicated  cream 
into  a  plastic-like  masque.  As 
it  firms  and  hardens,  its  suc- 
tion action  draws  on  waste 
matter  in  the  pores  ...  In  8  or 
10  minutes  you  simply  rinse 
the  masque  away  with  luke- 
warm water  which  dissolves  it 
immediately.  When  you  wipe 
your  face,  you  can  see  black- 
heads and  other  pore  "filler" 
actually  come  off  on  your  tis- 
sue. And  your  skin  feels  clean 
£— really  clean — and  refreshed 
and  smooth,  like  velvet! 


Pore  Sponging 
and  Closing 

The  third  step  in  the  treatment 
is  an  exhilarating  application 
of  a  unique  antiseptic  astrin- 
gent— a  facial  "mint  julep" 
that  sponges  and  tightens 
emptied  pores  and  leaves  a 
protective  invisible  film  that 
helps  guard  your  skin  against 
dust,  dirt  and  bacteria  for 
hours  and  hours. 

Nothing  Else  Like  It 

Even  after  a  single  treatment, 
women  who  have  been  trou- 
bled by  blackheads  for  years 
see  a  marked  improvement. 
Many  find  it  hard  to  believe 
their  eyes.  Some  blackheads 
and  whiteheads  just  rinse 
away.  Others  are  softened  and 
made  ready  to  be  drawn  out 
by  future  treatments.  En- 
larged pores  appear  to  be 
smaller.  The  skin  looks 
smoother  and  firmer  —  feels 
fresher  and  more  alive! 

In  short,  after  a  single  treat- 
ment taking  only  15  minutes, 
you  can  expect  to  see  results 
that  normally  you  would  not 
dare  hope  for  even  after  many 
weeks  .  .  .  but  don't  expect 
everything  at  once.  Damage 
done  by  years  of  neglect  can't 
be  undone  in  a  day.  Yet  with 
3  or  4  treatments  a  week,  you 
may  confidently  look  forward 
to  startling  complexion  im- 
provements within  30  days. 
Then  one  treatment  a  week — 
or  every  second  week — will 
probably  be  all  your  skin  will 
need  to  keep  it  clear,  lovely 
and  healthy  looking. 

The  medically  developed 
products  used  in  this  treat- 
ment are  manufactured  and 
quality-controlled  by  QUEEN 
HELENE.  They  are  Queen 
Helene  Whipped  Cleansing 
Cream,  Queen  Helene  Medi- 
cated Masque  and  Queen 
Helene  Penetrating  Astrin- 
gent. The  three  items  are  sold 
as  a  complete  skin  and  beauty 
kit  for  3.98  plus  tax.  Quite  a 
bargain  when  you  think  of 
what  it  will  do  for  a  person's 
good  looks — and  self-esteem! 


See  Blackheads  "Wipe  Off 

After  a  Single  Queen  Helene 
Skin  and  Beauty  Treatment 


f> 


1] 


Look  I  See  them  come  off  on  your  cleansing 
tissue  —  am'  without  squeezing  or  digging! 

First  apply  Queen  Helene  Whipped  Cleans- 
ing Cream.  This  liquefies  instantly  on  your 
skin  and  softens  pore-caked  dirt  with  its 
rapid  emollient  action.  You  tissue  off  all 
but  a  thin  film  which  prepares  your  face  for 
the  masque. 

Now  smooth  on  the  Queen  Helene  Medi- 
cated Masque.  As  the  absorbing  agent, 
Argilla,  in  this  plastic-like  cream  makes  it 
harden  into  a  masque,  its  powerful  drawing 
action  gently  pulls  out  blackheads  and  other 
pore  impurities. 

After  about  8  or  10  minutes,  rinse  off  the 
masque  with  lukewarm  water.  It  dissolves 
in  seconds.  Then  apply  Queen  Helene  Mint 
Julep  Astringent — a  special  penetrating  anti- 
septic that  helps  close  emptied  pores,  tones 
up  your  complexion,  and  gives  protection 
against  dirt  and  bacteria  for  hours. 

all  these  items 

3.98 

Plus  tax 

Enough  for  33  Treatments 
Economical  Size 

5.95 

Plus  tax 

Enough  for  66  Treatments 

RESULTS  ARE  GUARANTEED 

Examine  your  face  before  and  after  treatment. 
You  should  see  a  startling  difference.  Some  of  the 
blackheads  should  be  gone  and  others  loosened 
for  removal  by  future  treatments.  These  results 
are  guaranteed  or  your  money  will  be  refunded. 

©1955:   PARA   LABS    SALES    CORP..    Dept.    H-614 

34    HUBERT    ST.,    NEW    YORK    13,    N.    Y. 

(LABORATORIES    ESTABLISHED    1930) 

'   MAIL   NO-RISK,   FREE   TRIAL   COUPON   TODAY!    ' 

PARA  LABORATORIES   SALES   CORP. 

Dept.    H-614 

34  Hubert  St.,  New  York  13,  N.  Y. 

Please  rush  me  by  return  mail  my  complete  Queen  Helene 
3-  Way  Skin  Treatment,  including:  1 .  Laboratory  Devel- 
oped Cleansing  Cream.  2.  Medicated  Masque  Cream. 
3.  Astringent. 

I  will  pay  postman  low  introductory  price,  plus  postage 
and  handling.  If  I  don't  see  definite  improvement  in  my 
skin  after  just  one  15  minute  treatment— if  Queen  Helene 
doesn't  do  for  my  skin  everything  you  have  led  me  to  be- 
lieve it  will  do,  I  will  return  unused  portion  within  10  days 
for  my  money  back. 

QUEEN  HELENE  PRICE  LIST  (Check  Size  Desired) 
[~]   $3.98     *ize  <P1»*  Fed.  tax).  Enough  for  33  home  treat* 

ments  at  less  than  13c  a  treatment. 
~]   $5.95     economical    professional    size     (Plus    Fed.    tax). 
Enough  for  66  home  treatments  for  one  person 
—enough  for  33  home  treatments  for  2  persons, 
at  less  than  9c  a  treatment.   (You  save  92.01.) 

NAME 

ADDRESS 

CITY ZONE STATE  . 

In  Canada  send  to 
1 60  Front  St.  West.  Toronto— Same  Price— No  Tax  ■ 


23 


■niHHHmM 


have  a  breath  of 

Paris  about  you . . . 
every  day! 


EVENING 
IN  PARIS 
DEODORANT 
STICK 

Stops  perspiration  odor! 
Keeps  underarms  dry  and 
delightfully  scented  with 
Evening  in  Paris 
fragrance. 

iJJL  JuVjIxxIj  limited  time  offer 

2  FOR  n.oo 

regular  $1.50  value 


Adventure  Calling 


(Continued  from  page  14) 
explorer  and  adventurer  an  early  start  in 
his  travels.  After  several  residences  in 
Ohio,  Lowell's  father,  who  had  acquired 
a  medical  degree  along  the  way,  moved 
his  family  to  Victor,  Colorado,  the  heart 
of  the  Cripple  Creek  gold-mining  district. 

As  a  boy,  Lowell  became  a  gold  miner, 
a  range  rider,  and  a  carrier  of  gold  sam- 
ples across  the  high  Rockies,  and,  finally, 
a  mining  camp  reporter  and  editor.  He 
spent  his  spare  time  drinking  in  the  tales 
of  the  miners  who  had  followed  the  lure 
of  gold  and  the  call  of  adventure. 

And  then,  too,  there  was  the  view.  Over- 
looking the  Sangre  de  Christo  mountain 
range,  Lowell  could  see  for  more  than  one 
hundred  miles  in  three  directions.  "I  al- 
ways wanted  to  know  what  was  beyond 
that  horizon,"  he  recalls. 

A  turning  point  in  his  career  came  in 
1917,  when,  attached  to  the  Allied  armies, 
he  returned  from  the  front  lines  to  read 
a  bulletin  announcing  that  the  British 
had  sent  a  new  commander-in-chief  to 
take  over  in  Egypt,  General  Edmund  H.  H. 
Allenby.  Lowell  Thomas  sniffed  spectac- 
ular events  in  the  making.  His  mind's  eye 
full  of  stories  of  the  Crusades  of  old,  he 
hurried  to  the  Near  East  to  witness  the 
modern-day  battles  in  the  Holy  Land. 

While  in  Jerusalem,  Lowell  discovered 
the  fabulous  Lawrence  of  Arabia  and,  in 
motion  pictures,  lectures  and  books,  told 
the  hitherto-unknown  story  of  the  young 
Oxford  archeologist  who  became  the  fiery 
sheik  of  the  desert. 

Adventure  followed  adventure — and  on 
radio  and  as  the  voice  of  Fox  Movietone 
newsreels,  Lowell  Thomas's  voice  was 
heard  by  more  of  his  fellow  mortals  than 
any  other  voice  in  history.  When,  in  the 
summer  and  fall  of  1949,  he  and  his  son, 
Lowell,  Jr.,  made  their  journey  to  for- 
bidden   Tibet,     their    visit    to    the     real 


Shangri-La,  Lhasa,  and  their  near-tragic 
return  journey  to  India,  attracted  as  wide 
notice  as  almost  any  adventure  of  our  era. 

Between  and  during  his  world  wander- 
ings, Lowell  Thomas  has  authored  more 
than  forty  books,  realized  the  possibilities 
of  Cinerama  and  helped  pull  it  out  of  the 
laboratory    and    into    the    movie    theater. 

Lowell  makes  a  cross-country  tour  once 
a  year,  continues  to  explore  "beyond  that 
horizon,"  and  finds  that,  at  the  end  of  the 
year,  his  broadcasts  have  been  equally 
divided  between  New  York  City,  his  Paw- 
ling home  in  upstate  New  York,  and  "all 
over."  Occasionally,  Lowell,  Jr. — who, 
like  his  father,  is  a  world  traveler  and  ex- 
plorer— pinch-hits    for    him    on    the    air. 

Lowell's  wife  Frances  is  also  a  traveler. 
She  and  Lowell  met  at  college  in  Colo- 
rado and  were  married  just  before  the 
United  States  entered  the  first  World  War. 
When  Lowell  went  off  to  war,  so  did 
Frances,  with  the  Red  Cross,  and  she  has 
since  been  on  many  of  his  expeditions. 

Significantly,  their  home  in  Pawling  fea- 
tures a  fireplace  that  tells  the  history  of 
the  world  in  stones  from  every  civiliza- 
tion. Lowell  has  found  that  "if  you  roam 
around  the  world  as  I  do,  you  accumu- 
late, whether  you're  a  collector  or  not." 
At  their  gracious,  rambling  home,  there 
are  paintings  and  photos  from  all  over 
the  world,  a  vault  filled  with  films,  col- 
lections of  weapons  of  all  peoples,  and 
a  variety  of  golf  and  ski  equipment. 

Publishers  and  readers  have  been  beg- 
ging for  an  autobiography  by  Lowell 
Thomas  for  thirty  years.  The  book  re- 
mains unwritten.  "It's  much  more  fun 
to  write  about  other  people,"  he  says. 
Then  he  adds  another  reason.  "I  have 
never  lived  in  the  past.  I  live  furiously 
in  the  present  and  in  the  future."  But  a 
glance  at  the  past  shows  what  the  future 
holds     for     Lowell     Thomas — adventure. 


Two  For  All 


24 


(Continued  from  page  18) 
tistry.  But  the  pressing  needs  of  his  family 
forced  him  to  leave  McDermott  High  in 
the  second  year.  .  .  .  For  a  youngster, 
working  in  a  shoe  factory  was  deadening, 
so  he  found  adventure  in  tales  of  the  West, 
at  the  local  movie  house. 

Roy's  first-hand  knowledge  of  ranch  life 
began  after  he  admitted  defeat  as  a  shoe- 
factory  worker.  He  became  a  cowhand  on 
a  ranch  in  New  Mexico,  where  he  learned 
to  ride,  rope  and  shoot  with  the  best  of 
them.  Later,  he  decided  to  head  for  Holly- 
wood to  follow  the  footsteps  of  his  cellu- 
loid heroes.  When  Roy  heard  that  audi- 
tions were  being  held  for  singing  cowboys 
at  Republic  Studios,  the  self-taught  singer 
and  guitar-player  was  determined  to  be 
heard.  His  five-foot-eleven  frame,  rugged 
good  looks  and  obvious  talent  won  him  his 
first  role  and  enough  money  ($2,500)  to 
buy  his  extraordinary  Palomino  stallion, 
Trigger. 

Once  again  reflecting  on  his  program, 
Roy  says,  "As  for  the  stories  we  use,  we 
couldn't  be  more  careful  about  what  they 
say  if  we  were  picking  them  out  for  our 
own  children  at  home.  In  fact,  that's  one  of 
the  big  things  we  consider  in  making  our 
selections."  Surely,  a  more  devoted  father 
and  husband  would  be  hard  to  find.  Roy 
met  his  five-foot-two,  eyes-of-green  lead- 
ing lady  on  the  Republic  set  of  "The  Cow- 
boy and  the  Senorita."  Audiences  went 
wild  over  this  team,  and  they  had  a  hank- 
ering for  each  other  as  well.  So,  on  New 
Year's  Eve,  1947,  the  King  of  the  West  took 
his  auburn-haired  Queen  and  they've  built 


an  empire  filled  with  the  majesty  of  grace- 
ful living  and  unselfish  giving. 

The  "castle"  is  a  rambling  Spanish  ranch 
house  in  Chatsworth,  California.  There  are 
six  bedrooms  for  all  the  princes  and 
princesses.  At  the  dinner  table,  the  royal 
family  pray  before  the  Bible  readings. 
Each  has  much  to  be  thankful  for — Cheryl, 
who's  nearly  sweet  sixteen,  Linda  Lou, 
thirteen,  and  Dusty,  almost  ten.  The  Rog- 
ers' have  realized  their  cherished  ambition 
of  sharing  the  good  things  they  have.  In 
1952,  they  adopted  two  youngsters  to  add 
to  the  family  circle — nine-year-old  Sandy, 
from  Covington,  Kentucky,  and  four- year- 
old  Little  Doe  (Dodie)  from  Dallas,  Texas, 
who  has  in  her  family  tree  the  same  Choc- 
taw Indian  strain  of  which  Roy  himself  is 
so  proud.  And  now,  the  family  includes 
the  lovely  and  talented  Scotch  lass,  Marion 
Fleming,  who  joined  Roy  and  Dale  during 
their  tour  of  the  British  Isles.  "God 
has  really  smiled  on  us,  for  we  have  a 
house  full  of  happy  children,"  says  Dale. 

The  Rogers  respect  as  well  as  love  chil- 
dren. They  are  always  sure  to  express  this 
on  their  program.  "Whenever  it  fits  into 
the  story,"  Roy  says,  "we  show  how  chil- 
dren, too,  can  take  an  active  part.  .  .  ." 
For  Roy  and  Dale,  the  really  exciting 
Western  yarns  carry  a  message  of  good 
sportsmanship,  clean  living  and  fair  play. 
Dale,  Roy,  his  comic  sidekick  Pat  Brady, 
and  their  animal  friends,  Trigger,  Butter- 
milk and  Bullet,  are  all  bearers  of  this 
message.  One  and  all  abide  by  the  law 
proclaimed  by  the  King  and  Queen  who 
reign  by  the  Golden  Rule. 


The  Flying  Yankee 


(Continued  from  page  20) 
From  March  1st  to  January  1st,  half  of  his 
time  is  spent  out  of  town,  covering  college 
football  during  the  pigskin  season  and 
Yankee  baseball  during  the  cowhide  sea- 
son— and  narrating  special  events  no  mat- 
ter what  the  season.  The  "Voice  of  the 
Yankees"  is  also  the  sportscasting  voice  on 
Fox  Movietone  newsreels  and  the  speech- 
ifying voice  at  more  benefits  and  charity 
functions  than  you  can  shake  a  baseball 
bat  at. 

But  Mel  really  hadn't  planned  it  that 
way — although  when  his  father  sold  his 
general  store  to  turn  traveling  salesman, 
it  might  well  have  been  a  forecast  of  the 
flying  Yankee  to  come.  But  the  clincher 
wasn't  until  someone  decided  Mel  was  too 
skinny  for  his  six-foot  frame. 

That  was  at  Alabama  University,  where 
Mel's  weight  kept  him  off  the  baseball 
squad.  If  the  baseball  coach  wouldn't 
have  him,  the  dramatics  coach  would,  and 
Mel  turned  his  activities  to  the  school's 
acting  society.  He  found  he  could  sway 
an  audience,  decided  to  make  his  living 
swaying  a  jury,  and  enrolled  in  Alabama's 
law  school. 

The  budding  attorney  was  still  sports- 
minded.  He  wrote  the  radio  scripts  for 
Frank  Thomas,  the  late  football  coach, 
and,  in  turn,  Thomas  arranged  for  Mel 
to  broadcast  the  school's  games  on  the 
local  radio  station.  When  Ted  Husing 
came  down  to  broadcast  a  big  Alabama 
game,  he  invited  Mel  to  provide  local 
color.  Network  bigwigs  tuned  in  and  ex- 
tended their  invitation — for  an  audition. 
Mel  was  hired  and  did  a  variety  of  chores 
until  he  finally  made  his  sports  mark 
while  covering  an  auto  race  from  a  plane. 
When  foul  weather  postponed  and  then 
cancelled  the  race,  Mel  found  himself  do- 
ing a  forty-five  minute  ad  lib.  He  hasn't 
been  at  a  loss  for  words  on  sports  since. 

Words  do  fail  him,  though,  when  people 
present  him  with  awards.  Mel  still  gets 
embarrassed,  even  though  he's  won  prac- 
tically every  award  that  can  be  given  to 
a  sportscaster.  And  that  includes  five 
TV  Radio  Mirror  gold  medals. 

Nor  is  Mel  a  spectator  sportsman.  He 
likes  to  go  fishing,  drop  down  to  a  gym 
for  a  game  of  handball,  and  is  very  proud 
of  his  double  berth  as  pitcher  and  center- 
fielder  with  the  New  York  Sports  Stars. 
This  is  a  team  made  up  of  ex-athletes, 
coaches  and  newsmen  who  play  to  fill 
charity  coffers.  Once  a  year,  they  play 
against  the  jockeys  and  the  Mutt-and-Jeff 
match  is  "the  funniest  thing,"  according 
to  six-footer  Mel. 

If  Mel  sounds  a  little  wistful  as  he  talks 
of  hobbies,  it's  because  time  is  some- 
thing this  highest-paid  of  all  sportscasters 
has  not  plenty  of.  But,  if  your  job  is 
something  you'd  almost  gladly  do  for  free, 
if  your  ears  harken  to  the  call  of  "Play 
ball,"  if  your  heart  is  diamond-shaped — 
and  if  your  name  is  Mel  Allen — then  you 
wouldn't  change  shoes,  even  a  pair  need- 
ing a  shine,  with  anyone. 


SEASON  FOR  ROMANCE 

Summer  is  a-coming  in  .  .  .  with 

a  holiday  line-up  of  great 

stories  and  pictures  of  people 

you  know  and  love  ...  in 

June 

TV  RADIO  MIRROR 

at  your  favorite  newsstand  May  8 


When  hostessing,  what's  your  first  job? 

□  Get  the  party  off  the  ground  fj  Suggest  group  arrivals 


As  your  guests  arrive,  do  they  have  to  suffer? 
Go  through  the  thumb-twiddling,  nice- 
weather-we're-having  routine?  To  give  your 
party  a  flying  start — scrape  the  ice  off  its 
wings !  Keep  everybody  busy.  Rolling  back 
rugs;  sorting  records.  Even  helping  you 
with  final  party  fixings.  Another  defroster: 


have  couples  arrive  in  "herds"  instead  of 
singly.  You  need  never  know  an  awkward 
moment — or  a  nagging  care,  at  certain  times. 
Let  Kotex*  give  you  unfailing  protection; 
the  complete  absorbency  you  depend  on!  And 
remember  to  get  a  new  Kotex  belt;  it  goes 
with  Kotex  for  perfect  comfort. 


If  you'd  keep  him,  better  bypass — 

r~l  Flirty  friends  Q  Fuss-budget  tactics 

If  there's  anything  a  hombre  hates — it's 
getting  the  Mama's  Boy  treatment,  in  public. 
Besides,  your  date  probably  prides  himself 
on  his  grooming.  Why  make  him  feel  like 
Hillbilly  Hank  by  adjusting  his  tie,  re-comb- 
ing his  crew  cut?  As  for  your  grooming  (on 
certain  days)  you  know  you're  the  smoothest 
— when  you  choose  Kotex.  Those  flat  pressed 
ends  prevent  telltale  outlines.  And  when  you 
try  Regular,  Junior  and  Super  Kotex  you'll 
learn  which  size  best  suits  you. 


If  you  really  care  for  your  cashmere— 

l~~l  Don't  lend  it  Q  Draw  an  outline 

Better  say  nay  to  borrow-mad  Sis;  likewise 
to  human  fire  hazards!  And  because  you 
cherish  your  sweater,  wash  it  with  the  great- 
est care.  First,  record  the  outline  of  its 
actual  shape  on  paper.  Make  the  neck 
stretch-proof  by  running  a  thread  around  it. 
In  sanitary  protection,  too,  it's  important  to 
have  softness  that  holds  its  shape  .  .  .  Kotex, 
of  course.  Designed  to  stay  soft,  chafe-free. 
And  you  can't  make  a  mistake  with  Kotex 
because  it  can  be  worn  on  either  side,  safely. 


More  women  choose  KOTEX  than  all  other  sanitary  napkins 


Free  booklet!  Want  hints  on  dating,  etiquette,  grooming, 
fashions?  Send  for  fascinating  free  booklet  "Are  You  In 
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*T.  II.  REG.  U.  S.  PAT   OFF     K-CCORP. 


25 


PERIODIC  PAIN 

Menstruation  is  natural  and  nec- 
essary but  menstrual  suffering  is 
not.  Just  take  a  Midol  tablet, 
Mary,  and  go  your  way  in  com- 
fort. Midol  brings  faster,  more 
complete  relief  from  menstrual 
pain— it  relieves  cramps,  eases 
V     headacheandchasesthe"blues."    J 


/* 


"WHAT  WOMEN  WANT  TO  KNOW" 

a  24-page  book  explaining  menstruation 
is  yours,  FREE.  Write  Dep't  B-56,.  Box  280, 
New  York  18,  N.  Y.  (Sent  in  plain  wrapper). 


>V 


26 


Top  Secret 

Would  you  please  give  me  some  infor- 
mation about  Gene  Barry,  who  plays  Gene 
Talbot  on  Our  Miss  Brooks,  on  CBS-TV? 
L.  K.,  Chicopee,  Mass. 

Until  he  was  sixteen  years  old,  Gene 
Barry  concealed  from  his  family  a  deep, 
dark  secret — he  was  going  to  be  an  actor. 
Gene  recalls,  "My  parents,  like  many 
others,  regarded  acting  as  somehow  related 
to  panhandling.  So,  when  people  asked  me 
what  I  wanted  to  do  when  I  grew  up,  I 
said  I  wanted  to  be  a  civil  engineer." 
Gene  continues  with  a  roguish  grin,  "I 
wasn't  sure  what  a  civil  engineer  was,  but 
it  sounded  respectable  and  it  threw  them 
off  the  track."  .  .  .  Gene  was  born  in  New 
York  City,  the  oldest  of  five  children.  His 
father,  a  jewelry  manufacturer,  was  a  fine 
amateur  violinist  and  his  mother  was 
gifted  with  an  outstanding  singing  voice. 
.  .  .  Gene's  only  scholastic  interests  in  pub- 
lic school  were  the  dramatics  club  and 
English.  "When  they'd  get  me  out  of  bed 
to  go  to  school,"  he  recalls,  "I'd  say  to 
myself,  'This  is  ridiculous.  Don't  they 
know  I'm  destined  to  be  a  great  actor?' '' 
His  "destiny,"  however,  was  not  immediate- 
ly apparent.  He  shared  top  honors  with 
another  boy  baritone  in  a  city-wide  singing 
contest  and  then  confidently  talked  him- 
self into  a  resort  job.  The  first  week  ended 
with  the  manager  handing  him  eight  dol- 
lars and  saying,  "Go  home."  For  the  next 
few  years,  his  career  was  a  hodgepodge  of 
journeys  throughout  Catskill.  resorts  and 
night  clubs.  Then  the  big  jump  to  Broad- 
way was  finally  taken  in  "Rosalinda,"  "The 
Merry  Widow,"  and  as  Mae  West's  leading 
man  in  "Catherine  Was  Great."  .  .  .  When 
the  call  from  Hollywood  came,  he  went  on 
to  make  eleven  motion  pictures,  including 
"Naked  Alibi"  and  "Soldiers  of  Fortune." 
.  .  .  Tall,  dark  and  handsome,  Gene  mar- 


Tim  Considine  has  no  trouble  living 
up  to  his  show  business  background. 


ried  Betty  in  1942.  They  have  two  sons, 
Michael  Lewis,  10,  and  Fredric,  3.  Gene's 
hobbies  are  music  and  painting.  ...  As  for 
the  future,  Gene,  who  plays  the  gym  in- 
structor who  keeps  Our  Miss  Brooks'  heart 
throbbing,  says,  "The  future  can  take  care 
of  itself.  I'm  enjoying  the  present  too 
much  to  worry  about  it."  Gene's  ambition 
is  to  reach  "maximum  proficiency"  at  his 
craft.    His  admirers  know  he's  the  tops. 

Spin  to  Fame 

Could  you  please  give  me  some  informa- 
tion about  Tim  Considine,  who  is  "Spin" 
on  the  Mickey  Mouse  Club,  on  ABC-TV? 
M.  W.,  Midlothian,  III. 

Young  Tim  Considine  is  the  third  of  his 
clan  to  make  a  contribution  to  public  enter- 
tainment. Now  fifteen — and  the  promising 
star  of  "Spin  and  Marty"  the  outdoor  ad- 
venture series  of  Walt  Disney's  Mickey 
Mouse  Club — Tim  is  the  son  of  movie  pro- 
ducer John  Considine  and  Carmen  Pan- 
tages,  a  member  of  the  eminent  theatrical 
family.  He  is  also  the  nephew  of  Bob 
Considine,  the  well  known  wire-service 
writer.  .  .  .  The  freckle-faced  youngster 
is  a  typical  American  boy  who  enjoys  all 
the  outdoor  hobbies,  so  he  is  really  type- 
cast for  his  role  as  the  leader  of  a  group 
of  boys  at  a  Western  ranch.  ...  To  be 
sure,  this  is  not  the  first  time  that  Tim  has 
enjoyed  stardom.  He  has  appeared  with 
Red  Skelton  in  "The  Clown,"  the  motion 
picture  which  impressed  Walt  Disney  so 
much  that  he  was  given  the  role  of  Spin. 
.  .  .  Tim  is  now  attending  Notre  Dame  High 
School  in  the  San  Fernando  Valley,  Cali- 
fornia. He  has  an  older  sister,  Errin,  who 
is  twenty-three,  and  a  brother,  aged  twen- 
ty. ...  A  sports  car  enthusiast  who  builds 
his  own  models  Tim  is  also  a  fine  swimmer 
and  tennis  player.  A  thoroughgoing  outdoor 
man,  Tim  spins  high  adventure  as  Spin! 

Calling  All  Fans 

The  following  clubs  invite  new  members. 
If  you  are  interested  in  joining,  write  to 
address  given — not  to  TV  Radio  Mirror. 

Jan  Arden  Fan  Club,  c/o  Rose  Marie 
Bencivengo,  6705  Herman  Ave.,  Cleveland 
2,  Ohio. 

Robert  Q.  Lewis  Fan  Club,  c/o  Bobby 
Cuffee,  64  Westford  Ave.,  Springfield, 
Mass. 

Ronnie  Burns  Fan  Club,  1040  N.  Las 
Palmas  Ave.,  Hollywood  38,  Cal. 

Make  Room  for  Sherry 

Please   tell   me   about   Sherry   Jackson, 

who  plays  Terry  on  The  Danny  Thomas 

Show,  "Make  Room  for  Daddy,"  ABC-TV. 

B.  B.,  Kinston,  N.  C. 

Sherry  Jackson  made  her  first  impression 
in  Hollywood  on  a  driver  of  a  sightseeing 
bus,  who  was  also  an  ex-actor.  He  noticed 
Sherry  and  her  mother  sipping  sodas  at 
a  drive-in  on  the  Sunset  Strip.  The  driver 
gave   Sherry's  mother  the   address  of  an 


Sherry  Jackson,  now  Danny  Thomas's 
TV  daughter,  was  scouted  from  a  bus. 


agent  and  Sherry  was  given  a  test  to  play 
Olivia  De  Havilland  as  a  child  in  "The 
Snake  Pit."  The  test  flopped,  thanks  to  a 
case  of  chicken  pox.  .  .  .  When  Sherry 
recovered,  she  easily  won  the  role  of  the 
daughter  of  Anne  Baxter  and  Dan  Dailey 
in  "You're  My  Everything."  Since  her 
debut  at  the  age  of  six,  Sherry  has  ap- 
peared in  over  thirty  films.  The  daughter 
of  Mrs.  Maurita  Jackson  Pittman  and  the 
late  Curtis  Jackson,  she  was  born  in  Wen- 
dell, Idaho,  on  February  15,  1942,  of 
French  and  English  ancestry.  She  was 
christened  Sharon  so  that  her  mother  could 
call  her  "Sherry."  In  1943,  the  family  came 
to  Hollywood  where  her  father  worked  as 
a  carpenter  and  her  mother,  a  former 
actress  known  as  Kathleen  Gilbert,  coached 
her  children  in  drama  from  the  time  they 
could  talk.  Both  of  Sherry's  brothers,  Gary 
Lee,  who's  almost  thirteen,  and  Curtis, 
nineteen,  are  in  the  movies.  .  .  .  Sherry  at- 
tended Melrose  Avenue  Grade  School  and 
Junior  High  School.  She  takes  music,  sing- 
ing and  dancing  lessons.  Her  dancing 
teacher  says  she  has  the  makings  of  a 
prima  ballerina.  Sherry  likes  the  idea,  but 
she  practices  her  tap  routines,  nevertheless. 
...  A  TV  veteran,  Sherry  has  been  seen  on 
many  of  the  leading  video  shows.  The 
career  of  this  lovable  miss  is  still  in  the 
ascent — so  make  room  for  Sherry! 

FOR  YOUR  INFORMATION— If  there's 
something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  St.,  New 
York  17,  N.  Y.  We'll  answer,  if  we  can, 
provided  your  question  is  of  general  inter- 
est. Answers  will  appear  in  this  column — 
but  be  sure  to  attach  this  box  to  your 
letter,  and  specify  whether  your  question 
concerns  radio  or  TV. 


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J "PRIU  "*•""'""•'- 


TV  Radio  Mirror 

Award  Winners,  1955-56 


Your  votes  gave  the  stars  and  programs  in  this  issue 

the  coveted  gold  medals  in  our  ninth  nationivide  poll ! 


The  votes  have  been  counted,  the  gold 
medals  are  engraved,  all  is  ready  for 
the  presentation  of  TV  Radio  Mirror's 
Ninth  Annual  Awards — in  the  only  nation- 
wide poll  which  gives  listeners  and  viewers 
the  opportunity  to  name  their  own  favor- 
ites. Out  of  the  ballot  boxes  have  come 
prize  plums  for  long-established  stars  and 
programs,  surprise  gifts  for  newer  ones. 

In  a  period  which  has  seen  NBC  chang- 
ing the  whole  concept  of  broadcasting,  with 
dynamic  programming  throughout  the  day 
and  over  the  weekend,  TV  Radio  Mirror 
readers  proclaimed  Monitor  the  best  radio 
program  of  all.  Meanwhile,  Home — which 
was  just  as  striking  an  innovation  when 
NBC  launched  it  two  years  ago — has  won 
its  second  Award  as  the  nation's  favorite 
women's  television  show.  The  correspond- 
ing radio  honors  in  the  feminine  category 
go,  for  the  fourth  time,  to  Mutual's  Queen 
For  A  Day  (now  also  seen  nationally  over 
NBC-TV,  since  the  first  of  this  year). 

Headlines  and  headliners  made  Award 
winners,  too.  CBS's  much-discussed,  fer- 
vently followed  $64,000  Question  triumphed 
as  best  TV  show.  Arthur  Godfrey,  his  stel- 
lar performers  and  programs  on  CBS  Radio 
and  TV — always  exciting  news  "copy" — 
won  three  more  gold  medals  to  add  to  the 
more  than  two-score  they've  already  gar- 
nered! Arthur  Godfrey's  Talent  Scouts 
swept  the  radio  evening  variety  category 
for  the  fifth  year  in  a  row.  It  has  pre- 
viously won  on  TV,  too,  as  have  both  Jan- 
ette  Davis  and  Frank  Parker,  who  edged 
out  all  rivals  as  your  favorite  radio  singers. 


FAVORITE  TV  EVENING  DRAMA  PROGRAM 

Mama  brings  San  Francisco's  warm-hearted  Hansens  into  the  nation's 
homes,  with  Peggy  Wood  in  the  title  role  and  Judson  Loire  as  Papa, 
Rosemary  Rice,  Dick  Van  Patten  and  Robin  Morgan  as  their  children. 
The  series  and  its  stellar  performers  have  now  won  Awards  for  seven 
years  straight — ever  since  Mama's   first   season   on   CBS-TV,    in    1949! 


see  following  pages  for  more  Award  Winners  fc 


31 


TV  Radio  Mirror 

Award  Winners,  1955-56 


FAVORITE  RADIO  PANEL  SHOW 

Make  Up  Your  Mind  was  created  by  Arthur  Henley  (standing, 
at  left),  moderated  by  Jack  Sterling  (right).  Panelists  seated 
here  include  John  S.  Young;  Edith  Walton;  Clarence  S.  Maso, 
audience  member;  and  Elsa  Maxwell,  the  day's  celebrity  guest. 


BEST  RADIO  PROGRAM  ON  THE  AIR 

Monitor  has  proved  a  boon  to  weekend  listeners,  thanks  to 
NBC  Radio's  pace-setting  enterprise,  which  demands  the 
greatest  broadcasting  talents  and  most  up-to-date  facilities. 


(Continued) 

Janette  and  Frank  were  also  strong  con- 
tenders for  the  TV  titles,  which  were  finally 
won  by  Patti  Page — who  proved  so  worthy 
of  her  sparkling  new  "showcase"  this  past 
year — and  by  Perry  Como,  who  also  had  a 
new  format,  starting  on  NBC-TV  last  fall, 
and  who  proceeded  to  stir  up  a  battle  of 
audience-ratings  in  the  coveted  8-to-9  spot 
on  Saturday  nights,  in  his  own  easygoing 
way.  Seen  nationwide  for  the  first  time, 
thanks  to  ABC-TV,  The  Lawrence  Welk 
Show  wrested  honors  from  close  competi- 
tion as  favorite  TV  musical  program — and 
another  solid  sixty  minutes  of  melody,  The 
Woolworth  Hour  over  CBS,  waltzed  off 
with  the  radio  title. 

Comedy,  as  always,  proved  a  stirring 
battleground,  though  most  of  the  finalists 
were  established  favorites  in  their  class. 
Eve  Arden  becomes  a  veritable  champion 
of  champions,  as  most  popular  radio  come- 
dienne for  the  eighth  consecutive  time — 
ever  since  Our  Miss  Brooks'  first  season 
on  the  air — and  it  isn't  the  first  time,  either, 
that  her  CBS  Radio  show  has  won  in  the 
evening  comedy    (Continued  on  page  34) 


FAVORITE  TV  DAYTIME  VARIETY  PROGRAM 

The  Bob  Crosby  Show — second  time  in  a  row!  And, 
this  year,  Bob  launched  a  "second  generation,"  too, 
as  his  daughter  Cathy  made  her  singing  debut  on  TV. 


32 


^  < 


■; 


/ 


FAVORITE  RADIO  EVENING  VARIETY  PROGRAM 

Arthur  Godfrey's  Talent  Scouts  continues  to  prove  the  master's 
showmanship.  Violinist  Florian  ZaBach  is  one  of  many  stars  of 
today  who  found  a  brilliant  new  career,  appearing  on  the  show. 

FAVORITE  RADIO  FEMALE  SINGER 

Another  shiny  medal  for  Janette  Davis,  whose  voice  brightens  up 
CBS  Radio's  Arthur  Godfrey  Time — just  as  her  pert  good  looks 
adorn  the  CBS-TV  simulcast  and  Arthur  Godfrey  And  His  Friends. 


FAVORITE  RADIO  MALE  SINGER 

Frank  Parker,  long-time  Godfrey  friend  and  a  perennial 
musical  favorite,  gathers  in  the  readers'  votes  for  his 
fifth  TV  Radio  Mirror  Award  (in  both  radio  and  TV). 


Ifl 


TV  Radio  Mirror 

Award  Winners,  1955-56 


FAVORITE  RADIO  MYSTERY-ADVENTURE  PROGRAM 

Mutual's  Gang  Busters  can  boast  of  all-star  casts.  Seated  (left 
to  right),  Raymond  Edward  Johnson,  Larry  Haines,  Ken  Lynch, 
Bob  Haag,  Bryna  Raeburn,  Bill  Zuckert.  Standing,  Frank  Burns, 
•  director  Leonard  Bass,  announcer  Russ  Dunbar,  Lawson  Zerbe. 


FAVORITE  RADIO  WESTERN  PROGRAM 

Gunsmoke  (CBS  Radio)  has  adult  scripts  and  fine  acting  from  Bill 
Conrad  as  Marshal  Matt  Dillon,  Georgia  Ellis  as  the  dance-hall 
hostess  Kitty,  Howard  McNear  as  "Doc,"  Parley  Baer  as  Chester. 


(Continued  from  page  32) 

category!  NBC's  Martha  Raye  -triumphed 
as  TV  comedienne  for  the  third  year  in  a 
row,  despite  heavy  voting  for  the  peren- 
nially popular  Lucille  Ball  and  Eve  Arden 
herself. 

Caesar's  Hour,  in  its  second  season  on 
NBC-TV,  is  a  newcomer  to  the  TV  evening 
comedy  title — with  Jackie  Gleason  and  his 
"Honeymooners"  pressing  Sid  Caesar  and 
his  "Commuters"  all  the  way.  But  Bob 
Hope  is  a  five-time  repeater  as  your  favor- 
ite comedian,  though  this  is  the  first  time 
he's  won  the  television  title — thanks  to  his 
frequent  appearances  on  The  Chevy  Show. 
Meanwhile,  thanks  to  motion  pictures, 
Bob's  fans  will  be  able  to  go  on  seeing  him 
this  summer  during  TV  vacation  time,  in 
Paramount's  "That  Certain  Feeling." 

There's  a  new  title-holder  in  the  ranks  of 
radio  comedians — Robert  Q.  Lewis — though 
his  entertaining  shows  have  won  previous 
gold  medals  from  both  listeners  and  view- 
ers. This  year,  the  CBS-televised  Robert 
Q.  Lewis  Show  got  the  TV  daytime  comedy 
Award.  Fibber  McGee  And  Molly — aired  in 
the  mornings,  for  the  first  time  in  its  more 
than  twenty  years  on  NBC — won  its  first 
program  medal  as  favorite  radio  daytime 
comedy.  Heard  in  the  evenings,  too,  Fibber 
and  Molly  themselves — Jim  and  Marian 
Jordan — picked  up  a  fourth  Award  as  your 
favorite  husband-and-wife  team  on  radio. 
The  corresponding  television  medal  goes  to 
Mr.  and  Mrs.  Ozzie  Nelson  of  ABC-TV's 
Adventures  Of  Ozzie  And  Harriet,  their 
seventh  such  Award  since  they  picked  up 
the  radio  title  in  TV  Radio  Mirror's  first 
national  poll,  back  in  1947. 

Balloting  was  close  for  the  favorites  in 
daytime  variety,  and  Bob  Crosby  deserves 
real  credit  for  capturing  television  honors, 
the  second  year  running,  for  his  afternoon 
show  on  CBS-TV.  A  personable  emcee 
with  a  fine  singing  voice,  Bob  proved  that 
such  talent  runs  in  the  second  generation 
of  Crosbys,  too,  when  he  presented  his  at- 
tractive daughter  Cathy,  at  sweet  sixteen, 
as  well  as  his  nephew  Gary. 

Art  Linkletter's  House  Party,  a  previous 
winner,  as  seen  and  heard  over  CBS,  was  a 
vigorous  challenger  for  TV  honors  in  day- 
time variety,  but  gained  this  year's  Award 
in  the  radio  classification.  Art  himself 
should  get  a  super-size  or  platinum  medal, 
for  1955-56  marks  the  eighth  consecutive 
time  he's  won  as  a  radio  master  of  cere- 
monies— this  year,  (Continued  on  page  75) 


34 


PI 


-^ 


\ 


~ 


FAVORITE  TV  EVENING  COMEDY  PROGRAM 

Caesar's  Hour  ticked  off  some  mighty  hilarious  minutes  on  NBC-TV  to  beat  the  competition  in  a 
field  of  strong  contenders.  But  no  one  could  stop  "The  Commuters" — Ellen  Parker,  Howard  Morris, 
Sid  himself,  Nanette  Fabray,  Carl  Reiner  and  Sandra  Deel — from  coming  in  ahead  of  schedule! 


HH 


FAVORITE  TV  WOMEN'S  PROGRAM 

Home  gets  the  votes  of  America's  housewives,  with 
Arlene  Francis  and  her  staff  of  experts  proving  that 
NBC-TV  has  a  sensitive  finger  on  the  feminine  pulse. 


FAVORITE  TV  COMEDIAN 

Bob  Hope  has  often  topped  the  ballot.  But  this  year 
he  had  new  scope  for  his  winning  way-with-a-gag — as 
the  most  frequent  "rotating"  star  of  The  Chevy  Show. 


35 


a  CHAMP  Named  Sullivan 


Like  the  mighty  John  L. 
himself,  Ed  can  take 
on  all  comers— and  his 
show  is  always  a  knockout 


His  "right  hand"  is  Carmine  Santullo. 
Photo  on  desk  is  Ed's  daughter,  Betty. 


By 
FRANCES  KISH 


FAVORITE    TV    EVENING    MASTER    OF    CEREMONIE 


1*^ 


Ed  gets  the  best,  even  coaxed  Kate 
Smith  out  of  retirement  for  a  show. 


No  detail   is  too  small  for  his  attention,   as 
he  sifts  out  both  new  and  established  talents. 


His    guests — like    Marion    Marlowe 
re   "headliners"   in  every  sense. 


After  years  of  marriage,  Sylvia  is  still  awed  by  Ed's  taste 
and  judgment,  capacity  for  work — and  lack  of  "pettiness." 


"Boje,"  the  family's  poodle,   has  long   ruled  the  Sullivan 
roost.  Now  there's  a  new  little  king,  grandson  Robbie  Precht. 


Change  and  pace.  Streamlined  acts.  Novelties  and 
surprises.  Great  music — classic,  modern,  sweet  and 
hot.  Fabulous  stars,  from  Broadway,  Hollywood, 
the  capitals  of  Europe.  Top  news  personalities  from 
everywhere.  All  of  these  introduced  by  a  sober-looking, 
ordinary  sort  of  guy  with  a  quiet  voice,  who  always 
loved  vaudeville  and  variety  shows,  and  was  willing  to 
gamble  that  there  were  millions  like  him  who  would 
love  them  on  television. 

It  was  only  eight  years  ago  that  the  experts  warned 
Ed  Sullivan  this  idea  wouldn't  work.  In  June,  1948,  when 


he  began  his  TV  program,  most  of  them  gave  it  a  year — 
some  said  six  months.  Variety  shows  were  OK  at  TV's 
beginning,  but  people  would  soon  tire  of  them.  He  had 
better  change  the  format — or  else. 

There  were  days  of  doubt  when  he  wondered  if  they 
might  just  happen  to  be  right.  Only  some  days.  Only  a 
few.  Most  of  the  time  he  was  sure  of  his  own  judgment — 
although,  if  anyone  had  told  him  that  he  would  be  hold- 
ing huge  audiences  against  all  comers  in  the  choicest  time 
of  the  choice  Sunday-night  line-up,  Ed  Sullivan — a  real- 
istic man,  and  also  a  modest  one —  {Continued  on  page  102) 


FAVORITE    TV    EVENING    VARIETY    PROGRAM 


The  Ed  Sullivan  Show  is  seen  over  CBS-TV,  each  Sunday,  from  8  to  9  P.M.  EST,  as  sponsored  by  the  Lincoln-Mercury  Dealers. 


37 


The  way  Terry  O'Sullivan  and  Jan 
Miner  feel  about  each  other — well,  that's 
the  way  their  fans  feel  about  them ! 


Joy  ride:  A  brief  holiday  gave  Jan  and  Terry 
time  for  a   memorable  junket  to  Miami   Beach. 


Imagine:  Nothing  to  do  but  sun  themselves,  go 
swimming — and  catch  fish — for  five  whole  days! 


Working  trip:  They  gave  their  best  to  a  good  cause,  the 
March  of  Dimes  telethon  in  Terry's  home  town,  Kansas  City 
— and  Mayor  H.  Roe  Bartle  gave  the  "keys  of  the  city"  to 
the  O'Sullivans  and  Jackie  Cooper,  who  also  participated. 

By  GLADYS  HALL 

How  do  a  husband  and  wife  feel  when  they  both  win  gold 
medals  for  their  acting?   In  different  daytime  dramas, 
too — and  not  for  the  first  time,  either!    Jan  Miner,  the 
lovely  star  of  CBS  Radio's  The  Second  Mrs.  Burton,  and 
Terry  O'Sullivan,  the  handsome  newspaperman  in  CBS-TV's 
Valiant  Lady,  can  tell  you  ...  as  effervescent  Jan  does  tell 
you:  "When  I  was  told  that  I'd  won  TV  Radio  Mirror's 
Award  as  favorite  dramatic  actress  in  daytime  radio  again  this 
year — making  it  the  sixth  consecutive  year  I've  been  the 
winner — I  burst  right  into  tears!  The  kind  of  tears  that  spring 
from  gratitude  and  pride  and  (Continued  on  page  84) 

Terry  O'Sullivan  is  Elliott  Norris  in  Valiant  Lady,  seen  over  CBS-TV,  M-F, 
12  noon  EST,  as  sponsored  by  General  Mills,  The  Toni  Company,  Wesson 
Oil,  and  Scott  Paper  Company.  Jan  Miner  stars  as  Terry  in  The  Second 
Mrs.  Burton,  CBS  Radio,  M-F,  2  P.M.  EST,  under  multiple  sponsorship. 

FAVORITE  RADIO  DAYTIME  DRAMA  ACTRESS    •     FAVORITE  TV  DAYTIME  DRAMA  ACTOR 


39 


FAVORITE  TV   HUSBAND-WIFE  TEAM 


Ozzie  is  the  wise  head,  Harriet  the  warm  heart — and  David  (left)  and  Ricky 
two  lively  young  limbs! — of  the  Nelson  family.  All  together,  they  represent 
a  solid  body  of  affection,  in  their  home  life  as  on  the  nation's  TV  screens. 


40 


Always  for  the  Home  Team 


For  Ozzie  and  Harriet  Nelson,  David  and  Ricky, 
acting — like  life  itself — is  "all  in  the  family9 


By  DEE  PHILLIPS 


When  I  looked  down  at  my  first  born,  David,  for  the 
first  time,"  Harriet  Nelson  recalls,  "I  resolved  to 
hold  my  love  loosely  in  open  hands.  I  knew,  as  all 
mothers  do,  that  we  have  our  children  on  a  temporary 
basis.  They  are  ours  until  they  grow  big  enough  and 
strong  enough  to  find  a  new  life  of  their  own.  This  is 
the  way  of  life.  For  my  child  I  wanted  to  give  the  free, 
undemanding  love,  lacking  in  possessiveness  and  domi- 
nation, that  Ozzie  and  I  had  always  experienced.  Ozzie, 
with  his  inborn  maturity,  had  no  need  to  resolve.  As  a 
husband,  now  as  a  father,  he  automatically  would  con- 
tinue to  give  the  mutual  respect,  confidence  and  healthy 
attitudes  that  come  from  loving  freely.  .  .  .  For  me,  it 
took  a  strong  resolution.    And,  though  I've  sometimes 


missed,  I've  always  tried  to  keep  this  thought  upper- 
most in  mind.  " 

Harriet  Nelson  is  seen  weekly  as  a  near-perfect,  de- 
lightful wife  and  mother  with  her  own  real  family  in 
The  Adventures  Of  Ozzie  And  Harriet,  on  ABC-TV. 
Because  seeing  is  believing,  many  women  heave  a  wist- 
ful sigh  as  they  watch  her  deal  adroitly  and  smoothly 
with  her  three  men.  But  they  should  never  forget  that 
each  episode  of  the  series  has  been  carefully  written, 
and — although  pretty  close  to  the  personalities  of  the 
Nelsons — it  must  necessarily  be  broadened  and  sharp- 
ened to  prove  the  point  that  "the  play's  the  thing." 
Behind  the  scenes  is  a  tightly  knit,  happy  family, 
working,  loving  and  living    (Continued   on   page  95) 


The  Adventures  Of  Ozzie  And  Harriet,  ABC-TV,  Fri.,  8  P.M.  EST,   is  sponsored  by  Hotpoint  Company    (electrical  home  appliances), 
Aunt  Jemima  Div.  of  Quaker  Oats  Co.   (pancake  mixes),  and  Norwich  Pharmacal  Co.   (Pepto-Bismol). 


Whatever  road  they  may  travel,  in  work  or  play,  the 
four  Nelsons  share  an  abiding  sense  of  "togetherness." 


Hot  dogsl    Ricky,  the  family  comedian,  stocked  up  on 
six  feet  of  'em  for  a  picnic — ate  three  feet  himself. 


• 


*   k''  ■': 


.-*•" 


Joanne  and  Arthur  Tate  seek  the  good 

life  through  a  web  of  terror  and  tension 


^eawA /or  GfMwmw 


IN  their  Search  For  Tomorrow,  happiness  has  been 
elusive  for  Joanne  and  Arthur  Tate.  Arthur's 
greatest  wish — to  expand  and  improve  their  Motor 
Haven  in  Henderson — had  seemed  assured  when 
Stu  Bergman  readily  agreed  to  co-sign  the  $125,000 
bank  note  which  the  plans  required.  Stu  and  his  wife 
Marge  had  also  visualized  a  better  tomorrow,  since 
Melanie  Pritchard's  designs  on  Stu's  prospective  in- 
heritance were  defeated.  ...  So  much  depended  upon 
that  inheritance!  Then  the  dream  was  shattered.  For 
Stu  did  not  get  the  inheritance — the  court  ruled 
otherwise.  Yet  Arthur  could  not  abandon  his  cher- 
ished plans.  Even  though  the  bank  couldn't  grant 
him  all  the  money  needed,  without  a  co-signer,  the 
fraction  which  it  did  offer  might  at  least  be  a  start. 
Arthur  was  so  possessed  by  his  ambition  that  he 
even  told  Joanne  the  full  amount  had  been  granted. 
He  had  committed  himself  to  a  lie.  And  he  had  to  act 
it  out  before  the  very  woman  who  shares  his  life  so 
closely.  .  .  .  Joanne  is,  of  course,  acutely  aware  of 
Arthur's  anxiety — though  not  of  all  the  reasons  for 
it.  She  knows  that,  despite  his  great  plans  for  the 
Motor  Haven,  their  life  will  have  to  be  a  moderate 
one  because  Arthur  will  never  be  a  well  man.  Yes, 
he  had  recovered  from  the  bullet  wound  in  his  heart 
and,  if  he  is  cautious,  he  might  live  a  full  life,  but  if 
he  is  not.  .  .  .  Joanne  herself  is  being  tormented  in- 
directly by  the  sinister  V.  L.  Swanson,  who  only 
awaits  the  day  he  is  free  from  prison  to  have  his 
revenge.  He  had  failed  to  get  Joanne  convicted  of  a 
crime  she  didn't  commit.  Now,  his  hatred  is  intensi- 
fied by  the  lies  told  him  by  Mortimer  Higbee,  his 
"lieutenant,"  who  is  also  serving  time  in  prison.  So 
it  suits  V.  L.'s  scheming  mind  perfectly  when  he  is 
consulted  about  a  loan  for  Arthur  Tate.  Circum- 


stances seem  to  play  into  the  very  hands  of  V.  L., 
though  not  without  his  own  wiles  shaping  them.  .  .  . 
He  had  hired  kindly,  naive  Harold  Small  as  chief 
auditor  of  Huxley  Investments — one  of  V.  L.'s  re- 
spectable "fronts."  He  had  also  arranged  for  Harold 
to  stay  at  the  Motor  Haven,  where  Rose  Peterson, 
V.  L.'s  reformed  ex-girlfriend,  often  visits.  It  was  no 
accident  that  V.  L.  enmeshed  the  innocent  Harold — 
V.  L.'s  "double"  physically — in  his  diabolical  plan  to 
free  himself  from  prison.  And  it  was  quite  satis- 
factory to  him  when  Harold  and  Rose  became 
attracted  to  each  other,  for  the  results  of  this  re- 
lationship only  furthered  his  venomous  plot.  It  was 
Rose  who  told  Harold  of  Arthur's  need  for  money, 
leading  Harold  to  consult  his  boss — who  of  course 
gave  his  gleeful  approval.  .  .  .  From  a  prison  cell, 
V.  L.  is  toying  with  the  lives  of  several  people — with 
Harold  and  Rose — with  his  hireling,  Higbee,  whom 
he  is  keeping  at  arm's  distance  because  only  Higbee 
suspects  what  V.  L.  is  planning — with  Arthur  Tate, 
whom  he  hopes  to  make  completely  dependent  upon 
him  financially.  .  .  .  Joanne's  tensions  mount  as 
she  sees  her  husband  subject  to  all  the  age-old 
pressures  of  a  man  who  feels  his  life  is  short,  a  man 
whose  energy  is  being  frantically  used  to  assure  that 
his  family  may  be  secure  in  any  event.  Can  Arthur 
realize  that  his  forebodings  must  be  Joanne's  con- 
cern, too?  Are  the  Tates  fated  to  be  puppets,  maneu- 
vered at  will  by  V.  L.'s  evil  schemes?  Can  Arthur 
himself  survive  the  inhuman  pace  at  which  he  has 
been  working?  Events  cannot  stand  still — for  life  it- 
self   is    always    a    constant    search    for    tomorrow. 

Search  For  Tomorrow.  CBS-TV,  M-F.  12:30  P.M.,  EST,  spon- 
sored by  Procter  &  Gamble  for  Joy,  Spic  and  Span,  Gleem. 


Popular  actress   Mary   Stuart  stars   in   TV's 
best-loved  daytime  drama,  Search  For 
Tomorrow,  as  Joanne  Barron  Tate,  with   Karl 
Weber  as  Joanne's  husband,  Arthur  Tate. 

FAVORITE  TV  DAYTIME  DRAMA  ACTRESS 


FAVORITE   TV    DAYTIME   DRAMA   PROGRAM 


43 


Sxdusfoe! 


OLD-FASHIONED  LOVE 


Knowing  them  both  so  well,  I  know — first  hand- 
how  very  much  it  meant  when  Hal  March 
asked  Candy  that  greater-than-$64,000  question! 


Rainbow's  end — in  Las  Vegas,  Nevada: 
Candy  Toxton  Torme  weds  Haf  March, 
the  emcee  of  The  $64,000  Question. 


By 

JOAN 

CARTER 

Close  friend 

of  both 

Hal    and    Candy 


Sipping  my  after-dinner  coffee,  I 
looked  across  the  table  at  the 
handsome  man  and  pretty  girl  who 
were  my  companions,  and  marvelled 
at  what  a  difference  an  hour  of  good 
conversation  and  good  food  could 
make. 

When  the  three  of  us  met,  Candy 
Toxton  Torme  had  been  tense  and 
withdrawn.  Hal  March  had  been  bone- 
weary,  utterly  worn  down  by  the 
transcontinental  commuting  he  was 
doing  to  finish  out  a  television  show 
which  was  closing  in  Hollywood,  then 
rushing  back  to  New  York  for  his  big 
CBS -TV  hit,  The  $64,000  Question. 
Now  they  were  relaxed  and  sparkling, 
talking  happily  away  about  Hal's  pro- 
grams and  Candy's  children. 

Hal  was  my  neighbor  and  Candy  my 
best  friend.  The  threesome  had  been 
his  idea.    That  (Continued  on  page  86) 


44 


MODERN  STYLE 


Milton  Berle  was  on  hand  to  wish  Hal  and  Candy  "all 
the  best."  (Among  other  famous  guests  present:  the  Dan 
Daileys,  the  Howard  Keels,  Harry  James,  Betty  Srable.) 


Wedding  hosts  Mr.  and  Mrs.  Beldon  Katleman  not  only 
provided  their  suite  as  scene  of  the  ceremony  but  took 
Hal  and  Candy  out  for  a  glimpse  of  Nevada  ranch  life. 


FAVORITE  TV  QUIZ  PROGRAM 


Bridal  party:  Mr.  and  Mrs.  Bob  Sweeney  were  best  man 
and  matron  of  honor.  Bob  is  Hal's  long-time  friend  and 
former  partner  in  the  Sweeney-and-March  comedy  team. 


The  newlyweds  showed  great  dignity  and  decorum  for  the 
camera — but  the  hosts  laughed  so  hard  that  no  one 
guarantees  their  shots  will  ever  reach  the  family  album! 


BEST    TV    PROGRAM    ON    THE    AIR 


The  $64,000  Question  is  seen  over  CBS-TV,  Tuesdays,  at  10  P.M.  EST,  as  sponsored  by  Revlon,  Inc. 


45 


' 


\ 


The  Secret  Passion 
of  Garry  Moore 


He's  a  resounding  success  on  TV, 
day  and  night— but  Garry  still  has  a 
quiet  yen  for  a  not-so-quiet  drum 

By  MARTIN   COHEN 


The  letter  read,  "Dear  Garry:    I  just  heard  Wild  Bill  Davison 
on  your  show.    Man,  that's  the  greatest.    I'm  glad  I  caught  that 
before  I  died.   Footnote:  My  granddaughter  taught  me  the  hep 
language."  And  a  man  wrote:  "Dear  Mr.  Moore:  My  mother  was  never 
happy  about  my  collecting  jazz  records.    She  thought  there  was 
something  immoral  about  jazz.    Now   Mother   is   a   grandmother   and 
nearly  seventy-three.    She  lives  in  Vermont  and,  last  time  I  was 
home  to  visit,  she  played  some  records  by  Stan  Kenton.    She  said  that 
you  taught  her  to  like  that  music.    Mr.  Moore,  I  don't  know  how 
you  did  it  but  you  made  a  'cat'  out  of  a  grandmother." 

And  that's  the  situation  as  we  go  to  press:   More  and  more  grand- 
mothers are  switching  from  Bach  to  boogie.    The  man  responsible 
is  an  innocent-looking,  neat,  sweet  kind  of  guy  named  Garry  Moore — 
but  beneath  his  bow  tie  beats  a  savage   (Continued  on  page  105) 


Garry  seldom  "performs"  himself, 
would  rafher  display  the  talents  of 
Ken  Carson,  Denise  Lor  and  Durward 
Kirby    (below)    on    his    daytime    show. 


Blondie,  the  playful  lion,  was  one  of 
Garry's  most  impish  secrets,  but  typical 
of  his  interest  in  oddly  assorted  animals. 


I've  Got  A  Secret,  Garry's  Wednesday-night  funfest,  presents  some  of  the 
wittiest — and  prettiest — panelists  in  television.  Seated  at  the  table,  left 
to  right,  are  Bill  Cullen,  Jayne  Meadows,  Henry  Morgan,  and  Faye  Emerson. 


FAVORITE  TV  DAYTIME  MASTER  OF  CEREMONIES     •     FAVORITE  TV  PANEL  PROGRAM 


I've  Got  A  Secret,  moderated  by  Garry  Moore,  is  seen  over  CBS-TV,  Wed.,  9:30  P.M.  EST,  as  sponsored  by  R.  J.  Reynolds 
Tobacco  Co.  for  Winston  Cigarettes.  The  Garry  Moore  Show  is  seen  on  CBS-TV,  M-F,  10  A.M.  EST,  under  multiple  sponsorship. 


THE    PEACEFUL 


Far  from  Hollywood,  Eve  and  her  husband,  Brooks  West, 
envisioned  a  "calm,  orderly,  restful  way  of  life,"  with  gen- 
tle horses,   placid   sheep  and  other  typical  farm  fauna. 


Our  Miss  Brooks — Eve  Arden,  that 
£& — and  her  husband  and  children 
have  answered  the  call  of  the  ivild 

By  FREDDA  BALLING 


What  is  every  woman's  dream  of  a  way  of 
life?   Probably  the  key  word  would  be 
spaciousness  .  .  .  enough  physical  room  in 
which  to  live  with  grace,  ease,  and  advantages 
for  both  parents  and  children  .  .  .  enough  mental 
room  to  entertain  new  experiences  and  con- 
cepts .  .  .  enough  emotional  room  to  expand  the 
margins  of  the  heart.  .  .. .  "But  we  can't  live 
that  way  here,"  Eve  Arden  and  Brooks  West 
chorused,  one  hectic  evening  as  they  sat  in 
conference  in  their  Hollywood  hillside  home.  The 
dog  had  barely  avoided  being  run  down  by 
a  hotrod  slaloming  the  curving  highway  which 
passed  the  house.  The  girls  were  complaining 
because  they  were  strictly  forbidden  to  roller- 
skate  on  the  precipitous  sidewalk  streaking 
almost  perpendicularly   (Continued  on  page  88) 

Eve  Arden  stars  in  Our  Miss  Brooks,  as  heard  over  CBS 
Radio,  Sun.,  8  P.M.  EST,  sponsored  by  Prom  Home  Perma- 
nent, Deep  Magic  and  White  Rain.  Our  Miss  Brooks  is  seen 
on  CBS-TV,  Fri.,  8:30  P.M.  EST,  sponsored  by  General 
Foods  for  Minute  Rice,  Instant  Sanka  and  other  products. 


Well,  that  isn't  quite  how  it  worked  out — but 
Eve  and  Brooks  still  fondly  believe  that  every- 
thing that  happens  there  is  a  "picnic,"  anyway! 


PASTORAL    PANIC 


It  isn't  easy  to  get  all  the  Wests,  big  or  little,  to  stay  still  long  enough 
for  an  official  portrait  on  the  farm.  But  here  are  the  busy  Mom  and 
Dad  with  young  sons  Doug  and  Duncan,  growing  daughters  Connie  and  Liza. 


FAVORITE  RADIO  EVENING  COMEDY   PROGRAM    •    FAVORITE  RADIO  COMEDIENNE 


49 


They're  Res  I  Characters 


I  couldn't  be  more 
grateful  for  "my  gang' 
and  we  couldn't  be 
more  grateful 
to  our  audiences 


By 
ROBERT  Q.  LEWIS 


Al  Rafkin  isn't  what  he  seems!  He's      Tom  Mahoney  is  a  New  Yorker  (like  me) 
really  an  associate  director  for  CBS.      and  things  just  keep  happening  to  him. 


Julann  Wright  started  out  as  my  Sat- 
urday secretary.  Thus  a  wit  was  born. 


Doro  Merande  is  an  actress  with  fine 
experience — and  odd  outside  interests. 


Cam  Andrews  is  another  "pro,"  whose 
performances  are  almost  too  authentic! 


First  things  come  first,  and  so  I  want  to  thank  everyone  con- 
nected with  The  Robert  Q.  Lewis  Show.     I  know  that 
sometimes  it  sounds  a  little  pat,  the  way  the  cast  and  every- 
one else  gets  thanked.    The  star,  breathless,  says,  "It  couldn't 
have  happened  without  the  help  of  the  musicians,  Joe  Jackson, 
Jack  Joeson,  and  the  engineers,  because  they  all  help  to  make 
the  show  so — "  and  that's  when  the  engineer  cuts  in  with  the 
station  break.    You  don't  know  for  certain  whether  the  star  was 
going  to  say  "so  wonderful"  or  "so  awful."    I  mean,  you  don't 
know  but  I  do.    I  know  that  The  Robert  Q.  Lewis  Show  doesn't 
mean  one  person.  It  means  everybody  connected  with  the  show. 

When  we  are  funny,  and  we  hope  it  is  often,  we  use  what  I 
call  "human  humor."    Human  humor  is  (Continued  on  page  92) 

The  Robert  Q.  Lewis  Show,  CBS-TV,  M-F,  2  P.M.  EST,  is  spoiisored  by  Lanolin 
Phis,  Ralston  Purina  Co.,  Brown  &  Williamson  Tobacco  (Viceroy  Cigarettes), 
others.  The  Robert  Q.  Lewis  Show,  CBS  Radio,  Sat.,  11 :05  A.M.  EST,  is  spon- 
sored by  Milner  Products  (Pine-Sol,  Perma  Starch),  Kasco  Dog  Ration,  others. 


Carol  Bushman  (seated)  does  the  funny  lines 
for  the  Chordettes  (standing,  left  to  right — 
Janet  Bleyer,  Lynn  Evans,  Marjorie  Needham). 


50 


*      FAVORITE  TV   DAYTIME   COMEDY   PROGRAM       •       FAVORITE   RADIO   COMEDIAN 


Success  has  come  to  Perry  Como 
just  being  himself — because  that  self 
is  as  fine  as  the  songs  he  sings 


'  IB 


THE  twinkle  in  Perry  Como's  eye  was  a 
tip-off  to  his  audience  that  one  of  those 
delightful  little  Como-isms  was  in  store. 
With  his  usual  gallantry,  he  introduced  Miss 
Patti  Page.  Then,  as  that  lilting-voiced  lovely 
joined  him  on  stage,  he  confided,  "I  want  you 
to  know  that,  when  I  was  on  Patti's  show,  I  was 
the  one  who  forgot  the  lyrics  to  a  song.  Now 
it's  Patti's  turn.  I  here  give  her  full  permission 
to  forget  the  lyrics,  make  up  new  ones,  or  just 
sing  tra-la-la,  if  she  wants  to." 

With  a  surprised  flicker  of  her  eyelashes, 
Patti  acknowledged  his  challenge.  There  fol- 
lowed a  good-natured  duel  of  invention  and 
wit  which  gave  everyone  in  the  audience  the 
feeling  he  was  intimately  sharing  a  private 
joke.  It  is  this  informal  approach  which  makes 
Perry  and  Patti  as  alike  as  two  sides  of  a  golden 
coin — or  a  TV  Radio  Mirror  gold  medal,  since 
the  viewers  of  America  have  now  elected  Perry 
Como  as  their  favorite  TV  male  singer  and 
Patti  Page  as  their  favorite  TV  female  singer. 

It's  a  happy  linkinf  of  titles,  for  these  two 
wonderful  melody-makers  are  friends  in  private 
life  and  share  many  characteristics  profession- 
ally. Both  have  a  gift  for  lending  magic  to 
music,  each  turns  a  ballad  into  a  moving  inter- 
pretation of  a  romantic  situation  which  all  their 
listeners  can  feel  and  understand.  Both  give 
a  warm  sincerity  to  their  styling  of  a  song.  Both 
are  perfectionists. 

For  Perry,  this  has  been  the  year  in  which  he 
took  the  big  gamble.  This  son  of  a  Pennsylvania 
mill  hand  who  learned  to  handle  a  pair  of  bar- 
ber's scissors  before  he  learned  to  handle  an 
audience,  announced  at  the  end  of  last  season 
that  he  was  making  a  change.  Viewers  who 
had  clamored  for  more  Perry  Como  were  to 
have  their  way.  The  little  fifteen-minute  sere- 
nade was  finished.  Perry  was  changing  network, 
sponsors  and  format.  He  would  open  his  1955- 
56  season  on  NBC -TV  (Continued  on  page  94) 

The  Perry  Como  Show,  on  NBC-TV,  Sat.,  from  8  to  9  P.M. 
EST,  is  sponsored  by  Armour  and  Company,  The  Toni 
Company,  Dormeyer  Corporation,  International  Cellucot- 
ton  Products  Co.,  Noxzema  Chemical  Co.,  and  Gold  Seal  Co. 


FAVORITE  TV  MALE  SINGER 


Everyone  loves  Patti  Page,  off 

the  set  as  well  as  on — particularly 

a  certain  handsome  young  man! 


*  — K  "k 


K. 


AN  unexpected  contribution  to  this  story  was 
volunteered  just  as  your  TV  Radio  Mirror 
'  reporter  came  on  the  set  where  the  Patti 
Page  Show  was  being  filmed.  A  sprightly  and 
determined  little  woman  asked  to  be  intro- 
duced. "If  you're  writing  about  Patti  Page,"  she 
stated,  "I  want  something  to  say  about  it.  I've 
been  a  wardrobe  mistress  for  thirty  years  and 
I've  worked  with  them  all." 

She  named  a  list  of  stars — and,  in  the  way 
of  backstage  people,  also  added  tart  comment 
about  a  few,  praise  for  many  more.  Then  she 
moved  a  step  closer.  "Now,  I  want  you  to  put 
it  down.  Write  it  the  way  I  say:  This  girl,  Patti 
Page,  is  greater  than  any  of  them.  And  she's 
the  nicest,  too.  I've  never  heard  her  get  mad  or 
raise  her  voice.  And,  when  any  of  us  do  any- 
thing for  her,  she  appreciates  it.  Everyone  here 
just  loves  her." 

In  a  moment,  there  was  an  example  of  the 
kind  of  thing  which  had  won  this  sharp-eyed 
veteran's  devotion.  The  usual  pre-shooting 
commotion  had  everyone  hopping.  Lighting, 
scenery  and  camera  technicians  fussed  about 
effects,  a  union  business  agent  demanded  con- 
formance to  the  smallest  clause  in  the  contract, 
and  a  sound  man  worried  at  his  dials.  Through 
it  all,  Miss  Page  was  the  calmest.  Rehearsing, 
she  sang  right  along,  never  fluttering  a  phrase — 
although  her  hairdresser  was  combing  away, 
and  a  costume  designer  was  changing  a  detail 
of  Patti's  gown. 

Then  Patti  stepped  onto  the  set  and  more 
tests  began.  At  last  the  camera  rolled.  Unfor- 
tunately, in  a  minute,  somebody  goofed.  Every- 
thing stopped  and,  along  the  line,  cuss  words 
started  to  crackle.  Before  they  could  be  fully 
voiced,  Patti  took  control.  Although  the  fault 
clearly  had  not  been  hers,  she  said  quietly,  "I 
don't  believe  I  did  that  bit  right.  Could  we  try 
it  again?" 

It  is  characteristic  of  Patti  that  she  seldom 
says  "I."    In  view  of   (Continued  on  page  89) 

The  Patti  Page  Show  is  sponsored  throughout  the  nation 
by  the  Oldsmobile  Dealers  of  America.  See  local  papers. 


FAVORITE  TV   FEMALE  SINGER 


■ 


s:. 


X 


ust  the  facts,  ma'am*  on  why  Dragnet  and  its  man  Friday,  Jack  Webb,  remain  on  top 


Friday  and  Smiih,  alios  Webb  and  Alexander,  admire  modern  design 
n    "secretary"    Marjie    Millar — and   their  new   police   headquarters. 


NEW  LOOK, 
OLD  FAVORITE 


The  top  of  the  ladder  is  a  tricky  place  to  be.  Gibes 
come  whizzing  by  your  ears  to  make  it  a  somewhat  unsteady 
perch.  Jack  Webb   whose  restless,  driving  energy  has 
outwitted  many  a  brickbat,  explains  it  this  way:  "Some  people 
have  found  a  new  crime:   Ambition."  If  it's  a  crime, 
Jack  Webb — who  stars  as  Sergeant  Joe  Friday  on  Dragnet, 
on  NBC  Radio  and  Television — is  guilty.  And  if  it's  a 
crime,  it's  also  one  that  pays.  The  loot  this  year  netted  two 
TV  Radio  Mirror  Awards:  One  to  Dragnet  as  your  favorite 
TV  adventure-mystery  program,  and  one  to  Jack  Webb,  who 
copped  your  votes  for  his  acting  (Continued  on  page  101) 


Dragnet  is  seen  over  NBC-TV,  Thursday,  8:30  P.M.  EST,  as  sponsored  by 
Liggett  &  Meyers  Tobacco  Company  for  Chesterfield  Cigarettes.  Dragnet  is 
heard  on  NBC  Radio,  Tuesday,  8:30  P.M.  EST,  under  multiple  sponsorship. 


FAVORITE  TV  MYSTERY-ADVENTURE  PROGRAM     •    FAVORITE  RADIO  EVENING  DRAMA  ACTOR 


55 


FAVORITE  RADIO  HUSBAND-WIFE  TEAM    •    FAVORITE  RADIO  DAYTIME  COMEDY  PROGRAM 

Time  to  retire?    The  Jordans  once  thought  they'd  take  it  easy  "after  35" — but  it's  too  much  fun   keeping   busy! 


IBBER   «incl    IVIO 


Their   own    kitchen,    after   work,    is    cosier   than 
the  trailer  in   which   they  once  tried   to   retire. 


56 


Success  and  marriage  are  two 

wonderful  habits  Jim  and  Marian 
Jordan  established  for  life 


To  radio's  beloved  Fibber  McGee  And  Molly — known 
to  their  friends  and  family  as  Jim  and  Marian 
Jordan — the  answer  is  quite  simple:  "Our  reaction  to 
middle  age?    It's  inevitable,  so  why  fight  it!    The 
secret  of  staying  young  is  staying  busy." 

Today,  Jim  and  Marian  laugh  at  their  long-ago  plan 
of  retiring  when  they  turned  thirty-five.    "When  we 
were  first  married,"  says  Marian,  brown  eyes  sparkling, 
"thirty-five  seemed  a  long  way  away,  and  we 
thought  we  would  be  ready." 

But  thirty -five  came — and  the  Jordans  only  grew 
busier.  There's  an  old  adage  to  the  effect:  "if  you  want 
a  job  done,  give  it  to  a  busy  man."    This  advice 
describes  the  Jordans  perfectly.   For  years,  they  did 
thirty-nine  shows  a  year,  raised  a  family,  and 
still  had  time  for  their  other  interests. 

For  some  years  now,  Jim  and  Marian  Jordan  have 
even   done   as   many   as   260    (Continued   on   page   99) 

Jim  and  Marian  Jordan  are  heard  as  Fibber  McGee  And  Molly,  over 
NBC  Radio.  (Please  check  local  newspapers  for  time  and  station.) 


IVIIRTH  and 


^To-o^**00- 


These  are  the  guiding  stars 

of  Martha  Raye,  queen  of  clowns 
— and  proud,  happy  mother 


Martha  was  proud  when  daughter  Melodye  made  her  "IV 
debut  but  is  happiest  of  all  when  they're  together  at  home. 


The  roster  of  Martha  Raye's  guest  partners-in-comedy 
reads  like  a  Who's  Who  of  show  business — but  the 
most  important  of  them  all  joined  her  this  year, 
when  her  beloved  eleven-year-old  daughter,  Melodye, 
made  her  debut  before  the  TV  cameras. 

In  a  happy,  spur-of-the-moment  decision,  Martha 
arranged  it.    On  that  blustery  January  day,  final 
rehearsals  for  The  Martha  Raye  Show  were  well  under 
way.   She  was  about  to  read  the  lines  which  would 
"cue  in"  Bil  and  Cora  Baird  and  their  delightful 
puppets,  when  suddenly  she  stopped.    "I've  got  an 
idea,"  she  said,  "Melodye  should  be  doing  this.    Why 
not  let  Melodye — who  introduced  the  Baird  puppets 
to  me — introduce  them  to  the  audience?" 

Could  Melodye  do  it?   Confirmation  of  Martha's  belief 
in  Melodye's  ability  came  from  another  vitally 
interested  person,  the  child's  father,  Nick  Condos. 
(When,  after  thirteen  years  of  marriage,  Nick  and 
Martha  were  divorced,  she  asked  him  to  continue  their 
professional  association  and  stay  on  as  her  agent 
and  manager.)    Nick,  a  former  dancer  himself,  has 
established  a  reputation  for  being  an  astute  judge  of 
talent.    Now,  however,  he  pleaded  prejudice. 

"How  good  is  Melodye?"  he  said.    "Don't  ask  me. 
I'm  her  father.    You  know  I  think  she  is  wonderful." 
He  did,  however,  agree  that  she  might  go  on  the 
show.    As  he  explained,  "It  was  just  a  little  spot — 
one  anybody  could  do." 

Further,  Melodye  already  had  shown  an  interest  in 
following  in  her  parents' — and  grandparents' — 
footsteps.    Said  Nick  proudly,  "She  has  worked  up 
about  an  hour  of  entertainment,  (Continued  on  page  102) 


The  Martha  Rave  Show,  seen  on  NBC-TV,  every  third  Tues.  (includ- 
ing April  17) ,  from  8  to  9  P.M.  EST,  is  sponsored  by  RCA  Victor, 
Sunbeam  electrical  appliances,  Whirlpool  washers,  dryers,  ironers. 


FAVORITE  TV  COMEDIENNE 

She  herself  started  young — with  her  family's  act 

— and    has   kept   America    laughing    ever   since. 


57 


Maestro  Lawrence  Welk  has  started  a  new  fad — dancing  by  TV.    He 
demonstrates   with    Alice    Lon,    to    Myron    Florin's    liltinq    accordion. 


WHO'S  WHO  ON 


The  Lawrence  Welk  Show 


Everyone  was  surprised.  Everyone,  that 
is,  but  the  viewers.  Lawrence  Welk  has 
been  playing  his  "Champagne  Music"  for  a 
long  time  and  people  have  been  flocking  to 
hotels  and  ballrooms  to  dance  to  it.  But 
when,  in  the  age  of  bop,  he  refused  to  let 
either  the  beat  or  the  melody  get  lost,  ex- 
perts shook  their  heads.  Replied  Mr.  Welk: 
"Dancing  people  are  happy  people."  When 
he  went  on  to  play  old  standards  and  new 
favorites  for  dancing  by  TV,  the  ratings 
rose  like  champagne  bubbles.  .  .  .  The  Law- 
rence Welk  Show,  the  surprise  hit  of  the 
season,  reflects  the  warm  personality  of  the 
band  leader  from  North  Dakota.  It  is 
frankly  sentimental.  Its  format  is  simplicity 
itself  and  its  hallmark  is  a  broad,  happy 
smile  for  everyone.  .  .  .  "We  play  music 
that  is  softer,"  Lawrence  explains,  "and  fits 
better  into  the  home."  The  arrangements 
are  clean-cut,  "sweet"  and  varied.  And  the 
musicians  are  as  versatile  as  their  music. 
.  .  .  The  first  accordion  maestro  Welk 
played,  as  a  toddler,  had  been  in  the  family 
three  generations.  "Music  was  handed  down 
to  me  on  my  family  (Continued  on  page  78) 

The  Lawrence  Welk  Show  is  seen  on  ABC-TV,  Sat., 
9  to  10  P.M.  EST.  for  the  Dodge  Dealers  of  America. 


Nineteen  and  the  talk  of  the  teens,   Buddy 
Merrill  won  his  job  in  a  nationwide  contest. 


Everyone  would  chorus  with  Old  King  Cole  if  he  called 
for  these  "fiddlers  three" — Bob  Lido,  Dick  Kesner  and 
Aladdin.  And  the  merriest  old  soul,  in  point  of  service,  is 
Jerry  Burke,  who  plays  "Champagne  Music"  on  the  organ. 


59 


Rehearsals  are  fun  for  host  Donald  Woods,  guest  star  Nancy  Walker,  Faith,  and  producer-director  Bruno  Zirato,  Jr. 


THE  WOOLWORTH   HOUR 


Percy  Faith  sets  the  mood  which  makes  performers 
enjoy  the  musicale  as  much  as  listeners  themselves. 


Composer-conductor  Percy  Faith 

has  the  ideal  showcase  for 
airing  "What's  Neiv  in  Music" 

By  LILLA  ANDERSON 

A  certain  temperamental  guest  pianist  had 
started  to  give  The  Woolworth  Hour  orchestra 
a  hard  time.  He  complained  about  its  interpretation 
of  his  music,  he  complained  about  the  piano,  he 
glared  at  everyone  in  sight  when  he  himself  hit  a 
clinker.  The  psychological  moment  had  arrived  when 
the  conductor  needed  to  bring  the  situation  under 
control.  ...  In  many  a  rehearsal,  the  ensuing 
clash  would  have  rivaled  Fourth  of  July  fireworks, 
but  maestro  Percy  Faith  settled  down  the 
temperamental  one  in  characteristic  low-key  fashion. 
Aiming  a  companionable   (Continued  on  page  83) 

The  Woolworth  Hour  is  heard  over  CBS  Radio,  every  Sunday, 
from  1  to  2  P.M.  EST,  as  sponsored  by  The  F.  W.  Woolworth  Co. 

FAVORITE  RADIO  MUSICAL  PROGRAM 


TWO 
FOR  THE 

MON 


Herb  Shriner  has  a  couple  of 

great  projects  ahead,  and  he  owes  it 

all  to  that  little  harmonica  I 

By  HELEN  BOLSTAD 


Merb  Shriner  .  .  .  who  has  led  many  a  contestant 
down  the  quiz -show  trail  toward  both  loot 
and  fun,  on  CBS's  Award -winning  Two  For  The 
Money  .  .  .  has  two  exciting  new  projects  of  his  own 
in  store:   One  marks  still  further  progress  in  his 
career  .  .  .  for  CBS-TV  has  recognized  that  audiences 
want  even  more  of  Herb's  Hoosier  humor  than  they 
can  sample  on  Two  For  The  Money,  where  the 
contestants  naturally  hold  the  spotlight.    Next  fall, 
they  will  star  Herb  in  his  own  hour-long  variety 
show.  .  .  .  The  second,  a  personal  project,  is  also  an 
advance  toward  a  long-held  Shriner  ambition. 
Having  tried  out  the  idea  in  his  own  family  .  .  . 
with  his  wife  Pixie,  daughter  Indie — and  even  the 
little  twins — as  his  first  pupils  .  .  .  Herb  now  has 
begun  a  campaign  to  teach  youngsters  to  play  the 
harmonica.   "I'd  like  to  see  the  present  crop  of  kids 
get  as  much  fun  out  of  it  as  I  have,"  he  explains. 

Herb  recalls  how,  when  he  was  growing  up  in  Fort 
Wayne,  Indiana,  a  small  boy's  mouth  organ  rated 
next  in  importance  to  a  small  boy's  dog.   Its  merry 
tunes  or  soulful  wails  sounded  the  clue  to  his 
innermost  joys  or  sorrows.    "But  the  war  changed 
that,"  Herb  says  sadly.   "Most  of  the  harmonicas 
came  from  Germany  and,  after  the  supply  was  cut 
off,  a  whole  generation  grew  up  without  much 
chance  to  tootle  a  toot." 

Herb  set  out  to  remedy  the  situation.    He  turned 
his  inventiveness  to  making  some  changes  in  the 
instrument,  arranged  for  the  manufacture  of  Herb 
Shriner  harmonicas,  and  started  giving  lessons 
on  the  air,  in  the  stores  and  at  meetings — anywhere 
that  boys  and  girls  or  their  mothers  and  fathers 
might  look,  listen  and  learn. 

"There's  a  lot  to  be  said  for  the  harmonica,"  he 
explains.     "There  comes  a  time  when  any  kid  with 
git  and  gumption  wants  to  stand  up  and  be  noticed. 
He  wants  to  make  a  noise  for  himself."    Some 
satisfy  this  need  in  the  school  band.    Herb  is  all  for 
that,  but  adds:   "Trouble  (Continued  on  page  98) 

Two  For  The  Money  is  heard  on  CBS  Radio,  Sun.,  at  8:30  P.M. 
EST,  as  sponsored  by  P.  Lorillard  Co.  for  Old  Gold  Cigarettes. 
It  is  seen  on  CBS-TV,  Sat.,  9  P.M.  EST,  also  for  Old  Gold. 


According  to  Herb,  "There  comes  a  time  when  any  kid 
with  gumption  .  .  .  wants  to  make  a  noise  for  himself." 


Hoosier  Herb  and  his  wife  Pixie  are  giving  daughter 
Indie — and  even  the  twins — every  chance  to  do  so! 


FAVORITE  RADIO  EVENING  MASTER  OF  CEREMONIES   •   FAVORITE  RADIO  QUIZ  PROGRAM 


61 


Linlcle+ter's  family  includes  his  lovely  wife,  Lois,  and  their  five  lively  offspring: 
Younger  son  Robert  and  elder  son  Jack  (who  now  has  a  broadcasting  career,  too!), 
mid-teen  daughter   Dawn,    "in-betweener"   Sharon,   and   their   "kid   sister,"    Diane. 


62 


FAVORITE  RADIO  DAYTIME  MASTER  OF  CEREMONIES 


Art  has  a  unique  flair  for  interviewing  children, 
often  gets  hilarious  answers  from  them  which  not 
only   surprise    Linkletter   but   startle   their    parents! 


Art  Linkletter  treats  his  guests 
with  a  wit  and  wisdom  which 
come  from  adventurous  experience 


By  HYATT  DOWNING 


Today,  there  are  few  success  stories  more 
exciting  than  that  of  Art  Linkletter,  with  his 
daily  House  Party  get-togethers  over 
CBS-TV  and  Radio,  his  weekly  People  Are 
Funny  capers  over  NBC-TV  and  Radio.  Art  him- 
self reluctantly  admits  that  he  has  run  a  $15 
stake  in  a  program  idea — then  no  more  than 
a  gleam  in  his  eye,  and  now  familiar  even  to 
wandering  shepherds  in  Arabia — into  holdings 
which  could  be  sold  for  several  millions.  But 
Art  is  a  singularly  modest  man  who  would  rather 
talk  about  almost  anything  except  money — 
unless  he's  giving  away  hatfuls  of  it  on  one  of 
his  shows.    Talking   to  him,   a  listener   quickly 
gets  the  impression  that  he  regards  cash  as 
a  mere  "prop"  to  be  used  on  his  programs,  some- 
thing of  little  value  to  him  personally.  It's  people 
that  count  with  Linkletter,  not  bank  balances. 

Watching  Linkletter  as  he  crouches  with  ab- 
sorbed, selfless  interest  before  a  four-year- 
old  moppet  on  his  daily  CBS  program,  House 
Party,  viewers  are  constantly  amazed  by  his 
wizard-like  perception  of  the  working  of  a  child's 
mind.    He  never  talks  down  to  children.    He 
treats  them  with  the   (Continued  on  page  90) 


Art  Linkletter's  House  Party,  M-F— on  CBS  Radio,  3  P.M., 
as  sponsored  by  Lever  Brothers  (Lux  Liquid,  others) ,  Dole 
Pineapple,  Sunsweet  Prunes,  Kasco  Dog  Ration — CBS-TV, 
2 :30  P.M.,  for  Pillsbury  Mills,  Kellogg,  Lever  Bros.,  Dole. 
His  People  Are  Funny  is  seen  over  NBC-TV,  Sat.,  9  P.M., 
as  sponsored  by  Prom  Home  Permanent  and  Paper-Mate 
Pens— and  heard  over  NBC  Radio,  Tues.,  8  P.M.  (All  EST) 


FAVORITE  RADIO  DAYTIME  VARIETY  PROGRAM 


Grownups  also  enjoy  pitting  their  wits  against  his  imagination 
and  humor  Above,  a  glimpse  of  House  Party's  audience.  Below, 
Art  with  John  Guedel  (center) — a  most  important  man  in  his  life. 


ONE    MAN*S    RAIVIIUV 


Bernice  Berwin  is  just  as  home- 
loving  as  Hazel  herself,  with  J. 
Anthony  Smythe  and  Mary  Adams 
as  Father  and  Mother  Barbour.  But 
she  can  be  a  "glamour  girl,"  too 
— as  more  formal  portraits  prove. 


Twenty-four  years  together  have 
made  Father  Barbour  and  his  children 
more  real  than  the  folks  next  door 


One  Man's  Family  begins  its  twenty-fifth  year  on 
NBC  Radio  this  April,  with  three  of  the  seven 
original  cast  members  still  at  the  microphone: 
J.  Anthony  Smythe,  who  plays  Father  Barbour,  Page 
Gilman  as  son  Jack,  and  Bernice  Berwin  as  daughter 
Hazel.  .  .  .  Over  the  years,  the  Barbours  have  won 
unprecedented  affection  and  respect  from  their  devoted 
listeners — who  not  only  choose  One  Man's  Family  as 
their  favorite  evening  drama,  but  name  the  warm -hearted 
"Hazel"  as  their  favorite  actress  in  this  field. 

Bernice  Berwin  was  actually  raised  in  San  Francisco, 
the  Barbour  family's  home  town.  Her  mother  was 
interested  in  the  theater  and,  before  Bernice  was 
walking,  she  says — "Mother  had  me  singing."  Later, 
her  family  gave  Bernice  a  thorough  musical  education 
— "hoping,"  she  says,  "that  I  would  become  a  concert 
pianist."  .  .  .  Bernice  gave  recitals  until  she  was  fourteen — 
"but  I  had  to  give  them  up.  It  made  me  too  nervous. 
Besides  this,  I  had  a  growing  interest  in  the  theater. 
Mother  and  Father  understood.  They  merely  said,  'We 
only  hope  you  will  keep  up  your  interest  in  music' 
Today,  I  don't  think  I  could  five  without  the  classics 
and  symphonies — and  the  piano  is  still  my  pet." 

While  still  in  college,  and  before  she  joined  the 
beloved  "Family,"  Bernice   (Continued  on  page  79) 

One  Man's  Family,  created  by  Carlton   E.  Morse,  is  heard  over 
NBC  Radio,  M— F,  at  7 :45  P.M.  EST,  under  multiple  sponsorship. 


FAVORITE  RADIO  EVENING  DRAMA  ACTRESS    •    FAVORITE   RADIO   EVENING   DRAMA 


64 


On  TV  or  off,  Miss  Young  lives 
many  parts — all  believable,  because 
they're  true  to  her  mind  and  heart 


rely 


There's  infinite  variety  in  the  roles  Loretta  piays, 
the  exciting  stories — and  actors — she  presents.  Jock 
Mahoney  (left)  has  appeared  with  her  several  times,  is 
also  a  TV  star  in  his  own  right — as  The  Range  Rider. 


It  has  long  been  said  in  jest  that  Loretta  Young  wouldn't 
walk  across  the  room  if  she  could  ride.  Having  heard 
this  so  often,  a  writer-interviewer  visiting  the  TV  set 
said  with  surprise,  at  the  end  of  the  day,  "Loretta  hasn't 
sat  down  once.  She's  walked — if  not  run — all  day!"  .... 
Standing  beside  her,  Helen  Ferguson,  Loretta's  public 
relations  counsel  and  close  friend,  said,  "Why,  of  course 
not.  Loretta  is  playing  a  positive  character,  and  action 
and  movement  are  an  integral  part  of  the  role.  In  fact, 
you  can  always  tell  what  type  of  role  Loretta  is  playing 
each  week  by  the  way  she  acts  both  on  stage  and  off." 

For  the  third  consecutive  year,  Loretta  Young  has  been 
voted  by  the  American  television  audience  as  their  fa- 
vorite evening  dramatic  actress.  As  Helen  Ferguson  says, 
"You  can't  fool  an  audience.  They  know  a  sincere,  be- 
lievable performance  when  they  see  one."  .  .  .  One  reason 
Loretta  has  been  honored  is  because  she  has  portrayed 


so  many  different  roles  so  well.  From  week  to  week,  she 
is  almost  chameleon-like  in  her  ability  to  change  from 
one  role  to  another — even  playing  two  distinct  and  op- 
posite characters  in  one  teleplay. 

How  does  Loretta  achieve  this  absolute  sincerity  of 
performance?  For  one  thing,  she  unconsciously  stores  up 
impressions  of  people  and  characters,  like  a  squirrel  stor- 
ing up  acorns  for  the  winter.  For  example:  In  her  many 
years  of  performing,  she  has  been  interviewed  by  count- 
less newspaper  reporters,  both  men  and  women.  Recent- 
ly, Loretta  played  the  role  of  a  hard-bitten  newspaper 
gal.  The  little'  touch  that  gave  the  character  three  di- 
mensions was  a  cigarette  dangling  from  her  mouth.  .  .  . 
After  the  television  show  was    (Continued  on  page   97) 

The  Loretta  Young  Show  is  seen  on  NBC-TV,  Sundays,  10  P.M.  EST, 
sponsored  by  Procter  &  Gamble  Company  for  Tide,  Gleem,  and  Lilt. 


FAVORITE  TV  EVENING  DRAMA  ACTRESS 


65 


LIVING 
LEGEND 


Bachelor  Hugh  says,  "If  I  could  find  the  right  girl,  I'd 
settle  down  tomorrow."  Meanwhile,  he  and  "Lady," 
his  collie,  enjoy  the  quiet  solitude  of  a  beach  home. 


FAVORITE  TV  WESTERN  STAR 

Hugh  had  to  practice  a  "quick  draw,"  as  Wyatt  Earp, 
but  is  proud  the  heroic  marshal  was  never  a  "killer." 


Wyatt  Earp  brought  Hugh  O'Rrian 
everything  he  wanted — except, 
perhaps,   the  girl  of  his  dreams 


By  JERRY  ASHER 


This  is  the  story  of  a  man  who  learned  to  live 
with  a  memory  and,  out  of  the  strange  asso- 
ciation, found  a  philosophy  that  changed  the 
entire  course  of  his  life.  It's  the  story  of  a 
successful  Hollywood  star  who  considered  him- 
self a  failure  as  a  human  being — until  a  dead 
man  taught  him  to  recognize  truth.  This  is  the 
story  of  Hugh  0'Brian,who  is  eternally  grateful 
to  the  greatest  of  all  the  famous  frontier 
marshals — Wyatt  Earp! 

"There  comes  a  time  in  every  man's  life  when 
he  becomes  fed  up  with  himself  and  his  work," 
reflects  the  man  who  plays  television's  famous 
peace  officer,  "and  when  it  happened  to  me,  I 
was  in  the  fortunate  position  of  being  able  to 
do  something  about  it. 

"You  see,  the  truth  is  that — until  March  of 
1954,  when  I  secured  (Continued  on  page  76) 


The  Life  And  Legend  Of  Wyatt  Earp,  seen  on  ABC-TV, 
Tues.,  8:30  P.M.  EST,  sponsored  alternately  by  General 
Mills,  Inc.    (for  Cheerios)  and  the  Parker  Pen  Company. 


FAVORITE  RADIO  DAYTIME  DRAMA  ACTOR 

Sandy's  own  warmth  and  understanding  are  a  perfect 
match  for  the  character  of  idealistic  Jerry  Malone. 


Like  Young  Dr.  Malone  himself, 

Sandy  Becker  knows  that 

love  is  life's  greatest  prescription 


By  MARY  TEMPLE 


Watching  Sandy  Becker  join  the  rest  of  the 
cast  of  Young  Dr.  Malone,  at  the  CBS 
microphone,  you  can  easily  believe  him  to  be 
that  idealistic  medico.  His  gray-brown  eyes  are 
serious,  but  behind  them  lurk  fun  and  humor. 
He  is  tall  (slightly  more  than  six  feet)  and 
slender,  with  a  quick,  easy  stride  and  a  manner 
which  inspires  confidence.  A  quiet  man,  but  a 
purposeful  one. 

Ruth  Becker,  who  listens  at  home  whenever 
the  needs  of  their  three  children  and  the  house- 
hold duties  permit,  naturally  knows  all  the 
characters  in  the  absorbing  daytime  drama  and 
follows  the  story  with  interest.  It's  her  belief 
that  her  husband's  success  as  Dr.  Malone  is 
mostly  an  inner  thing  ...  a  question  of  feeling, 
of  understanding  this  earnest  young  doctor  he 
has  been  so  close  to  for  (Continued  on  page  100) 


Sandy  Becker  stars  as  Jerry  Malone — also  known  as 
Young  Dr.  Malone,  heard  over  CBS  Radio,  each  Mon. 
thru  Fri.,  at  1 :30  P.M.  EST,  under  multiple  sponsorship. 


HEART'S 
HAVEN 


Wife  Ruth  speaks  volumes  as  she  says,  "Our  children 
worship  him."  But  the  actions  of  Annelle,  son  Curtis 
and  older  daughter  Joyce  speak  louder  than  words. 


for 


V 
GENE! 


Autry  rides  high,  wide  and  handsome 

into  the  hearts  of  all  who 

love  the  West — whether  "old9'  or  "new" 


Some  years  ago,  in  the  process  of  joining  his  rodeo 
with  another,  Gene  Autry  entered  a  banker's 
conference  room  to  sign  the  papers  closing  the  deal. 
The  bankers,  flanked  by  their  lawyers,  were  surprised 
to  see  Gene  arrive  alone.    As  Gene  later  explained, 
simply,  "I  trust  everybody.  .  .  ."    This  trust  is  one 
of  Gene's  outstanding  character  traits,  and  to  a  great 
extent  responsible  for  his  ever-continuing  success: 
In  1956,  Gene  Autry  will  be  celebrating  his  twenty- 
sixth  year  on  radio  and  his  sixteenth  year  for  the 
same  sponsor — one  of  the  longest  associations  of  a 
star  and  sponsor  in  the  history  of  show  business. 

What  is  there  about  Gene  Autry  that  wears  so  well? 
The  answer  is  to  be  found  in  Gene's  sincerity,  his 
honesty  of  heart  and  manner,  simple  as  one  of  his 
Western  tunes.    Plain  folks,  it  seems,  never  wear  out 
their  welcome.  And  Gene  Autry,  with  his  simplicity, 
is  forever  welcome  in  his  listeners'  homes. 

The  love  his  co-workers  have  for  Gene  is  well 
shown  in  their  loyalty  and  long  tenure  in  his  organ- 
ization— many  have  been  with  him  twenty  years  or 
more.    Louise  Moraweck,  for  example,  first  played 
viola  in  Gene's  radio  orchestra  for  ten  years,  and  has 
since  worked  six  more  years  on  the  radio  staff.    She 
describes  good  friend  Gene  as  follows:    "Gene  is 
consistent  and  even-tempered.    Perhaps  I  should  say 
he  has  a  complete  lack  of  temperament.    So  many 
actors  are  'stars.'     He's  not  one  of  them.     He's  just 
Gene.    He  is  so  unaffected,  you  can't  help  loving  him. 

"On  the  other  hand,  he's  full  of  energy.    On  the 
road  he  doesn't  mind  a  seven-day-a-week  schedule, 
matinee  and  evening  performances,  Sunday  rehearsal 
and  radio  show  or  visits  to  the  governor,  mayor,  or 
city  officials.     Whenever  there  is  a  break  in  the  day, 
his  first  stop  is  the  children's  hospital.    He  works 
best  when  he  has  most  to  do.    Yet  he  never  loses  his 
temper — though  I  can  tell  you  he's  had  plenty 
of  occasions  to  do  so. 

"I  remember,  when  I  first  went  to  work  for  him,  I 
was  in  charge  of  his  'original'  record  collection — 
relics  they  were,  his  first  recordings,  many  out  of 
release  and  impossible  to  duplicate.    Some  already  had 
been  destroyed  in  a  fire  at  his  home,  so  that  made 
the  remainder  even  more  valuable  in  his  eyes. 

"One  day,  the  arranger  came  to  me  asking  if  he  could 
borrow  one  of  the  'firsts,'  saying  he  needed  it  for  a 
special  job  on  the  air  show.    My  conscience  hurt 
when  I  handed  it  over,  but  I  did  so  only  on  his  promise 
to  return  it  the  very  next  day.     You  can  imagine 
how  I  felt  when  he  came  in  to  say  he  had  dropped 
and  broken  the  record.    Gene  (Continued  on  page  94) 

The  Gene  Autry  Show  is  heard  on  CBS  Radio,  Sun.,  6  P.M.  EST, 
as  sponsored  by  Wrigley's  Doublemint  Chewing  Gum.  See  local 
papers  for  time  and  station  of  The  Gene  Autry  Show  on  television. 


Year  after  year,  Queen  For  a  Day 

has  made  fondest  dreams 

come  true  for  the  women  of  America 


FAVORITE  RADIO  WOMEN'S  PROGRAM 

"Queen"  Mary  Cooper  got  the  trip  she  wanted,  new  ward- 
robe and  home  appliances — emcee  Jack  Bailey  got  a  kiss! 
At  right,  Jack  with  Raymond  R.  Morgan,  who  created  the 
Cinderella    program    to   fit   a    life-long    belief   in   giving. 


-for-  -tri 


IM 


Would  you  like  to  be  "queen  for  a  day"?  Genial  Jack 
Bailey  will  ask  the  intriguing  but  familiar  question 
for  the  umpteenth  time,  one  fine  day  in  this  month  of 
April,  1956,  as  Queen  For  A  Day  celebrates  its  eleventh 
anniversary  over  the  Mutual  radio  network.  In  Holly- 
wood, the  usual  vociferous  affirmative  will  be  shouted  by 
a  thousand  women  in  the  audience  at  Frank  Sennes' 
Moulin  Rouge  restaurant,  where  the  popular  show  orig- 
inates each  weekday  .  .  .  across  the  country,  millions  of 
listeners  and  viewers  will  nod  an  enthusiastic  "yes"  to 
their  sets  .  .  .  and  "Queen,"  as  the  program  is  affection- 
ately called,  will  once  again  be  on  its  record-breaking 
way. 

"Queen"  is  used  to  acclaim  by  now,  after  more  than  a 
decade  on  the  airwaves.  This  is  the  fourth  consecutive 
year  in  which  TV  Radio  Mirror  readers  have  voted  it 
their  favorite  women's  program  in  radio.  By  February, 
1956,  after  only  two  short  months  on  NBC-TV,  "Queen" 
had  also  become  one  of  the  highest-rated  daytime  shows 
in  TV.  Its  devoted  fans  have  made  Jack's  kick-off  ques- 
tion— "Would  you  like  to  be  'queen  for  a  day'?" — part  of 


our  American  idiom,  and  thousands  of  unsolicited  letters 
arriving  weekly  indicate  that  "Queen"  is  one  of  the 
highest-rated  shows  in  their  hearts. 

A  great  part  of  the  success  of  "Queen"  can  be  directly 
attributed  to  its  personable  emcee,  Jack  Bailey.  "Jack," 
says  director  Harry  Mynatt,  "doesn't  take  advantage  of 
'his  girls,'  as  he  affectionately  calls  them.  He  is  sympa- 
thetic. He  makes  the  ladies  comfortable.  He's  like  the 
little  guy  who  lives  next  door."  And  Mr.  Raymond  R. 
Morgan,  originator  of  "Queen,"  says,  "Jack  Bailey  ...  is 
just  pure  gold,  that's  all." 

But  Jack — who  is  fast  becoming  one  of  the  most  suc- 
cessful and  most  often  seen  emcees  in  TV,  with  his 
appearances  on  Truth  Or  Consequences  and  the  recent 
expansion  of  "Queen"  to  the  NBC-TV  network — only  says 
bashfully,  "G'wan  .  .  .  there  are  sixty  people  who  make 
'Queen'  come  to  life  every  day.   (Continued  on  page  98) 

Queen  For  A  Day  is  heard  over  the  Mutual  Broadcasting  System,  M-F. 
at  11:30  A.M.  EST.  It  is  seen  over  NBC-TV,  M-F,  at  4:30  P.M.  EST, 
as  sponsored  by  Procter  &  Gamble,  Miles  Laboratories,  and  others. 


69 


Childhood  and  old  age  both  have 
their  claims  to  love— but  Bertha  Bauer 
finds  that  these  claims  can  conflict 


Portrait  of  a  three-time  gold  medal  winner — a  tense,  true- 
to-life  situation  and  a  fine  cast.  James  Lipton  plays  Dr. 
Dick  Grant,  Theo  Goetz  is  "Papa"  Bauer,  and  Charita  Bauer 
is  Bertha  Bauer.  Lynn  Rogers  plays  the  artist  Marie 
Wallace  and  young  Glenn  Walken  is  the  troubled   Michael. 


FAVORITE  RADIO  DAYTIME  DRAMA 


A  child  lives  in  a  small  world.  Its  boundaries 
are  the  family,  its  guiding  light  is  love.  When, 
for  any  reason,  real  or  imagined,  the  child 
feels  that  light  dimming,  the  carefree,  sunny, 
careless  days  which  should  be  childhood  turn  to 
fretful,  perhaps  fearful,  twilight.  .  .  .  For  young 
Michael  Bauer,  the  bewilderment,  hurt  and  lone- 
liness began  more  than  a  year  ago,  with  the  ar- 
rival of  Grandmother  Elsie  in  the  home  of  Bertha 
and  Bill  Bauer.  When  his  maternal  grandmother 
decided  to  come  to  live  with  them,  his  paternal 
grandfather  left  to  live  in  his  daughter  Meta's 
home.  To  eleven-year-old  Mike,  it  meant  the 
loss  of  a  great  ally,  a  grandfather  who  had  given 
him  a  deep  sense  of  being  loved  and  belonging. 
.  .  .  Michael  lost  an  ally  and  gained  a  critic.  Un- 
consciously, his  grandmother  played  favorites.  She 
found  fault  in  all  that  Michael  did,  but  she  had 
nothing  but  praise  for  his  two-year-old  brother 
Billy.  Mike  hit  back  by  resenting  his  brother.  .  .  . 
Bill  Bauer,  his  father,  also  resents  his  mother-in- 
law's  intrusion.  He  realizes  that,  in  lavishing 
her  love  and  favoritism  on  his  younger  son  Billy, 
she  has  made  him  a  "grandma's  boy,"  spoiled  and 
unmanageable  by  anyone  but  her.  And  it  is 
Grandmother  who  suggests  to  Mike's  mother, 
Bert,  that  his  hero-worship  of  an  older  boy,  the 
basketball  star  Jock  Baker,  is  bad  for  him.  .  .  . 
Artist  Marie  Wallace  senses  Mike's  deep  unhappi- 
ness.  Marie — who  had  befriended  Dr.  Dick  Grant 
in  New  York,  and  was  repaid  for  her  kindness 
when  Dick  brought  her  to  California  for  eye 
treatment — is  immediately  struck  by  Michael's 
alert,  rather  sad  eyes  and  the  sensitive,  unsmiling 
mouth.  When  she  asks  to  paint  his  portrait,  Mike 
is  thrilled  that  someone  has  actually  singled  him 
out  for  attention.  And,  when  she  says  she  will 
call  him  personally  about  the  sittings,  he  feels 
like  an  individual  in  his  own  home  again.  But  his 
grandmother  wonders  aloud,  in  Mike's  hearing, 
why  Marie  chose  to  paint  Mike  rather  than  his 
younger  brother.  ...  In  a  year's  time,  his  grand- 
mother has  made  many  such  remarks,  and  Mike 
has  waited  in  vain  for  a  member  of  his  family  to 
come  to  his  aid.  Finally,  convinced  he  is  unloved 
and  unwanted,  Mike  decides  to  run  away.  .  .  .  The 


next  morning,  Bert  and  Bill  think  only  that  he 
has  left  early  to  watch  basketball  practice,  and 
his  grandmother  warns  that  they  are  too  lenient 
with  the  boy  and  that  Mike  should  be  punished. 
Later  that  afternoon,  when  Marie  Wallace  calls 
to  ask  Mike  to  pose,  Bert  calls  the  school  and 
learns  that  he  is  on  the  absent  list.  Alarmed,  she 
hurries  to  the  school — Mike  has  never  played 
truant  before.  .  .  .  The  school  principal  calms  her 
— and  warns  her.  "Well,  you  have  to  let  go  the 
reins,"  she  tells  Bert,  "and  not  let  him  feel  your 
hands  on  them.  He,  like  others  in  his  class,  is 
going  through  a  siege  of  growing  pains.  There  are 
changes  in  their  bodies  .  .  .  they're  growing  in 
every  way  .  .  .  we  grownups  have  to  try  to  under- 
stand." As  to  punishment,  she  tells  Bert,  "Yes 
— but  understanding,  too."  ...  On  Bert's  sugges- 
tion, the  principal  calls  Mike's  friend  Jock.  But 
Jock  reports  that  he  hasn't  seen  Mike  that  day, 
that  Mike  told  him  he  wasn't  allowed  to  come  to 
basketball  practice  any  more.  Later  on,  Jock  re- 
veals that  Mike  had  threatened  that,  if  his  grand- 
mother didn't  stop  meddling,  and  "picking  on 
him,"  he  would  run  away.  .  .  .  After  her  inter- 
view with  the  principal,  Bert  returns  home. 
"Please  don't  misunderstand,"  she  tells  her 
mother,  "but  this  is  Bill's  and  my  responsibility." 
She  asks  her  mother  not  to  say  anything  to 
Mike  when  he  comes  home — but  Mike  doesn't 
come  home.  Frantic,  the  Bauers  call  the  police. 
A  charcoal  sketch  Marie  had  done  of  Mike  is  pub- 
lished in  the  papers.  Finally,  Mike  is  found.  He 
had  intended  to  run  away,  he  explains,  but  he 
had  got  lost,  instead.  As  in  all  such  cases,  a  social 
welfare  agency  worker  is  called  in.  But  no  clear- 
cut  solution  presents  itself.  .  .  .  Should  Bert's 
widowed  mother  be  forced  to  leave  the  home  she 
has  found  with  her  daughter?  Certainly,  her  med- 
dling has  brought  harm — but,  just  as  certainly, 
there  was  no  harmful  intent.  Bert  Bauer  finds 
herself  caught  between  her  duty  to  her  mother 
and  her  primary  responsibility  to  her  hus- 
band and  her  two  sons.  All  have  a  claim  on  her 
love.  .  .  .  But,  Bert  wonders — if  the  claims  con- 
flict— where  then  does  the  answer  lie?  Where 
should  the  guiding  light  of  love  lead  her  now? 


The  Guiding  Light  is  sponsored  Monday  through  Friday  by  the  Procter  &  Gamble  Company — on  CBS  Radio,  at  1 :45 
P.M.  EST,  for  Tide  and  Gleem— on  CBS-TV,  12:45  P.M.  EST,  for  Ivory,  Duz,  and  Cheer. 


71 


FOUR  STAR  Triple  Threat 


FAVORITE  TV  EVENING   DRAMA  ACTOR 


Dick  has  a  good  head  for  business  and  is  a  very 
considerate  boss  but  he  knows  how  to  take  orders, 
too.  Above,  with  Robert  Florey,  of  the  Screen 
Directors  Guild,  who  directed  him  in  "Fair  Trial." 


Actor,  producer  and 
director,   Dick  Powell  fought 
his  biggest  battles 
after  he'd  already  won  fame 


Above,  three  stars  of  the  same  big  TV  theater:  Charles  Boyer, 
David  Niven  and  Powell — they're  also  producer-owners!  Below,  two 
stars  in  the  same  happy  family:  Dick  and  his  noted  actress-wife, 
June  Allyson  of  the  films — -with  their  children,   Pamela  and  Ricky. 


By  BUD  GOODE 


Horatio  Alger  would  have  admired 
Dick  Powell,  for  Powell — pro- 
ducer, actor,  part-owner  of  Four 
Star  Playhouse,  as  seen  over  CBS- 
TV — is  an  American  success  story  in 
the  grand  style.   Currently,  he  is 
known  to  TV   audiences   as   one   of 
Four  Star's  dramatic  quartet,  com- 
prised of  David  Niven,  Charles  Boyer, 
Ida  Lupino  and  Powell.    In  climbing 
America's  ladder  of  success,  Dick  has 
collected  nickels  for  the  telephone 
company,  sold  insurance,  emceed, 
worked    as    a    musician,    orchestra 
leader,   singing   motion-picture   star, 
radio  disc  jockey,  movie  and  radio 
sleuth,   motion-picture   director,    stage 
director,  and  a  motion-picture 
and  television  producer. 

Much  like  the  suave  Willie  Dante 
character  he   (Continued  on  page  74) 


Four  Star  Playhouse,  CBS-TV,  Thurs.,  9:30 
P.M.  EST,  is  sponsored  by  Singer  Sewing  Ma- 
chine Company  and  Bristol-Myers  Company. 


(Continued  from  page  73) 
frequently  portrays  on  Four  Star,  Powell 
has  been  willing  to  gamble  his  crown — at 
the  peak  of  each  of  these  careers — to  tackle 
something  new  in  the  entertainment  in- 
dustry. As  an  actor,  he  is  equally  willing 
to  tackle  almost  any  role.  On  Four  Star, 
he  has  played  a  policeman,  pilot,  taxi 
driver,  doctor — and  night-club  proprietor 
Willie  Dante.  The  hard  work  has  paid 
off  in  acclaim.  Already  voted  "best  actor 
in  a  network  series"  by  the  country's  lead- 
ing TV  critics  in  the  annual  Billboard 
awards  poll,  Dick  Powell  is  now  the  1955- 
56  winner  of  TV  Radio  Mirror's  nation- 
wide balloting,  as  the  favorite  TV  night- 
time dramatic  actor  of  the  American  TV 
audience  itself. 

TV's  Four  Star  Playhouse  began  four 
years  ago,  when  Dick  Powell  found  him- 
self among  the  unemployed,  after  success- 
fully playing  the  part  of  Richard  Diamond 
on  the  radio  series  of  that  name.  Dick 
and  his  agent,  Don  Sharpe,  had  adjoining 
offices.  "Don  always  wanted  me  to  get 
into  TV,"  says  Dick.  "I  was  sitting  in  his 
office  one  day  when  he  brought  up  an 
old  radio  idea  he  had  called  'Four  Star 
Theater.' 

"Joel  McCrea  and  Rosalind  Russell,  who 
had  done  the  radio  series,  were  not  inter- 
ested in  TV  at  this  time,  so  we  used  guest 
stars  for  the  first  year.  Then  I  asked 
David  Niven,  an  old  friend,  to  do  one 
show — which  was  such  a  success  that 
David  wanted  to  become  a  full-time  part- 
ner. Charles  Boyer,  another  of  Don's 
clients,  joined  us  and,  with  our  lawyer, 
Bill  Cruickshank,  we  were  in  business." 
In  addition  to  the  three  producer-actors, 
there  is  a  fourth  weekly  guest.  This  sea- 
son, it  is  Ida  Lupino.  Dick  swears  by  Ida, 
not  only  because  she  is  such  a  fine  actress, 
but  because  she  knows  production  values 
so  well  that  she  is  as  "cost-conscious"  as 
producers  Niven,  Boyer  or  Powell.  Four 
Star  would  like  Ida's  services  indefinitely. 

It's  just  possible  that  TV  Radio  Mirror 
readers  have  a  mental  picture  of  Dick  liv- 
ing in  real  life  like  'Willy  Dante',  the  un- 
emotional gambler — or  Powell,  the  cost- 
conscious  producer.  Nothing  could  be 
further  from  the  truth.  In  television,  a 
high-pressure  industrial  boiler  which 
breathes  an  exhaust  of  ulcers  and  tem- 
perament, Dick  Powell  is  a  study  in  con- 
trasts. Betty  Burns,  a  young  actress  who 
has  worked  in  the  Dante  series,  says:  "Mr. 
Powell  sings  on  the  set.  It  keeps  every- 
body smiling." 

Kiva,  Dick's  make-up  man  for  eleven 
years,  says,  "He's  a  human  being.  When 
he  was  producing  and  directing  RKO's 
'The  Conqueror'  in  New  Mexico,  the  tem- 
perature was  around  115  degrees.  After 
every  difficult  scene,  he  always  came  over 
to  thank  players  individually  for  their 
hard  work.    It  makes  a  difference." 

And  Leslie  Raymaster,  Dick's  stand-in 
for  fifteen  years,  says,  "Mr.  Powell  is  that 
rare  combination  of  administrator-actor. 
He  knows  how  to  get  people  to  work  with 
him — not  for  him.  He  plays  no  favorites. 
Everybody  on  the  set  gets  his  attention  and 
a  sympathetic  ear.  I'd  give  up  an  arm  for 
him." 

Dick's  social  life  away  from  the  set  is 
confined  to  his  family — wife  June  Allyson 
and  their  children,  Pamela,  who  will  soon 
be  eight,  and  Ricky,  who  was  born  Christ- 
mas Eve,  1950.  Dick  reads  a  lot,  usually 
in  bed,  has  a  large  record  collection,  clas- 
sical and  popular,  and  still  tootles  a  saxo- 
phone, an  instrument  he  learned  at  an  ear- 
ly age.  He  dresses  comfortably  with 
jaunty  good  taste,  likes  people,  and  his 
74    home     (fifty-seven    acres    in    Mandeville 


Four  Star  Triple  Threat 

Canyon)  is  a  popular  meeting  place  for 
the  Hollywood  elite. 

Actress  June  Allyson  and  Dick  Powell 
married  in  1945.  At  that  time,  Dick's 
hobbies  were  flying  and  his  yacht,  the 
Santana.  "Yachts  hold  a  special  fasci- 
nation for  me,"  says  Dick,  "because — at 
home  in  Little  Rock,  Arkansas — the  biggest 
body  of  water  I  ever  saw  was  the  Satur- 
day-night bath." 

June  and  Dick  spent  their  honeymoon 
on  the  Santana.  "After  the  kids  came, 
June  wasn't  too  happy  with  the  boat,"  Dick 
recalls.  "We  didn't  want  to  run  off  and 
leave  the  kids,  and  we  couldn't  take  Pam 
and  Ricky  along  for  fear  they'd  fall  over 
the  side."  Dick  sold  the  Santana  to  Hum- 
phrey Bogart. 

"Then  I  went  back  to  my  first  love,  fly- 
ing," says  Dick.  "June  wasn't  too  nervous 
about  my  flying — she  just  wouldn't  get  in 
a  plane.  Then  came  my  crack-up.  I  was 
over  Las  Vegas  one  day  when  the  motor 
literally  exploded.  I  landed  in  an  old  cow 
pasture  by  the  grace  of  God  and  a  prayer. 

"Next  week,  I  put  a  new  motor  in  the 
plane  and  flew  home.  But,  after  that,  June 
was  a  nervous  wreck  every  time  I  left  the 
house.  She  would  ask,  'Where  are  you 
going?'  I  would  say  I  was  going  to  the 
office,  and  she  would  call  the  airport  and 
there  I  was.  After  this  happened  two  or 
three  times,  I  sold  the  plane  and  went  back 
to  golf.  June  loves  golf  .  .  .  it's  a  game 
that  keeps  both  feet  on  the  ground." 

Dick  Powell's  Horatio  Alger  story  be- 
gan in  Mountain  View,  Arkansas,  a  town  of 
900  people  and  no  railroad.  When  Dick 
was  five,  his  family  moved  to  Berryville, 
the  county  seat,  and  later  to  Little  Rock. 
"We  had,"  Dick  says,  "a  wonderful  Amer- 
ican family  life.  My  father  was  head  of 
the  International  Harvester  Company  for 
the  five  states  around  Arkansas.  We  had 
a  musical  family.  My  mother  played  the 
piano.  She  gave  lessons  to  me  and  my 
brother,  Howard.  Howard  was  so  much 
better  than  I  that  I  got  disgusted  and  quit, 
and  started  studying  the  clarinet,  trumpet, 
and  saxophone.  As  kids,  we  spent  a  lot 
of  time  singing  around  my  mother's  piano. 
"From  sixteen  to  twenty-one,  my  broth- 
er Luther  and  I  sang  in  the  Jewish  Syna- 
gogue on  Friday  night,  the  Scottish  Rite 
Consistory  on  Wednesday  night,  the  Epis- 
copal Church  Sunday  morning,  and  the 
Methodist  Church  on  Sunday  night.  Be- 
tween the  two  of  us,  we  had  every  tenor 
job  in  town  tied  up.  Luther  is  now  gen- 
eral freight  agent  for  the  Illinois  Central 
Railroad.  I  don't  know  why  he  went  into 
business — he  had  a  better  voice  than  I  did." 
When  he  was  eighteen  and  in  Little 
Rock  College,  Dick  went  to  work  in  the 
summertime  installing  the  "new"'  dial 
telephones.  "Next  summer  I  was  pro- 
moted," he  says.  "I  collected  the  nickels 
out  of  pay  stations." 

He  landed  his  first  professional  job  as 
vocalist  with  the  dinner  orchestra  at  the 
Kentucky  Hotel  in  Louisville.  Dick  sang 
classical  and  semi-classical  ballads  which 
pleased  the  hotel  patrons,  but  the  young 
tenor  was  not  flooded  with  fat  offers  to  go 
on  to  bigger  and  better  things.  Later,  he 
reached  a  larger  audience  over  Station 
WHAS,  which  carried  the  dinner  music. 
Then  Dick  began  adding  a  little  patter 
between  the  songs  and  built  a  reputation 
as  an  emcee.  In  those  days,  the  best 
way  to  get  a  job  as  emcee  was  to  have  a 
background  as  vocalist  with  a  name  band. 
So  Dick  did  considerable  angling  and 
finally  had  his  first  and  only  nibble  from 
Charlie  Davis,  then  conducting  the  or- 
chestra at  the  Ohio  Theater  in  Indianap- 
olis.   There  was  only  one  hitch:  The  sing- 


er Davis  wanted  had  to  double  as  banjoist. 

"I  played  saxophone,  trumpet  and  clari- 
net," Powell  says,  "but  I  didn't  know  one 
banjo  string  from  another.  So  I  wired 
Davis  I'd  join  him  in  thirty  days,  went  out 
and  bought  a  banjo — and  went  to  work 
with  Charlie  a  month  later,  with  the  sorest 
set  of  finger-tips  you  ever  saw."  A  year 
later,  Dick  had  his  own  band  and  played 
at  the  Indiana  Ballroom. 

Dick's  first  big-time  break  came  as  em- 
cee and  vocalist  at  the  Enright  Theater  in 
the  East  Liberty  section  of  Pittsburgh.  He 
was  billed  as  "Richard  E.  Powell— Tenor." 
He  was  there  for  a  year,  and  then  went  to 
the  Stanley  Theater  in  the  heart  of  town, 
then  back  again  to  the  Enright.  Between 
the  two  theaters,  he  was  held  over  for 
three  years. 

Warners'  offered  Dick  a  film  contract 
and  he  left  the  Stanley  for  Hollywood. 
His  screen  debut  was  in  "Blessed  Event,'" 
starring  Lee  Tracy  and  Mary  Brian.  Pow- 
ell played  a  down-and-out  band  leader. 
"I  got  a  shock  when  I  read  that  script," 
Dick  recalls.  "I  spoke  one  word,  'Hello,' 
to  Lee  Tracy.  He  didn't  answer." 

But  Dick  sang  three  songs  in  the  picture, 
in  a  way  that  set  the  Brothers  Warner 
scurrying  for  scripts  for  movie  musicals. 
That  was  in  1932,  and  it  saw  the  start  of  a 
cycle  of  musicals  never  equalled  before  or 
since.  By  1935,  the  tenor  from  Little  Rock 
was  one  of  the  top  ten  box-office  names  in 
movies,  and  one  of  the  hottest  things  on 
radio.  "Yet  I  was  in  a  rut,"  he  says.  "I'd  de- 
cided I  wanted  to  stay  in  this  business  the 
rest  of  my  life,  and,  obviously,  I  couldn't 
spend  the  rest  of  my  life  being  a  young 
crooner  in  musicals.  So  I  set  my  sights 
on  becoming  a  director,  eventually  a  pro- 
ducer." 

Dick  went  to  work  to  un-type  himself. 
He  asked  Warners'  for  a  dramatic  role. 
His  bosses  smiled  tolerantly,  and  their 
manner  intimated  that  a  psychiatrist  might 
prove  helpful  for  these  spells  Powell 
seemed  to  be  having.  Finally,  Dick  left 
Warners'  and  looked  for  tough  guy  roles. 

Ihen  RKO  studio  head  Charles  Koerner 
heard  of  Dick's  quest,  called  him,  and  of- 
fered him  the  lead  in  a  fast,  tough  Ray- 
mond Chandler  mystery,  "Farewell,  My 
Lovely."  The  movie  version  was  titled: 
"Murder,  My  Sweet." 

The  movie  and  the  new  Dick  Powell 
were  a  decided  hit.  All  at  once,  every 
film  and  radio  producer  in  town  wanted 
Dick  for  tough  or  dramatic  roles.  He  be- 
came a  private  eye  in  two  highly  success- 
ful radio  series,  first  as  Richard  Rogue, 
then  as  Richard  Diamond. 

The  movie  which  marked  another  mile- 
stone in  the  Powell  plan,  and  finally  gave 
Dick  his  first  chance  to-.direct,  was  "Split 
Second,"  a  taut  dramatic  thriller  which 
won  critical  acclaim,  made  money,  and 
firmly  established  Powell  as  a  director. 
Since  "Split  Second,"  Dick  has  directed 
and  produced  RKO's  "The  Conqueror"  and 
Columbia's  musical  version  of  "It  Hap- 
pened One  Night,"  starring  his  wife,  June 
Allyson.  To  top  his  career  and  climb  to 
success,  Powell  has  just  been  signed  by 
20th  Century-Fox  as  producer-director. 
Busy  as  he  is,  Dick  says  he  will  never 
give  up  Four  Star.  "I  like  the  people  too 
much,"  he  says.  Besides  that  fact,  hard 
work  has  always  been  a  part  of  Dick's 
philosophy  of  life — it's  part  of  his  Arkan- 
sas background.  Yes,  Horatio  Alger  would 
have  been  proud  of  the  Little  Rock  boy 
who  grew  up  to  be  an  internationally  fam- 
ous   actor-director-producer. 

Says  Powell,  with  a  wry  grin,  "I  still 
haven't  given  up  the  saxophone.  In  this 
business,  you  never  can  tell." 


Award  Winners 

(Continued  from  page  34) 
in  the  daytime  category!  Garry  Moore, 
whose  afternoon  show  has  been  a  winner 
or  semi-finalist  ever  since  it  started  on 
CBS -TV,  nosed  out  his  rivals  for  the  sec- 
ond year  straight  as  TV  daytime  emcee. 
Meanwhile,  I've  Got  A  Secret,  Garry's 
Wednesday-night  telecast  over  the  same 
network,  topped  the  balloting  as  favorite 
TV  panel  program  for  the  second  time. 
The  radio  winner  in  this  latter  group  was 
Make  Up  Your  Mind,  created  and  pro- 
duced by  Arthur  Henley,  moderated  by 
Jack  Sterling — and  now  seeking  new 
worlds  to  conquer  on  television. 

Two  For  The  Money,  seen  and  heard  on 
CBS,  wins  its  third  successive  quiz-show 
medal,  this  time  for  radio.  And  Herb 
Shriner,  its  Hoosier  quipmaster,  wins  his 
first  one  as  your  favorite  radio  master  of 
ceremonies.  The  quiz-show  and  emcee 
races  are  always  hotly  contested,  with 
Groucho  Marx  and  You  Bet  Your  Life 
always  thrusting  into  a  photo  finish,  along 
with  such  well-loved  hosts  as  Warren 
Hull,  Bud  Collyer,  Bert  Parks  and  their 
exciting  programs. 

But  it  was  The  $64,000  Question,  over 
CBS,  which  won  the  TV  quiz  Award  this 
year,  without  any  doubt,  just  as  it  wrested 
the  "best  TV  program"  title  from  such 
formidable  previous  medalists  as  the  great 
shows  staged  by  Sullivan  and  Godfrey  on 
the  same  network.  As  previously  noted, 
Talent  Scouts  captured  the  evening  variety 
medal  for  radio.  The  Ed  Sullivan  Show 
again  topped  all  comers  in  TV  evening 
variety,  and  Ed  himself  gained  his  third 
TV  evening  emcee  title  in  a  row — in  fact, 
both  program  and  producer-star  now  have 
five  gold  medals  apiece! 

There  was  action  a-plenty  in  the  field 
of  Westerns  and  outdoor  adventure.  For 
some  years,  this  was  only  a  seesaw  battle 
between  Gene  Autry  and  Roy  Rogers,  who 
took  turns  winning  star  and  program 
medals,  on  both  radio  and  TV.  This  year, 
Gene — who  won  the  first  such  Award 
ever  given  (it  was  then  called  "cowboy 
actor") — more  than  held  his  own  as  your 
favorite  Western  star  on  radio,  as  heard 
over  CBS.  And  The  Roy  Rogers  Show,  as 
seen  over  NBC,  won  the  Western  program 
Award  for  TV.  The  race  was  a  wild 
scramble  in  television  (even  "Davy  Crock- 
ett" got  into  the  act!)  but,  when  the  dust 
settled,  Hugh  O'Brian,  title-role  hero  of 
ABC-TV's  The  Legend  Of  Wyatt  Earp,  had 
ridden  off  with  TV  Western-star  honors. 

Gunsmoke,  which  has  won  steadily 
growing  respect  for  its  adult  scripts  and 
true-to-life  characterizations,  as  heard  on 
CBS,  topped  all  radio  Westerns.  Produced 
and  directed  by  Norman  Macdonnell, 
written  by  John  Meston,  it  achieved  its 
first  gold  medal  last  year  in  the  mystery- 
adventure  category.  This  year,  the  radio 
mystery-adventure  Award  went  to  Mu- 
tual's  Gang  Busters — to  add  to  all  the 
other  honors  amassed  during  the  years  by 
this  authentic  documentary  of  the  exciting 
work  done  by  police  of  the  nation. 

No  newcomer  to  our  Award  lists,  NBC's 
Dragnet — which  has  also  won  on  radio — 
took  in  its  fourth  consecutive  gold  medal 
in  the  TV  mystery-adventure  group.  Jack 
Webb,  its  creator  and  star,  can  now  collect 
his  sixth  Award  as  top  evening  drama 
actor,  this  time  in  the  radio  category.  Dick 
Powell,  who's  no  stranger  to  hard-hitting 
roles  himself,  won  the  corresponding  TV 
Award  as  actor  in  Four  Star  Playhouse, 
over  CBS-TV. 

Compared  with  other  winners  in  this 
field,  Dick's  practically  a  newcomer  to 
television.  Years  of  devotion  and  steady 
followings  have  paid  off  for  all  the  other 
drama  champions,  day  and  night.    Loretta 


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T 
V 

a 

75 


I 


Young's  triumph  as  your  favorite  TV  eve- 
ning drama  actress,  in  her  own  show  over 
NBC-TV,  is  her  third  in  a  row,  and  she 
has  now  tied  Peggy  Wood,  the  only  pre- 
vious triple-winner  in  her  category — and 
Loretta's  closest  rival  this  year,  too.  Mama, 
the  beloved  show  starring  Peggy  Wood, 
also  wins  the  TV  evening  drama  Award 
for  a  third  consecutive  time.  (It  also  won, 
back  in  1949,  its  very  first  season  on  CBS- 
TV.) 

It's  a  "first"  for  One  Man's  Family,  on 
NBC,  as  your  favorite  radio  evening 
drama.  But  Carlton  E.  Morse's  great  crea- 
tion and  its  fine  featured  players  have 
long  been  close  rivals  for  top  Awards. 
And,  this  year,  Bernice  Berwin — the  only 
remaining  feminine  player  who  was  in  the 
cast  when  One  Man's  Family  began,  some 
twenty-four  years  ago — receives  the  cov- 
eted accolade  as  radio's  favorite  evening 
drama  actress. 

The  Guiding  Light  has  been  on  daytime 
radio  for  almost  twenty  years.  Written  by 
a  woman,  Irna  Phillips,  and  produced  by 
a  woman,  Lucy  Ferri,  it  has  been  equally 
popular  since  adding  television  to  its 
schedule,  and  has  won  TV  Radio  Mirror 


medals  in  both  categories.  This  year,  it 
triumphed  as  the  best-loved  radio  daytime 
drama,  though  closely  contested  by  such 
perennial  favorites  as  The  Romance  Of 
Helen  Trent  and  The  Second  Mrs.  Burton, - 
which  are  also  heard  over  CBS.  It  was 
the  star  of  the  latter,  Jan  Miner,  who  won 
as  favorite  radio  daytime  actress — for  the 
sixth  successive  time  (a  little  habit  she 
started  when  she  was  Julie  Paterno  of 
Hilltop  House).  Jan's  husband,  Terry 
O'Sullivan — seen  as  Elliott  Norris  in  Vali- 
ant Lady  over  CBS-TV— has  also  won  his 
third  successive  gold  medal  as  your  fa- 
vorite TV  daytime  actor. 

But  the  real  "repeater"  in  TV  daytime 
drama  is  Mary  Stuart,  who  has  now  been 
named  for  the  fourth  time  as  your  favorite 
actress,  in  her  role  as  Joanne  Tate,  in 
Search  For  Tomorrow!  The  latter  series, 
produced  by  Myron  Golden  over  CBS-TV, 
has  also  won  as  favorite  TV  daytime 
drama  for  the  second  consecutive  year — 
though  the  votes  piled  high  for  Love  Of 
Life  and  The  Secret  Storm,  both  produced 
by  Richard  Dunn,  on  the  same  network. 
Two  interesting  sidelights  from  the  1955-56 
balloting:    Melba   Rae,   who   took   such   a 


prominent  part  in  Search  For  Tomorrow 
while  Mary  Stuart  was  on  maternity  leave 
last  summer,  was  one  of  Mary's  closest 
competitors  for  the  actress  Award.  And 
James  Lipton,  of  The  Guiding  Light,  was 
the  nearest  rival  for  the  actor's  Award — 
on  both  TV  and  radio!  However,  the  last- 
named  Award  was  finally  captured  by 
Sandy  Becker — a  previous  winner  and  al- 
ways a  strong  challenger — for  his  com- 
pelling performance  in  the  title  role  of 
Young  Dr.  Malone,  on  CBS  Radio. 

Puppets  were  king  in  the  juvenile  world, 
as  so  often  before.  It  was  NBC -TV's 
Howdy  Doody  that  pulled  the  strings  for 
the  TV  children's  program  Award,  spirit- 
ing it  away  from  last  year's  prize-winning 
Kukla,  Fran  And  Ollie.  And  Big  Jon's 
delightful  little  "Sparkie"  undoubtedly  had 
much  to  do  with  the  fact  that  ABC's  No 
School  Today  won  for  radio.  But  there 
were  some  very  human — and  very  familiar 
— faces  and  voices  in  the  news  and  sports 
categories,  since  the  Awards  went  to  com- 
mentators John  Cameron  Swayze  of  NBC- 
TV  and  Lowell  Thomas  of  CBS  Radio,  to 
sportscasters  Mel  ("Voice  of  the  Yankees") 
Allen  and  Bill  Stern  of  ABC  Radio. 


(Continued  from  page  66) 
my  release  from  Universal-International 
Pictures — my  current  popularity  was  di- 
rectly due  to  a  snarl  and  a  built-in  sneer! 
In  other  words,  I  was  the  deep-dyed-in- 
the-wool  villain  with  eighteen  pictures 
under  my  gun  belt.  But  I  neither  got  the 
girl,  nor  did  I  live  until  the  final  reel — 
and  I  wanted  to  win,  for  a  change.  So  I 
got  out!" 

In  The  Life  And  Legend  Of  Wyatt  Earp, 
over  ABC-TV,  Hugh  O'Brian  re-estab- 
lished himself  as  a  hero  in  the  hearts  and 
homes  of  twelve  million  weekly  viewers. 
Now  when  he  discusses  the  metamorphosis 
in  his  personal  and  professional  life,  some- 
thing akin  to  wonderment  creeps  into 
Hugh's  dark  and  expressive  eyes. 

"This  may  make  me  sound  like  a  corn- 
ball,"  he  says,  "but  Wyatt  Earp  proved 
to  be  that  proverbial  'friend  in  need.'  The 
influence  of  this  exemplary  man  came  into 
my  life  at  a  time  when  I  needed  it  most. 
Hollywood  is  a  lonely  town  and,  when 
roots  are  missing,  there  has  to  be  a  bridge 
between  the  tangibles  and  intangibles. 
Earp's  belief  in  the  tremendous  power, 
carefully  used,  that  God  gives  an  individ- 
ual to  change  the  course  of  events,  was 
truly    inspiring." 

Wise  as  well  as  witty,  Hugh  was  quite 
aware  that  he  was  gambling  with  fate  and, 
before  he  severed  studio  connections,  he 
carefully  considered  every  aspect.  Not  to 
discredit  U-I  and  their  pattern,  he  was 
sincerely  grateful  for  their  training  school 
and  all  he  had  learned.  Leaving  them  was 
like  leaving  home — and  yet,  if  he  re- 
mained, he  might  be  relegated  to  feature 
roles  forever.  On  the  other  hand,  there 
was  no  guarantee  of  a  better  break  on 
the  outside  world. 

"If    the    going    got    too    rough,"    Hugh 
recalls,  "well,  I  used  to  be  a  good  land- 
scape gardener,  and  I  knew  I  could  make 
a  living.  Being  a  bachelor  was  the  reason 
1 1  could  take  a  chance.  My  only  responsi- 
j  bility   was   a  toy   collie  that   eats   thirty- 
three   cents  worth   of  horse  meat  a  day. 
But,   If   I   had   been   married,    I    couldn't 
have  afforded  to  risk  our  money. 
"Lady   Luck   didn't   desert   me.    Out   of 
*    three  pictures  in  a  row  at  20th  Century- 
V    Fox,  I  made  enough  money  to  double  my 
B    year's    salary    at    U-I.    However,    I    kept 
looking  around,  because  I  knew  I  needed 
_    a   'gimmick.'    Studios    are   in   business   to 
76 


Living  Legend 

make  money  and  no  matter  how  much 
talent  you  may  have,  you  must  also  have 
'name  value.' 

"Each  actor  has  his  own  way  of  arriving. 
For  example,  Marlon  Brando  might  have 
had  difficulty  getting  major  roles  five  or 
six  years  ago,  because  he  wasn't  the  type 
they  were  looking  for  then.  So  sometimes 
you  have  to  go  away  to  gain  recognition. 
Brando  went  to  Broadway.  I  knew  I  had  to 
get  away  from  playing  'heavies.' " 

It  took  TV  and  a  hero  role  to  give  Hugh 
O'Brian  "name  value"  and  the  proof  that 
he  could  be  attractive  to  audiences.  Today, 
fans  who  hated  him  as  a  movie  menace, 
love  him  for  his  character  and  courage. 
They  send  him  presents.  Three  fans  named 
their  first  babies  after  him.  And,  of  course, 
his  social  life  is  completly  revolutionized. 

"I've  always  had  wonderful  loyal  friends," 
laughs  Hugh,  "but,  as  everyone  knows, 
Hollywood  is  comprised  of  individual 
groups,  and  certain  sets  just  don't  dig  you 
until  you've  hit  the  jackpot.  I'll  never  for- 
get one  experience  last  September,  when 
The  Life  And  Legend  Of  Wyatt  Earp  had 
its  ABC  network  premiere.  The  reviews 
were  very  rewarding,  and  the  program 
induced  a  deluge  of  enthusiastic  fan  mail. 

"One  morning,  my  telephone  rang  and 
the  charming  voice  on  the  wire  belonged 
to  a  famous  Hollywood  hostess.  It  seems 
she  was  giving  a  plushy  party — complete 
with  cefiophane  tent  and  hot-and-cold 
running  butlers.  The  evening's  success, 
my  fair  informant  insisted,  depended  on 
my  presence.  Now,  I  had  never  been  in- 
vited to  her  fabulous  home  before — and, 
in  fact,  had  never  even  met  the  lady! 

"I  thanked  her  profusely  for  such  a 
thoughtful  (and  sudden!)  invitation.  But 
wasn't  it  a  shame,  I  said,  that  I  wouldn't 
be  able  to  accept — because  I  was  spending 
my  evenings  in  the  public  library!  The 
silence  that  followed  this  little  bomb  was 
a  real  gasser! 

"  'The  public  library!'  she  finally  found 
her  voice.  'Now  what  in  the  name  of 
heaven  would  you  be  doing  there?' 

"It  must  have  sounded  far-fetched  and 
perfectly  ridiculous  to  her.  But  I  couldn't 
have  been  more  sincere,  because  I  had 
already  become  fascinated  with  my  slight 
knowledge  of  Wyatt  Earp.  If  I  was  to 
live  with  his  memory  sixteen  hours  each 
day,  I  wanted  to  learn  all  I  could  learn 
about    this    courageous    man    who    holds 


such  a  high  place  in  the  colorful  history 
of  the  West." 

The  way  Hugh  O'Brian  and  Wyatt 
Earp  converged  proves  that  certain  things 
in  life  are  just  meant  to  be.  Hugh  be- 
lieves this  with  all  his  warm  heart,  and 
yet  he's  sensible  to  realize  that  timing, 
as  well  as  opportunity,  plays  a  very  im- 
portant part  in  the  scheme  of  things. 

"There  were  five  different  TV  series  on 
the  fire,"  he  says,  "but  I  kept  holding 
out  for  one  which  offered  that  extra- 
special  something.  Finally,  producers 
Lew  Edelman  and  Robert  Sisk  sent  me  a 
script.  It  was  the  story  of  a  great  man 
who  actually  lived,  a  man  important  to 
our  history  and  whose  appeal  had  never 
been  brought  before  the  public  on  TV. 
It  was  to  be  the  first  adult  Western  series 
on  a  livewire  network,  ABC.  The  whole 
setup  appealed  to  me,  but  there  were 
other  contributing  factors,  too. 

"Age  was  important,  and  I  was  young 
enough  to  look  twenty-five,  yet  old  enough 
to  look  older  in  future  scripts.  Wyatt 
Earp  and  I  were  the  same  weight  and  we 
were  built  alike.  The  producers  had 
run  off  movies  where  I  played  a  heavy 
and  had  seen  a  quality  beyond  'meanness' 
up  there  on  the  screen.  They  were  con- 
sidering several  big  names,  but  when  the 
time  came  for  a  decision — they  wanted  me. 

"Fortunately,  I  was  in  a  wonderful  spot 
for  this  fresh  idea.  I  was  available,  I  had 
acting  experience  and,  while  my  name 
was  familiar,  I  wasn't  a  big  star  yet.  It's 
important  in  this  business  to  be  flexible, 
to  be  able  to  move  along  wherever  there 
is  a  place  for  you.  So  I  started  working 
very  hard  on  my  'quick  draw,'  and  made 
the  pilot  film  in  February  of  1955.  After 
the  premiere,  we  were  in  business  to  the 
tune  of  making  two  films  a  week,  or 
thirty-five  films  a  year.  This  gives  me 
five  months  off  for  making  Hollywood 
pictures,  since,  naturally,  I  never  want  to 
walk  away  from  that  phase  of  my  career." 

With  rare  exception,  a  movie  "bad  man" 
is  lucky  to  get  a  gentle  pat  on  the  head 
from  his  own  gray-haired  mother.  This 
had  been  Hugh's  fate  in  the  movies.  But, 
in  private  life,  his  attraction  for  the  oppo- 
site sex  suffers  no  setbacks.  Then  how 
come  he's  still  an  eligible  bachelor  at 
the  age  of  thirty?  It  isn't  a  new  ques- 
tion— but,  since  his  Wyatt  Earp  success, 
Hugh  finds  it  easier  to  answer. 


"I'm  guilty  of  being  a  confirmed  ideal- 
ist," he  admits.  "I  guess  I've  been  seek- 
ing something  for  a  long,  long  time,  and 
111  confess  that  I'm  no  longer  trying  to 
kid  myself.  Since  I've  learned  more  about 
Wyatt  Earp  and  lived  with  his  memory, 
I  know  I  am  right  and  it's  given  me  an 
entirely  new  perspective  on  myself. 

"Earp  was  a  good  man,  but  not  a 
goody-good  man.  He  suffered  the  normal 
amount  of  temptations,  but  he  had  the 
strength  to  uphold  his  belief  in  what  was 
right.  The  longevity  of  his  marriage  is 
also  an  inspiration  and,  even  though  my 
ideals  are  high,  I  know  I  must  stick  to 
them.  If  I  could  find  the  right  girl,  I'd 
settle  down  tomorrow.  There  was  a  time 
when  it  almost  worked  out,  and  I  was 
pretty  cut  up  when   she  died. 

"She  was  a  wonderful  girl  and  I  was 
very  much  in  love  with  her.  Having  ex- 
perienced such  a  relationship,  I  am  very 
grateful.  It  taught  me  not  to  sell  out  for 
anything  less  than  what  I  know  is  there 
to  give  and  receive.  So  I  am  going  to 
wait.  All  I  ask  is  that  she  loves  me,  that 
I  love  her — that  we  can  spend  fifty  or 
sixty  years  together.  If  there  is  a  flaw 
in  success,  it's  starting  each  day  without 
someone  to  share  your  success  with.  I 
hope  it  works  out  for  me  soon.  When 
you  wait  too  long,  you  get  too  set  in 
your  ways — and  marriage,  I  believe,  must 
be  a  molding  on  both  sides." 

Until  last  year,  Hugh  O'Brian  and 
"Lady"  (his  pet  collie)  occupied  bachelor 
diggings  in  the  hills  above  the  Sunset 
Strip.  However,  the  news  report  on  a 
recent  robbery  disclosed  his  address,  and 
pandemonium  set  in.  Self-styled  rela- 
tives of  the  real  Wyatt  Earp  pounded  on 
his  door  day  and  night.  One  young  fellow 
(feeling  no  pain)  decided  to  impress  his 
girlfriend  by  challenging  Hugh  to  show 
how  good  he  was  without  his  gun  on  his 
hip.  Another  misguided  character  wanted 
revenge,  because  he  remembered  Hugh 
had  once  slapped  a  lady's  face  in  a  movie! 
To  keep  peace,  Hugh  and  "Lady"  finally 
packed  bag  and  bones  and  fled  to  an  un- 
disclosed address  at  the  beach. 

"The  attention  was  flattering,  in  a  sense," 
muses  Hugh,  "but  it  wasn't  so  good  when 
I  had  early-morning  calls  and  needed  my 
sleep.  It's  really  amazing  how  much 
interest  our  show  has  created  in  Wyatt 
Earp,  and  may  I  say  I  still  have  to  get 
used  to  being  in  a  gun  fight — and  remain- 
ing alive  to  the  end  of  the  picture! 

"People  in  restaurants  even  ask  me 
why  I  don't  kill  on  our  TV  show.  So  I 
explain  that  we  are  doing  Wyatt  Earp's 
life  story  and  I  will  only  kill  when  Earp 
killed.  The  truth  is,  he  only  killed  four 
men  in  several  hundred  gun  fights.  I'm 
asked  another  question,  too.  How  come  I 
never  get  wounded?  Earp  was  never 
wounded,  and  obviously  he  lived  through 
every  gun  fight— because  he  died  in  1929, 
at  the  age  of  eighty-one. 

"This  is  history  and,  with  rare  excep- 
tion, our  show  is  factual.  Earp's  life  was 
more  dramatic  than  anything  a  writer 
could  create — so  much  so,  we  have  to 
minimize  some  of  it.  For  example,  in 
one  day,  Earp  had  to  face  a  mob  of  fifty 
men  with  guns — and  he  lived  to  tell  the 
tale.  We  only  used  five  men  on  our  TV 
show — so  that  it  would  be  believable! 
You'll  have  to  admit  this  is  quite  a  switch 
in  Westerns.  Earp's  faith  in  what  was 
right  helps  to  give  our  show  great  gen- 
eral appeal.  It's  interesting,  too,  that  we 
have  a  tremendous  audience  of  women — 
bless  their  hearts!" 

To  know  Hugh  O'Brian  is  to  be  well 
aware  that  the  life  and  legend  of  Wyatt 
Earp  will  inspire  his  own  life  and  legend 
for  as  long  as  he  lives.  For  Hugh,  the 
humbleness  and  humility  of  the  man  most 
instrumental  in  bringing  law  and  order 
to  America's  frontier  is  almost  a  prayer. 


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CHERAMY      PERFUMER 


The  Lawrence  Welk  Show 

(Continued  from  page  59) 


tree,"  he  smiles.  The  only  music  lesson 
he  ever  took  was  a  mail  order  course,  but 
Lawrence  does  have  a  certificate  as  a 
piano  tuner — although  he's  never  tuned  a 
piano.  His  first  band  was  known  as  "The 
Biggest  Little  Band  in  America."  It  be- 
came something  of  an  institution  in  the 
Midwest,  playing  everywhere,  including 
Yankton,  South  Dakota,  where  Lawrence 
underwent  a  tonsillectomy  to  woo  nurse 
Fern  Renner.  The  Welks  have  three  chil- 
dren, Shirley,  Donna  and  Lawrence,  Jr., 
and  are  happily  at  home,  after  years  of 
touring,  in  a  Los  Angeles  suburb.  .  .  . 
The  "Champagne  Lady"  is  Alice  from 
Dallas — Alice  Lon,  of  course — and  she  was 
the  public's  choice  in  a  national  contest 
to  find  a  suitable  songbird  for  the  title. 
She  comes  from  a  musical  family  and  has 
been  warbling  since  the  age  of  six.  Her 
first  big  break  came  when  an  agent  sent 
her  picture  and  a  recording  to  Don  Mc- 
Neill and  he  hired  her  as  a  Breakfast  Club 
vocalist.  Alice  is  married  to  Bob  Water- 
man, the  well-known  football  player  and 
aspiring  playwright,  and  they  have  three 
sons.  Oh,  Alice's  hobby?  Collecting  bouf- 
fant petticoats.  .  .  .  Like  Lawrence  Welk, 
Myron  Floren  lost  his  heart  to  the  ac- 
cordion early  in  life  when,  at  the  age  of 
seven,  he  fell  in  love  with  one  he  saw  in 
a  mail-order  catalog.  Myron  met  his  fel- 
low Dakotan  and  present  boss  in  St.  Louis, 
in  1950.  He  met  his  wife  Berdyne  when 
she  became  a  student  of  his.  There  are 
now  three  co-eds  at  their  Westchester, 
Los  Angeles  home.  .  .  .  When  most  four- 
year-olds  were  tugging  at  apron  strings, 
Buddy  Merrill  was  plucking  at  a  Spanish 
guitar.  At  eleven,  the  lad  from  Cainville, 
Utah,  took  up  the  more  complex  steel 
guitar.  He  won  his  present  job  in  a  na- 
tional vocal  and  instrumental  contest 
sponsored  by  Lawrence  Welk,  who  proud- 
ly accuses  his  nineteen-year-old  discov- 
ery of  "practically  stealing  the  show  from 
all  of  us."  .  .  .  Senior  member,  in  point 
of  service,  is  genial  Jerry  Burke,  who 
joined  the  Welk  orchestra  when  it  was 
first  organized  in  1934.  His  agile  fingers 
can  skip  with  equal  zest  over  a  Hammond 
organ,  piano,  accordion  or  Novachord. 
He's  an  expert  amateur  cook,  specializing 
in  Hungarian  goulash,  is  equally  en- 
thusiastic about  the  New  York  Philhar- 
monic and  Bing  Crosby,  and  will  drive 
miles  to  catch  a  Spencer  Tracy  movie.  .  .  . 
Violinist  and  vocalist  Bob  Lido,  of  Jersey 
City,  charms  the  femmes  with  a  double- 
barrelled  talent  and  a  continental  air.  He 
led  his  own  band  at  New  York's  Savoy- 


Plaza,  once  understudied  Perry  Como.  A 
bachelor,  he  lives  in  North  Hollywood  and 
his  heart  belongs  to  jazz  and  a  cocker 
spaniel.  .  .  .  Gypsy  tunes  hold  the  musical 
heart  of  Dick  Kesner,  but  the  Iowa  violin- 
ist ranges  with  equal  deftness  from  sym- 
phonies to  jazz.  He  has  an  impressive 
background  with  the  San  Francisco  and 
Chicago  Symphonies  and  the  ABC  orches- 
tra. Dick,  his  wife  and  two  daughters  make 
their  home  in  Roseda,  and  Dick's  hobbies 
include  model  railroads,  gardening  and  as- 
tronomy. .  .  .  Aladdin  not  only  plays  violin, 
but  sings — in  ten  different  languages.  Born 
in  New  York,  he  began  his  professional 
career  at  three,  as  a  dancer  and  mimic. 
But  a  fall  which  temporarily  paralyzed 
him  forced  him  to  turn  his  talents  in  an 
instrumental  and  vocal  direction.  The 
father  of  two,  he's  been  featured  with  such 
notables  as  Rudy  Vallee,  Carmen  Caval- 
laro,  Xavier  Cugat  and  Ray  Noble.  His 
full  name:  Aladdin  Abdullah  Achmed  An- 
thony Pallante.  ...  If  it  hadn't  been  for 
Lawrence  Welk,  Larry  Hooper's  singing 
might  still  be  confined  to  the  shower.  But 
maestro  Welk  heard  Larry  clowning  at 
rehearsals  and  prodded  and  needled  the 
tall,  slim,  easygoing  pianist  until  he  agreed 
to  give  it  a  try.  He's  been  singing  a  reso- 
nant bass  ever  since.  Happily  married, 
Larry  hails  from  Santa  Monica.  .  .  .  Jack 
Martin,  who  also  sings,  took  to  playing 
the  saxophone  as  a  youngster  in  Nelson- 
ville,  Ohio.  By  the  time  he  was  graduated 
from  Ohio  University,  he  and  the  sax 
were  so  well  acquainted  that  Jack  gave 
up  plans  for  an  advertising  career  to  take 
a  musical  road.  There  are  two  junior  Mar- 
tins. .  .  .  When  Jim  Roberts  wanted  a  vocal 
job  with  Lawrence  Welk,  he  simply 
walked  up  to  the  bandstand  during  re- 
hearsal and  asked  for  an  audition.  The 
Irish  tenor  from  Kentucky  was  hired  on 
the  spot.  Jim's  story  is  "The  Army  Made 
a  Singer  Out  of  Me."  He  made  his  first 
hit  in  a  GI  show,  went  on  to  join  the  Earl 
Carroll  organization,  where  he  met  his 
wife,  the  former  Jane  Silk,  who  gave  up 
show  business  for  a  career  as  Jim's  wife 

and  the  mother  of  young  Steven  James 

Dick  Dale's  convincing  vocal  duets  with 
Alice  Lon  have  romantic  rumors  flying. 
But  Dick's  three  loves  are  his  wife,  their 
child — and  the  saxophone.  He  began 
tootling  the  sax  in  1936,  played  with  local 
bands  after  graduating  from  high  school 
in  Algona,  Iowa.  After  two  years  in  the 
Navy,  Dick  joined  the  famous  Six  Fat 
Dutchmen  of  Minnesota,  started  playing 
"Champagne    Music"    in    1951. 


Simply  add  one  Champagne  Lady,  Alice  Lon,  to  a  quartet  of  Larry  Hooper, 
Jack  Martin,  Jim  Roberts  and  Dick  Dale,  and  you've  a  bubbling  music  dish. 


(Continued  from  page  64) 
worked  for  Carlton  E.  Morse  in  his  radio 
series,  Jack  And  Ethel,  which  she  de- 
scribes as:  "Exquisite  scripts,  filled  with 
Mr.  Morse's  minute  research,  based  on 
true  dramatic  episodes  in  California's  his- 
tory. I  remember  three  especially — the 
Marcus  Whitman,  Lotta  Crabtree  and  Lola 
Montez  series.  Each  was  done  in  five 
weekly  episodes.     They  were  classics." 

Then  "Family"  was  born.  On  her  way 
home  from  NBC,  one  spring  afternoon  in 
1932,  Bernice  was  coming  out  of  Clark's 
market,  when  she  ran  into  Carlton  E. 
Morse — hands  in  pockets,  walking  down  a 
San  Francisco  street.  Bernice  says,  "We 
fell  in  step,  and  he  told  me  about  a  new 
radio  show  called  One  Man's  Family.  He 
said  he  hadn't  put  the  idea  on  paper  yet, 
and  asked  me  what  I  thought  of  it.  I  said, 
'I  think  it's  grand — do  it.'  .  .  .  Within  the 
next  day  or  two,  my  husband  and  I  were 
planning  a  trip  to  New  York.  But,  before 
I  could  pack  my  bags,  Mr.  Morse  finished 
the  first  script  and  asked  me  to  play  Hazel. 

"At  first,  Mr.  Morse  wrote  the  individuals 
pretty  much  as  he  felt  he  saw  them  in  real 
life — at  least,  if  you  were  to  ask  him,  'Are 
Father  Barbour  and  J.  Anthony  Smythe 
the  same  person?' — he  probably  would 
have  said,  'Why,  certainly.'  I  rebelled  at 
this  at  first,  because  I  didn't  think  Hazel 
was  myself  at  all!"  ...  In  the  many  years 
that  Bernice  has  been  playing  Hazel,  she 
has  seen  the  character  develop  from  a 
neurotic,  frustrated  young  woman  into  a 
happy  wife  and  mother.  It  is  a  tribute  to 
her  acting  ability  that  she  has  made  each 
phase  of  Hazel's  life  completely  convinc- 
ing and  understanding. 

In  real  life,  Bernice  is  married  to  A. 
Brooks    Berlin,   prominent    San   Francisco 


One  Man's  Family 

attorney.  They  have  a  son,  Berwin  Brooks 
Berlin,  twenty-one,  a  law  student  at  the 
University  of  California.  "Sometimes," 
says  Bernice,  "in  the  script,  Hazel  tells 
Pinky  what  she  thinks  he  should  do  in  a 
given  situation.  At  home,  I  find  that  a 
young  man  of  twenty-one  doesn't  want  to 
be  told — one  doesn't  give  advice  unless  one 
is  really  asked."  .  .  .  However,  Miss  Ber- 
win feels  the  show  has  had  a  helpful  effect 
in  rearing  her  own  son,  and  her  experience 
in  being  a  real  mother  has  enabled  her  to 
give  reality  to  the  character  of  Hazel. 

Bernice  has  always  considered  her  radio 
children  as  part  of  her  own  family.  Dawn 


GIVE— 

Strike  back  at  CANCEit 


Bender,  who  came  on  the  show  at  the  age 
of  seven,  plays  her  daughter,  Margaret, 
and  has  always  sent  Bernice  Christmas 
gifts  addressed  to  "Mommy."  Bernice  re- 
turns the  favor  in  kind.  When  Dawn  mar- 
ried a  few  years  ago,  Bernice  and  Barbara 
Fuller  (Claudia)  gave  Dawn  a  shower.  .  .  . 
Bernice  says:  "Dawn,  of  course,  had  a 
very  devoted  real-life  mother.  But  I  feel 
as  if  I  were  blessed  in  a  way.  It  has  been 
a  great  experience  for  me,  for  Dawn — in  a 
make-believe  sort  of  way — became  the 
daughter  I  was  never  able  to  have." 

Today,  Bernice  lives  in  Oakland  with 
her  husband  and  son,  in  a  home  with  a 
panoramic  view  of  the  San  Francisco  Bay. 
"We  can  see  both  bridges,"  she  says,  "and 
on  the  right,  as  far  as  Mt.  Tamalpais — and, 
on  the  left,  all  the  way  down  the  peninsula. 
On  a  clear  day,  it's  absolutely  breath- 
taking."    The    Berlins    redecorated    their 


home  six  months  ago  and,  in  January,  had 
a  large  party  to  celebrate  Mr.  Berlin's 
election  to  the  Bar  Presidency.  Says  Ber- 
nice, "We  couldn't  get  our  guests  away 
from  the  windows!" 

Miss  Berwin  now  commutes  via  United 
Airlines  from  her  home  in  Oakland  to  the 
NBC  recording  studios  in  Hollywood.  She 
is  the  airline's  most  popular  passenger. 
United  soon  will  be  presenting  Bernice 
with  a  gold  plaque  to  commemorate  her 
100,000th  mile.  While  not  commuting, 
Bernice  is  an  avid  reader,  concentrating 
on  current  events  in  magazines —  "We  live 
in  such  exciting  times"  .  .  .  listens  to  clas- 
sical records — "Piano  is  still  my  favorite" 
.  .  .  visits  the  theater  and  ballet  with  Mr. 
Morse's  wife,  Pat — "I  feel  television  is 
making  ballet  popular  in  America"  .  .  . 
and  encourages  her  son  Berwin  with  his 
law  studies  at  the  University  of  California. 

It  will  soon  be  a  quarter  of  a  century 
since  Carlton  E.  Morse  wrote  his  first 
line  of  dialogue  for  One  Man's  Family. 
In  that  time,  "Family"  has  grown  through 
marriages  and  births,  deaths  and  tragedies. 
Mail  still  pours  in,  whenever  a  crisis  or 
high  point  is  reached  in  the  script.  In  the 
past,  when  the  program  offered  a  Mother 
Barbour  cookbook — and,  later,  a  Father 
Barbour  family  history — the  requests  came 
in  by  hundreds  of  thousands. 

Today,  One  Man's  Family  remains  Carl- 
ton E.  Morse's  favorite  show.  "I  hope  we 
can  continue  to  occupy  our  niche  in  the 
very  important  radio  field,"  he  says.  "So 
long  as  the  public  continues  to  listen — and 
to  let  us  know — we  will  stay  on  the  air.  I 
can  only  say  that  I  trust  the  public  feels 
we  have  contributed  something  to  better 
living  and  better  family  ties  .  .  .  that  is 
the  purpose  of  One  Man's  Family." 


It  takes  two  to  romance 


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I 


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1:25  Men's  Corner 

1:05  Navy  Hour 

1:05  City  Hospital 

1:30 

Symphonies   For 

Features 

Kathy  Godfrey 

1:45 

Youth 

1:35  Shake  The 

Maracas 
1:55  News 

2:00 

Monitor 

Youth  Symphonies 
(con.) 

Festival 

News,  Townsend 
2:05   Adventures   in 
Science 

2:15 

2:30 
2:45 

Fifth  Army  Band 

3:00 

Monitor 

Country  Jamboree 

Festival  (con.) 

News,  Bancroft 

3:15 

3:05  Richard  Hayes 

Show 
Treasury  Show 

3:30 
3:45 

4:00 

Monitor 

Standby  Sports,  with 

Festival  (con.) 

News,  Cochran 

4:15 

Harry  Wismer 

4:05  Treasury  Show 
(con.) 

4:30 
4:45 

Make  Way  For  Youth 

5:00 

Monitor 

Standby  Sports  with 

News 

News,   Cochran 

5:15 

Harry  Wismer 
(Con.) 

5:05  Pop  Concert 

5:05  New  Orleans 
Jazz  Band   Ball 

5:30 

News 

Saturday  At  The 

5:45 

5:55  Les  Paul  & 
Mary  Ford 

5:35  Dinner  At  The 
Green  Room 

Chase 

Evening   Programs 


6:00 

Monitor 

John  T.  Flynn 

News 

6:05  Pan-American 

News,  Cioffi 
6:05  Music  By 

6:15 

Union 
6:25  Features 

Antonini 

6:30 

Report  From 
Washington 

Sports  Kaleidoscope 

Young  Ideas 

6:45 

Sports,  Neal 

Bob  Edge,  Sports 
Afield 

7:00 

Monitor 

Pop  The  Question 

News 

News,  LeSeuer 

7:15 

7:05  At  Ease 
7:25  Features 

7:05  Juke  Box  Jury 

7:30 

The  Big  Surprise 

Inspiration  Please 

It's  Your  Business 

7:45 

As  We  See  It 

8:00 

Monitor 

True  or  False 

News 

News,  Jackson 

8:15 

8:10  Dance  Party 

8:05  Country  Style 

8:30 

Quaker  City  Capers 

News 

8:40  Dance  Party 

8:45 

(con.) 

8:55  Sports 

9:00 

Monitor 

1  Ask  You 

News 

9:05  Dance  Party 

News,  Collingwood 
9:05  Philadelphia 

9:15 

(con.) 

Orchestra— Eugene 

9:30 

Grand  Ole  Opry 

Lombardoland,  U.S.A. 

News 

Ormandy 

9:45 

9:35NationalJukebox 

10:00 

Monitor 

Oklahoma  City 

News 

News 

Symphony 

10:05  Hotel  Edison 

10:05  Basin  Street 

10:15 

Orch. 

Jazz 

10:30 

News 

10:35  Lawrence  Welk 

Orchestra 

Sunday 


NBC 


Morning    Programs 


MBS 


ABC 


CBS 


8:30 
8:45 

Monitor 

Light  &  Life  Hour 

Renfro  Valley 
8:55  Galen  Drake 

9:00 
9:15 

9:30 
9:45 

World  News  Roundup 
Monitor 

Art  Of  Living 

Wings  Of  Healing 
Back  To  God 

News 

9:05  Great  Composers 

Voice  of  Prophecy 

World  News  Roundup 
Sidney  Walton  Show 

Church    Of  The   Air 

10:00 
10:15 

10:30 
10:45 

National   Radio 
Pulpit 

Monitor 

Radio  Bible  Class 
Voice  Of  Prophecy 

News 

10:05  Message  Of 

Israel 
News 
10:35  College  Choir 

News 

10:05   Invitation  To 

Learning 
The  Leading  Question 

11:00 

11:15 
11:30 
11:45 

Monitor 

11:35  New  World 

Frank  And  Ernest 

Christian  Science 

Monitor 
Northwestern 

Reviewing  Stand 

News 

11:05   Marines   On 
Review 

News 

11:35  Christian  In 
Action 

News 

11:05    E.   Power 

Biggs 
UN  Report 

Salt  Lake  Tabernacle 
Choir 

Afte 

12:00 

12:15 
12:30 

12:45 

moon    Progr 

Monitor 

The  Eternal  Light 

ams 

As  I  See  It 

News,  Bill  Cunning- 
ham 
Christian  Science 

Management  Show 

As  We  See   It 
Herald  Of  Truth 

News,   Robert  Trout 
12:05  Washington 

Week 
World  Affairs 
Guy  Lombardo  Time 

1:00 

1:15 
1:30 
1:45 

Monitor 

Les  Paul  &  Mary  Ford 
1:05  Front  Page 

Exclusive 
Men's  Corner 
Lutheran   Hour 

Dr.  Wm.  Ward  Ayer 

News 

1:35    Pilgrimage 

Woolworth    Hour- 
Percy   Faith, 
Donald  Woods 

2:00 
2:15 
2:30 
2:45 

The  Catholic  Hour 
Monitor 

Festival  Of  Opera 

Dr.  Oral  Roberts 
Wings  Of  Healing 

Symphonette 

New  York  Philhar- 
monic-Symphony 

3:00 
3:15 
3:30 
3:45 

Monitor 

Opera  (con.) 

Dr.  James  McGinlay 
Billy  Graham 

Symphony  (con.) 

4:00 
4:15 
4:30 
4:45 

Monitor 

Opera  (con.) 

Wismer,   World   Of 

Sports 
4:55  Here's 

Hollywood 

Old-Fashioned 
Revival  Hour 

News 

4:05  Music  On  A 
Sunday  Afternoon 

5:00 

5:15 

5:30 
5:45 

Monitor 

5:05  Your  Nutrilite 
Radio  Theater 

Wismer,    World    of 
Sports  (con.) 

Bosnian's  Bandstand 
5:55  Tomorrow's 
World 

Holiday  For  Strings 

5:25  Van  Voorhis, 

News 
Greatest  Story  Ever 

Told 

News 

5:05  Indictment 

Fort  Laramie 

Evening   Programs 


6:00 

Meet  The  Press 

Walter  Winched 

Monday  Morning 
Headlines 

News 

6:05  Gene  Autry 

6:15 

Tomorrow's 
Headlines 

Paul  Harvey,  News 

6:30 

Monitor 

On  The  Line,  Bob 
Considine 

News 

6:35  Evening  Comes 

Gunsmoke 

6:45 

Les  Paul  &  Mary  Ford 
6:50  Sports 

6:55  Tremendous 
Trifles 

7:00 

Monitor 

By  The  People 

News 

7:05  Showtime 
Revue 

News  Analysis 
7:05  Bergen- 
McCarthy  Show 

7:15 

George  E.  Sokolsky 

7:30 

Pan-American 

News 

7:45 

Panorama 

Travel  Talk 

8:00 

Monitor 

Hawaii  Calls 

America's  Town 
Meeting 

News 

8:05  Our  Miss 

8:15 

Brooks 

8:30 

Bonsoir  Paris 

Two  For  The  Money 

8:45 

9:00 

Monitor 

Wm.  Hillman,  News 

Overseas  Assignment 

News 

9:05  Music  Hall, 

9:15 

Dick  Joseph, 
World  Traveler 

Lifetime  Living 

Mitch  Miller 

9:30 

Manion  Forum 

Van  Voorhis,  News 
9:35  Sammy  Kaye 

9:45 

Keep  Healthy 

9:55  News 

9:55  Jim  McKay 

10:00 

Monitor 

Billy  Graham 

News,  E.  D.  Canham 

News 

10:15 

Richard  Hayes  Sings 

10:05  Face  The  Na- 
tion 
Church  Of  The  Air 

10:30 

American  Forum 

Global   Frontiers 

Revival  Time 

See  Next  Page- 


til 


TV  Program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  APRIL  5— MAY  7 


Baseball  on  TV 


APRIL 

14,  Sat. 

2:00 

8,9  Yanks  vs.  Dodgers— 

-E 

15,  Sun. 

2:00 

8,11  Dodgers  vs.  Yanks— 

-E 

17,  Tue. 

1:30 

9  Phila.    vs.    Dodgers 

1:30 

11  Pgh.  vs.  Giants 

18,  Wed. 

1:30 

11  Pgh.  vs.  Giants 

19,  Thu. 

1:30 

9  Phila.  vs.  Dodgers 

1:30 

11  Pgh.  vs.  Giants 

20,  Fri. 

2:00 

11  Boston  vs.  Yanks 

21,  Sat. 

2:00 

8, 11  Boston  vs.  Yanks 

22,  Sun. 

2:00 

8, 11  Boston  vs.  Yanks 

23,  Mon. 

8:00 

9  Dodgers  vs.  Phila.— 

-R 

24,  Tue. 

2:00 

11  Wash.  vs.  Yanks 

8:00 

9  Dodgers  vs.  Phila. — 

■R 

25,  Wed. 

8:00 

11  Dodgers  vs.  Giants 

26,  Thu. 

8:00 

11  Dodgers  vs.  Giants 

27,  Fri. 

8:00 

9  Pgh.  vs.  Dodgers 

28,  Sat. 

29,  Sun. 


TIME 

8:00 
2:00 
2:00 
2:00 
2:00 


11  Phila.  vs.  Giants 
8, 9  Pgh.  vs.  Dodgers 

11  Phila.  vs.  Giants 
8,9  Pgh.  vs.  Dodgers- 

11  Phila.   vs.   Giants— 


l,Tue.  2:00 
8:00 
2:00 
8:00 
2:00 
9:00 
2:00 
9:00 
2:00 
2:00 
10:00 


2,  Wed. 

3,  Thu. 

4,  Fri. 

5,  Sat. 

6,  Sun. 

7,  Mon. 


11  Detroit  vs. 

9  Dodgers  vs. 
11  Detroit  vs. 

9  Dodgers  vs 
11  Kansas  vs. 

9  Dodgers  vs. 
11  Kansas  vs. 

9  Dodgers  vs. 

11  Kansas  vs. 

,  11  Chicago  vs. 

9  Dodgers   vs 


R 


Yanks 

Cine- 
Yanks 

Cine. — R 

Yanks 

St.  L.— R 

Yanks 

St.  L.—R 

Yanks 
Yanks— D 
;.   Mil.—/? 


E — Exhibition  game 


D — Doubleheader 


R — Road  game 


82 


Monday  through  Friday 


7:00  0  Good  Morning!— Will   Rogers,  Jr. 

©  Today— Rise  and  shine  with  Garroway 
7:45  0  News — George  Hamilton  Coombs 
8:00  0  Captain  Kangaroo— Fun  for  kids 
8:55  0  George  Skinner  Show— Variety 
9:00  ©  Herb  Sheldon— Nice  V  easy-goin' 
©  Romper  Room— Hour  kindergarten 
10:00  0  Garry  Moore— Get  happy 

©  Ding  Dong  School— For  kids  3  to  5 
@  Tune     In    Any    Time— 3    continuous 
showings  of  feature  films  to  4  p.m. 
10:30  0  Godfrey  Time— Simulcast  except  Fri. 
©  Ernie  Kovacs— Subtle  like  a  volcano 
11:00  ©  Home — Arlene  Francis,  femcee 
1 1:30  0  \s]  Strike  It  Rich— Hull-hearted  quiz 
12:00  0  Valiant  Lady— Flora  Campbell  stars 

©  Tennessee  Ernie— Pea  pickin'  time 
12:15  0  [U  Love  Of  Life— Stars  Jean  McBride 
12:30  0  [f]  Search  For  Tomorrow— Serial 

©  Feather   Your   Nest— Bud    Collyer 
12:45  0  [|]  Guiding  Light— Daily  story 
1:00  0  Jack  Poor  Show— Nimble  &  quick 
©  One  For  Sheldon— Herbie's  happy 
1:30  0  Love  Story— Jack  Smith  emcees 
©  Sky's  The  Limit— Hi-flyin'  quiz 
2:30  0  [n]  Art  Linkletter's  House  Party 

©  Jinx  Falkenburg— Interviews 
3:00  0  [5]  Big  Payoff— Randy  Merriman 

©  Matinee  Theater— Excellent  dramas 
0  0  Film  Festival— British  films 
0  Ted  Steele— Lotsa  music  &  laffs 
(D  Dione  Lucas— Queen  of  the  kitchen 
3:30  0  Bob  Crosby  Show— Let's  swing,  gates 
(J)  Candid  Camera— Off-guard  moments 
4:00  0  \s\  Brighter  Day— With  Jayne  Heller 
©  Date  With  Life— Dramatic  stories 
0  Wendy  Barrie— Sunny  but  Wendy 
4:15  0  [§]  Secret  Storm— Peter  Hobbs  stars 
4:30  0  On  Your  Account— Dennis  James 

©  Queen  For  A  Day— With  Jack  Bailey 
0  Life  With  Elizabeth-Jolly 

EVENING 

6:30  ©  Patti  Page— Tues.  &  Thurs.  only 
7:00  0  Kukla,  Fran  &  Ollie— Delightful 
7:30  ©  [J]  Songs— Gordon  MacRae,  M.,  Dinah 
Shore,  Tu.,  Th.;  Ed  Fisher,  W.,  F. 

0  Million  Dollar  Movie— Apr.  2-8, 
"Crack-Up,"  Pat  0'3rien;  Apr.  9-15,  "Bride 
by  Mistake,"  Laraine  Day;  Apr.  16-22, 
"Mourning  Becomes  Electra,"  Roz  Russell; 
Apr.  23-29,  "Betrayed  From  the  East,"  Lee 
Tracy;  Apr.  30-May  6,  "Velvet  Touch,"  Roz 
Russell,  Leo  Genn. 
10:00  0  Million  Dollar  Movie-See  7:30  P.M. 
11:15  0  Late  Show— Feature  films 


11:20  ©  Steve  Allen— Friend  to  insomniacs 
11:30  O  The  Night  Show— British  films 


Monday  P.M. 


7:30  0  Topper— Hocus-Pocus  comedy 
(D  Susie — Private  Secretary  reruns 

8:00  0  Burns  &  Allen— Georgie  Burns  up 

©  Caesar's      Hour— Except      Apr.      30, 
Producers'  Showcase,  "Dodsworth" 
©  LU  Digest  Drama— Gene  Raymond 
d>  Public  Defender— Reed  Hadley  stars 

8:30  0  Godfrey's  Talent  Scouts— Variety 
0  [s]  Voice  Of  Firestone— Concerts 

9:00  0  U]  I  Love  Lucy— Very  Desi  show 

©  Medic — Documentaries  about  docs. 

0  Boxing— 2  hrs.  from  St.  Nicholas 

0  J.  Arthur  Rank  Films— 2-hr.  features 

9:30  0  December  Bride— Spring's  here 
©  Robert  Montgomery  Presents 
10:00  0  [i]  Studio  One— Hour-long  dramas 
10:30  ©  Doug  Fairbanks  Presents— Stories 


Tuesday 


7:00  ©  Gildersleeve— Willie  Waterman 
7:30  0  Name  That  Tune— Stop  that  tune 
0  Waterfront— Preston  Foster  stars 
8:00  0  Phil  Silvers  Show— Season's  hit 

©  Dinah     Shore,     Apr.      10;     Martha 
Raye,    Apr.    17;    Milton    Berle,    Apr.    24; 
Bob  Hope,  May  1. 
9:00  0  Meet  Millie— A  silly  filly 

©  Jane  Wyman's  Fireside  Theater 
0  [s]  Danny  Thomas  Show— Grand 
9:30  0  Red  Skelton  Show— Slam-bang  fun 
©  Playwrights  '56-Circle  Theater 
10:00  0  {&}  $64,000  Question— Hal  March 
10:30  0  Do  You  Trust  Your  Wife?— Hmm? 
©  Big  Town — Mark  Stevens,  reporter 


Wednesday 


7:30  0  fj]  Disneyland— Fantasy  hour 
8:00  0  Godfrey  &  Friends— Fun  hour 

©  Screen  Directors'  Playhouse 
8:30  ©  Father  Knows  Best—??? 

<D  Badge  714— Vintage  Jack  Webb 
9:00  0  The  Millionaire— $tories 

©  Kraft  Theater— Live  hour-plays 

0  Masquerade  Party— Peter  Donald 
9:30  0  I've  Got  A  Secret— More  of  Moore 

0  [s]  Break  The  Bank— Cash  quiz 
10:00  ©  This  Is  Your  Life— Surprise  bios 

0  0  Wednesday  Night  Fights 


Thursday 


7:30  0  The  Goldbergs— Merry  with  Molly 
8:00  0  Bob  Cummings  Show— Foolish  fun 


©  Groucho  Marx— King  of  quip 
8:30  0  Climax— Suspense.     Except    Apr.     12, 
Shower   Of    Stars,    music   &   comedy. 
©  Dragnet— L.A.  police  at  work 
O  [§]Stop  The  Music— Bert  Parks,emcee 
9:00  ©  People's  Choice— Jackie  Cooper 
0  [|]  Star  Tonight— Dramatic  series 
9:30  0  Four  Star  Playhouse— Stories 
©  (UH  at  10:00)  Ford  Theater 
0  U]  Down  You  Go— Dr.  Bergen  Evans 
10:00  ©  Lux  Video  Theater— Hour  dramas 

0  Music  From  Meadowbrook 
10:30  0  Quiz  Kids— Clifton  Fadiman,  host 
0  Racket  Squad— Handsome  Hadley 


Friday 


7:30  0  My   Friend   Flicka-John  Washbrook 
©  I  Spy— Raymond  Massey  stars 

8:00  0  Mama— Graciously,  Peggy  Wood 
©  Truth  Or  Consequences— Fun 
0  [sj  Ozzie  &  Harriet— Hilarious 

8:30  0  Our  Miss  Brooks— Connie's  comedy 
©  Life  Of  Riley— Bunglin'  Bill  Bendix 

9:00  ©  Big  Story— Real  stories  of  reporters 
0  Dollar  A  Second— Quiz  for  cash 

9:30  0  Playhouse  Of  Stars— On  film 

©  Star  Stage— Half-hour  play  series 
10:00  0  The  Line-Up— Frisco  police  in  action 
©  Boxing— With  Jimmy,  the  Powerhouse 
0  Ethel  &  Albert— Male  vs.  female 
10:30  0  Person  To  Person— Visit  the  famed 


Saturday 


7:30  0  Beat  The  Clock— Couples  compete 
©  The  Big  Surprise—  100-grand  quiz 
8:00  0  :_NJ  Honeymooners— Jackie  Gleason 

0  Perry  Como  Show— Hour  revue 
8:30  0  Stage  Show— The  Dorseys  &  guests 
9:00  0  Two  For  The  Money— Shriner  quiz 
©  People  Are  Funny— Except  Apr.   14, 
9-10:30,  Max  Liebman  Presents 

0  [i]  Lawrence  Welk— Bubbly  melodies 
9:30  0  It's     Always     Jan— Except     Apr.     7, 
Star  Jubilee,  "Twentieth   Century,"  Orson 
Welles,  Betty  Grable 

©  Jimmy  Durante  Show— Comedy 
10:00  0  Gunsmoke— Western  drama 

©  George  Gobel  Show— &  Peggy  King 
0  [s]  Chance  Of   A  Lifetime— Variety 
10:30  0  Damon  Runyon  Theater— Stories 
©  Your  Hit  Parade— Top  tunes 


Sunday 


3:00  ©  NBC  Opera— Apr.  8  only 
4:00  0  Front  Row  Center— Live,  hour-dramas 
©  Maurice    Evans    Presents— May    6, 
"Cradle  Song,"  Helen  Hayes,  Judith  Ander- 
son, Susan  Strasberg;  Apr.   15  &  29,  Wide 
Wide  World 
6:00  ©  Meet  The  Press— Verbal  mayhem 
6:30  0  [§]  You  Are  There— History  alive 
0  New  York  Times  Youth  Forum 
(D  Life  With  Father— Leon  Ames  stars 
7:00  0  Lassie— High-rating  dog  drama 
©  It's  A  Great  Life— Dunn's  fun 
0  fj]  You  Asked  For  It-Art  Baker 
7:30  0  [§]  Jack  Benny— Alternates  with  Ann 
Sothern's  Private  Secretary 

©  Frontier— Except    Apr.    15,    Sunday 
Spectacular,  "Baseball,"  with  Leo  Durocher 
0  Famous  Film  Festival— English  hits 
8:00  0  UO  Ed  Sullivan  Show— Great 
8:30  (D  Foreign  Intrigue— With  Gerald  Mohr 
9:00  0  G-E  Theater— Ronald  Reagan,  host 

©  Television  Theater— Live  hour-plays 
9:30  0  Alfred  Hitchcock  Presents— Drama 
0  (T|  Original  Amateur  Hour 
10:00  ©  Loretta  Young  Show— Drama 
10:30  0  U]  What's  My  Line?— Job  game 
©  Justice— From  Legal  Aid  files 


The  Woolworth  Hour 


(Continued  from  page  60) 
grin  in  the  pianist's  direction,  he  advised: 
"Relax.  No  one  will  hear  you.  No  one  ever 
listens  to  this  show,  anyway." 

Quite  the  opposite  is  true,  as  every  radio 
listener  knows.  Under  the  leadership  of 
Faith — the  man  who  earned  his  first  fame 
conducting  the  old  Contented  Hour  and 
who  continues  to  make  a  certain  deep  con- 
tentment the  keynote  of  his  daily  life — 
The  Woolworth  Hour,  CBS  Radio's  big 
musicale,  scored  the  year's  highest  ratings. 

One  of  the  secrets  of  its  success  was  re- 
vealed by  its  producer,  Bruno  Zirato  Jr., 
when  he  said,  "On  this  show,  all  of  us  al- 
ways have  a  ball."  The  program  thus 
becomes  a  direct  communication  of  enjoy- 
ment. 

Watching  their  rehearsal  is  a  great  show 
in  itself.  The  thirty-six  musicians  are 
spread  out  across  CBS's  big  Studio  22, 
strings  at  the  front,  brass  divided  and  set 
at  the  center  and  rear,  with  the  rhythm 
section  sandwiched  in  between.  Among 
them,  there  is  an  easy  feeling  of  unity, 
mutual  respect  and  good  humor. 

At  the  drums,  young  Specs  Powell  and 
Marty  Grupp  gallop  along  like  a  pair  of 
well-matched  dressage  riders.  They  pace 
each  other  and  turn  out  a  more  brilliant 
performance  because  of  their  friendly 
rivalry.  Tall  Sammy  Fiedel,  who  dangles  a 
huge,  briar  pipe  from  the  corner  of  his 
mouth  as  he  strums  or  bows  his  bass  fid- 
dle, aims  his  comments  at  twinkly-eyed 
Mike  Collicchio,  the  piano  player,  but  they 
often  carry  across  the  studio. 

For  example:  As  the  chorus — Miriam 
Workman,  Marjorie  Miller,  Kathleen  Wal- 
lace, Bob  Miller,  Jimmy  Polack,  Artie 
Malvin  and  Michael  Stewert — sang,  pro- 
ducer   Zirato    was    in    the    control    room. 


Seeking  the  best  balance  of  voices,  he 
called  out,  "Let's  have  less  men,  more 
girls."  Muttered  Sammy,  "That's  the  trou- 
ble with  this  place.  Not  enough  girls." 

Percy  Faith  set  the  mood  for  this  happy 
crew  at  the  first  rehearsal  when,  at  a  rest 
period,  he  called  out  the  usual,  "Take  five" 
and — with  a  nod  toward  the  Woolworth 
Company  rep — added,  "and  ten." 

Even  a  fluff  can  turn  into  a  little  joke. 
The  program's  host,  Donald  Woods,  re- 
members one  of  his  own:  "I  worried  be- 
cause it  is  much  too  easy  to  say  'Fercy 
Paith'  instead  of  'Percy  Faith' — so,  of 
course,  I  did  it.  Then  our  announcer,  Jack 
Brand,  also  tripped.  So  the  two  of  us 
agreed  that  the  next  guy  who  did  it  had  to 
pay  the  other  a  quarter.  We've  never  done 
it  again." 

Laughter,  when  it  ripples  across  the 
orchestra,  is  uninhibited  but  brief.  A  mo- 
ment later,  everyone  has  returned  to  seri- 
ous concentration,  for  Percy  Faith  is  even 
more  a  hero  to  his  orchestra  than  he  is  to 
his  fans.  Always,  in  complete  command,  he 
has  his  men's  respect  and  affection. 

His  authority  sits  easy  on  his  shoulders. 
Up  on  his  little  box  of  a  podium,  he 
perches  on  the  edge  of  a  high  stool,  his 
music  spread  out  in  front  of  him.  If  a  dif- 
ficult passage  has  required  him  to  make  a 
memo  on  the  score,  he  hits  the  downbeat 
with  his  yellow  pencil — but  he  is  just  as 
likely  to  conduct  with  his  cigarette. 

He  takes  his  orchestra  into  his  confi- 
dence. Halting  one  number,  he  indicated  a 
passage  ahead  and  confessed,  "I'm  stuck. 
Those  half-notes  are  going  to  fall  after 
the  beat.  Let's  change  it  here." 

He  is  unfailingly  courteous.  At  one  typi- 
cal rehearsal,  he  tapped  for  attention  and 
carefully    introduced    his    guest    vocalist: 


"Fellows — Donald  Dickson."  As  Dickson, 
a  Metropolitan  Opera  baritone  now  win- 
ning new  laurels  as  a  tenor,  went  into  the 
demanding  aria,  "Vesti  la  Giubba,"  a  dif- 
ference in  interpretation  brought  an  ear- 
piercing  big  shriek  from  the  strings.  Faith 
merely  grinned  and  remarked,  "Well,  well, 
well."  He  went  into  a  huddle  with  Dickson 
and  resolved  the  problem:  "You'd  better 
sort  of  'grate'  that  C."  Instantly,  there  was 
understanding.  When  Dickson,  singing 
magnificently,  had  soared  out  to  the  cli- 
max, Faith  and  the  whole  orchestra  stood 
up  and  applauded. 

At  the  edge  of  the  set,  Donald  Woods 
remarked,  "Every  one  who  comes  in  seems 
to  catch  the  spirit  of  this  outfit.  Usually,  on 
a  show,  a  guest  star  does  his  part  and 
leaves.  Here,  they  stay  to  the  end  of  each 
rehearsal — simply  because  they,  too,  are 
enjoying  it." 

Percy  Faith  believes  that,  of  all  the  peo- 
ple who  find  The  Woolworth  Hour  a 
delight,  he  himself  derives  the  most  enjoy- 
ment. "I'm  doing  exactly  what  I  want  most 
to  do — creating  music.  It's  a  wonderful 
thing  to  be  able  to  pick  up  a  piece  of  'raw' 
music,  take  it  home,  dream  about  it,  orch- 
estrate it  and  work  it  up  to  a  full  and  per- 
fect thing. 

"It  is  wonderful,  too,  to  know  that  peo- 
ple are  listening,  for  music  belongs  to 
those  who  hear  it.  I  like  to  picture  a  ro- 
mantic young  couple  hearing  the  program 
on  a  car  radio — or  a  family  sitting  around 
after  Sunday  dinner — or  a  husband  and 
wife,  who  have  had  many  years  together, 
hearing  a  song  from  their  courtship.  We 
try  to  have  something  for  everyone.  We're 
scheduled  into  the  perfect  time  of  the  day 
and  week  to  reach  the  people  who  like  to 
listen  to  our  music." 


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83 

tmmm 


(Continued  from  page  39) 
happiness,  in  equal  parts.  .  .  .  When  Terry 
was  told  that,  for  the  third  consecutive 
year,  he'd  won  TV  Radio  Mirror's  Award 
as  favorite  dramatic  actor  on  daytime  TV, 
he  only  said,  'Isn't  that  great!'  But  any 
wife  would  have  known  what  his  broad 
smile  meant.  .  .  . 

"It's  astonishing  to  me,"  Jan  continues, 
"truly  astonishing,  the  loyalty  of  the  fans 
over  the  years — the  seven  years  since  I 
first  played  Julie  Paterno  on  CBS  Radio's 
Hilltop  House.  It's  particularly  astonish- 
ing this  year,  because  I've  always  felt  that 
it  was  the  warm,  maternal  Julie  the  fans 
were  devoted  to.  But  now,  with  Hilltop 
House  off  the  air,  I'm  playing  Terry  Bur- 
ton in  The  Second  Mrs.  Burton — a  quite 
different  part  from  that  of  Julie.  A  little 
more  sophisticated  than  Julie  was,  more 
|  modern.  And  the  fans  love  her,  too. 

"Come  to  think  of  it,  I  should  have 
,  realized  this  right  along — for,  ever  since 
I  began  doing  character  work  on  TV,  let- 
ters from  the  'regulars'  have  come  in  after 
every  show.  Wonderful  letters.  Thought- 
ful letters.  And  perceptive  ones  .  .  .  not 
caring  how  I  looked — and  as  a  Boston 
spinster,  a  Polish  farm  woman  and  a 
number  of  other  character  parts  I've  done 
on  the  Bob  Montgomery  show  and  on 
Studio  One,  I  haven't  been  an  'eyeful'!  .  .  . 
but  seeming  to  understand  what  I  was 
trying  to  do,  to  sense  a  quality  I  hoped 
they  would  find  in  each  of  the  characters. 

"I  know  they  still  miss  Julie,  as  I  do — 
and  why  not,  after  seven  years  of  identifi- 
cation with  her?  But  I  love  doing  The 
Second  Mrs.  Burton — and  again,  why  not? 
Our  writer  is  Hector  Chevigny,  who  has 
done  so  many  memorable  scripts  through 
the  years,  and  the  cast  is  wonderful  .  .  . 
Ethel  Owen,  Alice  Frost,  Dwight  Weist, 
Ted  Osborne,  Ethel  Wilson,  Larry  Haines! 
.  .  .  And  it's  Stan  Davis  who  directs  and 
produces  the  show,"  Jan  smiles,  "but  the 
'icing  on  my  cake,'  in  this  new  and  dif- 
ferent-from-Julie  part,  is  the  proof  that 
the  fans  are  loyal. 

"Nor  am  I  the  only  member  of  the 
O'Sullivan  family  to  whose  standard  the 
fans  rallied,  when  a  change  was  made," 
Jan  observes,  with  wifely  pride.  "Terry 
changed  shows  this  year,  too  .  .  .  from 
Search  for  Tomorrow,  on  which  he  played 
the  male  lead,  to  the  role  of  reporter 
Elliott  Norris  on  Valiant  Lady  .  .  .  and  he 
still  got  the  fans'  award!" 

Jan  and  Terry  are  deserving  of  such 
devotion.  First,  because  it  is  impossible 
not  to  feel  good  when  you  are  with  them. 
They  love  their  jobs,  love  acting,  love 
to  talk  about  acting  and  about  them- 
selves .  .  .  but  they  are  interested  in  you 
and  what  you  are  doing,  as  well. 

They  are  "fun"  people  .  .  .  love  parties, 
first  nights  at  the  theater,  good  talk,  good 
food,  good  wine,  good  companions.  They 
are  earthy  people,  too,  and  hard-work- 
ing— in  the  fields  at  Morrow  Farm,  as  well 
as  on  mike  in  a  broadcasting  studio.  And 
they  are  family  people  .  .  .  folksy,  never 
more  richly  content  than  when  they're  at 
the  farm  with  Terry's  three  daughters, 
Jan's  mother  and  father,  three  brothers 
and  their  wives  and  young  'uns — all  of 
them  together. 

Now  in  its  fourth  year,  the  O'Sullivans' 
marriage  is  a  good  and  mutually  reward- 
ing relationship  ...  a  happy  state  which 
both    Terry    and    Jan    believe    stems,    in 
great  part,   from   the   fact   that   they   are 
"alikes."  Jan  says,  "Think  how  a  husband 
T    and  wife  with  different  faults  must  get  on 
V    each  other's  nerves   .  .   .  whereas,  if  you 
R    have  the  same  faults,  one  can't  very  well 
find  fault  with  the  other.  As  Terry  and  I, 
who  have  the  same  faults,  have  discovered. 
84 


Loyal  and  True 

Take  our  crazy,  mixed-up  desks,  for  in- 
stance. Neither  of  us  is  ever  able  to  find 
pen,  pencil,  checkbooks,  receipts,  tomor- 
row's script,  et  cetera!  Now,  if  it  were 
only  one  of  us  .  .  . 

"Not  that  husband  or  wife  need  be  an 
echo,  one  of  the  other,  to  live  in  harmony. 
Or  that  they  need  never  have  a  difference 
of  opinion,  as  Terry  and  I  have — about 
working  together,  for  one  thing.  We  did 
work  together  last  year — for  the  first  time, 
by  the  way — when  we  were  cast  as  hus- 
band and  wife  in  a  play  called  'Julia'  on 
Studio  One,  for  Paul  Nickell.  It  was  a 
very  rewarding  experience  for  both  of 
us  .  .  .  thanks  again  to  the  fans.  But 
Terry  doesn't  think  it's  a  good  idea  for  us 
to  work  together.  He  says  that  our  mar- 
riage is  good,  so  why  put  this  extra 
twenty-four-hour-a-day    strain    upon    it? 

"But  we  did  have  fun  on  Studio  One," 
she  recalls.  "During  the  first  day  of  re- 
hearsals for  'Julia,'  Terry  announced  that, 
to  get  away  from  his  wife,  he  was  going 
to  McSorley's  Saloon,  right  around  the 
corner  from  the  Central  Palace  where  we 
were  rehearsing.  For  those  who've  never 
heard  of  it,  McSorley's  Saloon  is  a  famous 
old  New  York  landmark — at  least  a  hun- 
dred years  old — where  they  don't  permit 
women!  Everyone  thought  this  was  a 
great  joke.  But,  in  next  morning's  papers, 
the  story  had  been  slightly  re-worded. 
One  columnist  reported  that  Jan  and 
Terry  O'Sullivan  were  living  apart  during 
Studio  One  rehearsals,  so  they  wouldn't 
get  on  each  other's  nerves.  We  couldn't 
have  read  anything  more  surprising,  over 
our  own  breakfast  table! 

"In  most  things,"  Jan  observes,  "emo- 
tionally and  temperamentally,  Terry  and 
I  are  very  much  alike  .  .  .  and  this  is  the 
alikeness  that  matters.  We  react  in  the 
same  way  to  practically  any  given  situ- 
ation. We  laugh  at  the  same  things,  are 
depressed  by  the  same  things,  get  tired  of 
the  same  things  and  hungry  for  the  same 
things — such  as,  most  often,  sunlight  and 
fresh  air  and  doing  things.  We  like  ac- 
tivity .  .  .  and  activities." 

Activities,  yes  indeed!  As  a  sample  of 
the  O'Sullivans'  activities  over  a  period 
of  approximately  one  week,  Terry  gives 
the  following  run-down,  with  obvious 
relish:  "Last  January,"  he  recalls,  "I  had 
a  few  days  off  from  Valiant  Lady.  Five 
days,  to  be  exact.  'Let's  go  to  Florida,'  I 
suggested  to  Jan.  'We're  the  only  New 
Yorkers    who've    never    been    there!' 

"The  reservations  were  barely  con- 
firmed, when  I  had  a  call  from  Mr.  Jim 
Rick,  Chairman  of  the  Jackson  County, 
Missouri  Chapter  of  Infantile  Paralysis, 
saying  that  they  were  to  have  a  telethon 
in  Kansas  City — my  home  town — to  pro- 
mote the  March  of  Dimes,  and  they  would 
very  much  like  to  have  Jan  and  me  par- 
ticipate ...  do  a  sketch,  answer  calls,  and 
so  on.  As  luck  would  have  it,  the  date  set 
for  our  arrival  in  Kansas  City  made  it 
just  possible  for  us  to  have  our  five  days 
in  Florida,  too.    And  away  we  went! 

"Our  primary  motive  in  going  to  Florida 
was  to  relax,  devote  our  time — all  five 
days  of  it — to  'recharging  our  batteries' 
.  .  .  which  is  something  we  both  believe 
strongly  in  doing.  Going  down  on  the 
plane,  however,  we  roughed  out  a  sketch 
for  the  telethon.  The  idea  was  based  on  the 
thought  of  what  would  happen  if  Edward 
R.  Murrow  came — Person  To  Person — into 
the  home  of  a  couple  who  didn't  have 
any  hobbies  .  .  .  who  didn't  collect  re- 
cordings, like  Bing  Crosby  ...  or  totem 
poles,  like  Robert  Q.  Lewis  ...  or  rare 
books,  like  Mary  Margaret  McBride. 

"Once  registered  at  the  Hotel  Sorrento 
in  Miami,  however,"  says  Terry,  "we  be- 


gan 'recharging.'  Other  than  an  early 
dinner  at  a  different  place  each  night, 
with  each  different  place  famous  for  some 
gourmet  specialty,  we  didn't  go  for  any 
night-life  at  all.  To  bed  at  eight.  Nine 
to  ten  hours  of  sleep,  the  five  nights  run- 
ning, just  as  we'd  planned.  Mornings, 
we'd  drift  into  one  or  another  of  the  big 
hotels  for  breakfast,  then  get  out  on  that 
beach  and  do  a  little  sun-worshipping. 
Plenty    of   swimming    in   the    ocean,    too. 

"Oh,  by  the  way,"  he  recalls,  "I  got 
roped  into  taking  mambo  lessons — and 
made  great  progress.  Must  remember  to 
get  a  mambo  record  and  do  some  home- 
work. .  .  .  We  went  fishing,  too.  And, 
when  I  tell  you  I  caught  an  eighteen-and- 
a-half -pound  kingfish — and  Jan  hauled  in 
a  nine-an-a-half-pounder — it's  a  true  fish 
story.  Though,  after  John  Callan,  the 
captain  of  our  fishing  boat,  had  it  smoked, 
the  net  weight  was  a  scant  twelve 
pounds.  .  .  . 

"And  so,  idyllically,  went  our  five  days 
— at  the  end  of  which,  on  a  Wednesday, 
we  were  airborne  to  New  York.  On 
Thursday,  I  did  my  show,  Valiant  Lady. 
On  Friday,  we  were  off  again,  arriving  in 
Kansas  City  on  Saturday  at  four-thirtv 
A.M.  .  .  ." 

For  the  O'Sullivans,  then,  there  followed 
two  crowded  days,  the  first  event  taking 
place  at  the  WDAF-TV  studios,  where 
Mayor  H.  Roe  Bartle  presented  "tele- 
vision personalities  Jan  Miner,  Terry 
O'Sullivan,  Jackie  Cooper  and  Patricia 
Breslin"  with  the  Keys  of  the  City.  .  .  . 
"Golden  keys,"  Jan  describes  them,  "love- 
ly things,  and  so  delicately  wrought  that 
I'm  having  them  made  into  earrings." 

Seriously  speaking,  the  O'Sullivans 
both  agree  that  it  was  a  very  rewarding 
trip.  A  fleet  of  Jaguar  cars,  lent  by  the 
local  citizens,  took  the  stars  who  appeared 
on  the  telethon  from  hotel  to  studio  and 
back  again.  Best  of  all,  from  their  point 
of  view,  was  the  support  given  for  the 
greatly  needed  March  of  Dimes  telethon 
"During  the  telethon,"  says  Terry,  "I 
asked  whether  any  of  my  old  school  bud- 
dies were  listening — and  from  guys  I 
hadn't  seen  or  heard  from,  since  South- 
west High  School  or  Rockhurst  College 
days,  came  more  calls  than  I  had  time  to 
take!  .  .  .  We  also  had  a  brief  but  nice 
visit  with  my  folks — my  mother  and  fa- 
ther, and  sister  Kathleen  and  her  husband. 
Joe  Kelly,  and  little  Joe  Kelly,  Jr.  Then, 
on  Sunday  afternoon,  after  breakfast  with 
my  mother  and  dad  in  the  old  home — 
which  always  looks  so  wonderful  each 
time  I  return  to  it — Jan  and  I  were  on  the 
plane  for  our  New  York  home." 

"And  the  next  day,"  Jan  laughs,  "Terry 
Burton  and  Elliott  Norris  were  working 
again."  Then,  some  time  later,  came  the 
day  when  TV  Radio  Mirror  called  to  tell 
Jan  and  Terry  O'Sullivan  that  they  had 
won  the  awards — again.  So  now  Jan's 
fast-growing  collection  of  gold  medals 
dangle  from  her  charm  bracelet.  And 
three  other  gold  medals  are  stashed  away 
in  the  cabinet  which  holds  Terry's  special 
treasures.  But  the  thought  behind  those 
medals  is  more  precious  still.  Their 
gratitude,  pride  and  happiness  have  not 
passed,  and  never  will.  Nor  their  sense 
of  astonishment. 

But  Mr.  and  Mrs.  Average  American, 
who  voted  for  them,  are  not  astonished. 
They  know  that  Jan  and  Terry — for  all 
their  good  looks  and  the  conspicuous  tal- 
ent which  focuses  the  spotlight  upon 
them — are  Mr.  and  Mrs.  Average  Ameri- 
can, too.  Knowing  this,  knowing  the  kind 
of  people  the  O'Sullivans  are  .  .  .  real  and 
warm  and  winning  .  .  .  the  fans  remain 
loyal  and  true,  like  the  O  bullivans. 


Sparkie's  Big  Pal 


(Continued    from    page    7) 
this    population    and,    at    the    same    time, 
house    all    the   facilities    for    creating    and 
producing  No  School  Today. 

No  School  Today  is  a  delightful  round- 
up of  children's  song  and  story  record 
albums,  liberally  interspersed  with  chats 
on  nonsense,  suspense  and  common  sense 
between  Sparkie  and  Big  Jon.  In  the 
course  of  its  seven  years,  some  two  hun- 
dred other  characters  have  been  heard 
from,  mostly  through  the  device  of  Jon's 
talented  vocal  chords.  Regulars  include 
Mayor  Plumpfront,  the  mythical  mayor 
of  Cincinnati,  from  whence  the  program 
first  originated,  and  Ukey  Butcha,  the  un- 
predictable, comic  taxi  driver.  They  are  as 
real  as  a  sound   wave. 

There  is  also  "the  little  girl  next  door," 
who  is  actually  Jon's  daughter,  Debbie. 
Three -year- old  Debbie  believes  in  the 
reality  of  Mayor  and  Ukey  and  often  chats 
with  them  on  the  air.  Off  the  air,  when 
Jon's  own  voice  can't  convince  Debbie 
it's  bedtime,  the  voice  of  Mayor  or  Ukey 
can  do  the  trick.  But  when,  in  Mayor's 
voice,  Jon  asks  about  "the  baby  brother 
next  door,"  blonde  Debbie  says,  with 
knowing  recognition,  "Oh  Daddy!"  For  the 
baby  brother  next  door  is  her  own  brother 
Danny,  born  January  16,  1956. 

Debbie  is  the  inspiration  for  many  of 
Sparkie's  radio  antics.  So,  too,  is  Lloyd, 
aged  twelve-going-on-thirteen.  "Every- 
thing that  happens  to  Sparkie  actually 
happens  to  someone,"  Jon  says,  "either  to 
my  own  children  or  their  friends  or  the 
youngsters  who  write  to  us." 

Daughter  Kathy,  almost  fifteen,  is  a 
pert,  slender  teenager.  Kathy  wants  to  be 
an  airline  hostess  when  she  gets  to  be  a 
little  older.  Lloyd  is  the  one  most  likely 
to  go  into  show  business,  according  to  Jon. 

On  the  air,  Jon  has  always  tried  to 
create  the  illusion  that  he  was  broad- 
casting from  home.  "Now  we  actually 
are,"  he  grins.  "Being  at  home  con- 
stantly has  given  me  more  patience  and 
understanding,"  Jon  says.  "Now  I  am  not 
a  father  who  comes  home  after  all  the 
day's  frictions  and  problems  are  over.  I'm 
right  in  the  midst  of  them." 

Jon's  wife  Rosalie  is  a  hearty,  vivacious 
and  charming  brunette  who  manages  a 
large  home  and  bustling,  growing  family 
with  aplomb.  She  teases  Jon  about  "put- 
tering about  the  house  like  an  old  lady," 
but  he  loves  it.  He's  up  about  seven  in  the 
morning  and  usually  gets  breakfast  for  the 
youngsters — "just  because  I  enjoy  it." 

Delighted  with  the  size  of  his  own  fam- 
ily, Jon  Arthur  is  the  eldest  of  six  chil- 
dren. He  recalls  that  his  father,  a  Lutheran 
minister  in  Pitcairn,  Pennsylvania,  was 
glad  at  least  one  of  them  was  a  boy. 
After  graduation  from  high  school,  Jon 
went  to  work  as  a  printer's  devil  and  also 
wrote  a  humorous  weekly  column.  Local 
dramatic  experience  helped  "bring  out 
the  ham"  and  it  wasn't  long  before  Jon 
knew  that  show  business  in  some  form 
was  his   goaL 

The  form  jelled  when  Jon  landed  a  staff 
announcing  job  at  a  radio  station  in  Beck- 
ley,  West  Virginia.  Then,  one  day,  a 
scheduled  performer  failed  to  appear.  Jon 
was  called  on  to  fill-in  and,  when  he 
spied  a  couple  of  youngsters  in  the  studio 
observation  booth,  he  ad-libbed  his  own 
version  of  "The  Three  Little  Pigs."  Instead 
of  the  conventional  fairy-tale  vernacular, 
Jon  enraptured  the  youngsters  with  a 
modern-day  interpretation.  The  next  day, 
"Uncle  Jon,"  was  on  the  air. 

Now,  with  a  solid  twenty  years  in  radio 
behind  him,  "Uncle  Jon"  is  "Big  Jon,"  the 
best  friend  little  Sparkie — or  the  real 
little  boy  he'd  like  to  be — ever  had. 


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for  EVERYBODY 

Publisher's  classified   Department  (Trademark) 


For  classified  advertising  rates,  write  to  William  R.  Stewart,  9  South  Clinton  Street,  Chicago  6  (May-Worn.)  6 


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ENVELOPE  PREPARING  FACTS— extra  income  opportuni- 
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SEW  OUR  READY  cut  aprons  at  home,  spare  time.  Easy, 
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HOMEWORKERS    WANTED!    GUARANTEED    Payl    No 
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MONEY  MAKING  OPPORTUNITIES 

$5,199.90  WAS  PAID  to  John  Betts,  in  few  weeks.  Grow 
Mushrooms.  Cellar,  shed.  Spare,  full  time,  year  round.  We 
pay  $3.50  lb.  Free  Book.  Mushrooms,  Dept.  164,  2954  Admiral 
Way,  Seattle,  Wash. 

BIG  MAILS,  25c  Listing  with  us  will  fill  your  mailbox  with 
mail.  C.  M.  Box  1211-OR,  Chattanooga,  Tennessee. 

LOANS  BY  MAIL 

STUFFING— MAILING  ENVELOPES.  Our  instructions  tell 
how.  Dept.  G-5.  Education  Publishers,  4043  St.  Clair,  Cleve- 
land 3,  Ohio. 

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can  borrow  $50  to  $600  from  privacy  of  home.  Speedy,  easy 
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Money  Request  form  sent  Free  in  plain  envelope.  State  age, 
occupation  and  amount  wanted.  Postal  Finance  Co.,  200 
Keeline  Bldg.,  Dept.  91J,  Omaha,  Nebraska. 

GUARANTEED  HOMEWORKI  IMMEDIATE  Commissions! 
Everything  Furnished  l  Hirsch,  1301-1 2  Hoe,  New  York  City59. 

$25  WEEKLY  POSSIBLE,  sparetime,  preparing  advertising 
mailings  at  home.  Temple  Co.,  Muncie  2,  Indiana. 
$35  WEEKLY  PREPARING  envelopes.  Instructions  $1.  Re- 
fundable. Adservice,  Spring  Valley  151,  New  York. 
EXTRA  MONEY  PREPARING  mailing  postcards,  Gul,  2419 
Thomas,  Chicago  22,  Illinois. 

LADIES:  PREPARE  MAIL  Postcards,  Easy,  Profitable.  Alfred1 
Hasemann,  Beecher,  Illinois. 

BORROW  $50  TO  $500.  Employed  men  and  women  over  25, 
eligible.  Confidential — no  co-signers — no  inquiries  of  employ- 
ers or  friends.  Repay  in  monthly  payments  to  fit  your  income. 
Supervised  by  State  of  Nebraska.  Loan  application  sent  free 
in  plain  envelope.  Give  occupation.  American  Loan  Plan. 
City  National  Bldg.,  Dept.  WD-5,  Omaha,  Nebraska. 

EDUCATIONAL  OPPORTUNITIES 

HIGH  SCHOOL— NO  Classes.  Study  at  home.  Spare  Time. 
Diploma  awarded.  Write  for  Free  Catalog,  HCH-34,  Wayne 
School,  2527  Sheffield,  Chicago  14,  III. 
HIGH   SCHOOL  DIPLOMA  at  home.   Licensed  teachers. 
Approved  materials.  Southern  States  Academy,  Box  144W 

HOME  MAILERS  NEEDED!  Good  Earnings.  Everything 
Furnished.  Genmerco,  Box  3-W,  Dorchester24,  Massachusetts. 
MAKE  YOUR  TYPEWRITER  Earn   Money.  Send  $1.00. 
Hughes,  7004  Diversey,  Chicago  35. 

OLD  COINS  &  MONEY  WANTED 

Station  E,  Atlanta,  Georgia. 

$3,000.00  FOR  1913  Liberty  Head  Nickel.  Dimes  1894-S, 
1895-0,  1916-D.  Quarters  1827.    1896-S,  1901-S,  1913-S, 
1923-S,  we  pay  $5.00  to  $1,500.00.  Certain  dates — Lincoln 
Cents,  $60.00.   Indianheads,  $60.00.  Large  Cents,  $500.00. 

AGENTS  WANTED 

CALIFORNIASWEETSMELLING  Beads.  Sensational  sellers. 
Free  Particulars.  Mission,  2328AA  West  Pico,  Los  Angeles  6, 
California. 

Eagle  Cents,  $200.00.  2c  Pieces,  $45.00.  3c  Pieces,  $60.00. 
Halfdimes,   $500.00.  Shield    Nickels,  $100.00.  Old    Dimes, 
$300.00.  1875  Canadian  Quarter,  $50.00.  Hundreds  of  others 
worth  $5.00-$500.00.  Wanted— Half  Dollars,  Dollars,  Gold 

60%  PROFITCOSM  ETICS.$25  Day  Up.  Hire  others.  Samples 
details.  Studio  Girl  Hollywood,  Glendale,  Calif.,  Dept.  1665H' 

DO-IT-YOURSELF 

Coins,  Paper  Money,  etc.  Know  their  true  value.  Our  large 
Illustrated  Guarantee  Buying-Selling  Catalogue,  giving  com- 
plete allcoin  information — send  $1 .00.  Purchase  catalogue  be- 
fore sending  coins.  Catalogue  money  refundable.  Worthycoin 
Corporation,    Leaders    Numismatic   Quotations   (K-165-C), 
Boston  8,  Massachusetts. 

LEARN  ART  METALCRAFT  and  jewelry  making.  Complete, 
inexpensive,  home  training  course  now  available.  Special  tools 
and  materials  furnished.  Write  for  free  booklet.  Interstate 
Training  Service,  Dept.  L-72,  Portland  13,  Oregon. 

MALE  &  FEMALE  HELP  WANTED 

EARN  EXTRA  MONEY  selling  Advertising  Book  Matches. 
Free  sample  kit  furnished.  Matchcorp,  Dept.  WP-25,  Chicago 

FOREIGN  &  U.S.A.  JOB  LISTINGS 

HIGH  PAYING  JOBS.  All  Types.  Foreign,  U.S.  Chance  to 

32,  Illinois. 

Travel.  Fare  paid.  Application  Forms.  Free  Information.  Write 
Dept.  73K,  National,  1020  Broad  St.,  Newark,  N.J. 

HOME  SEWERS  WANTED 

BUSINESS  OPPORTUNITIES 

SEW  APRONS.  NO  charge  for  material.  Write:  Adco, 
Bastrop,  Louisiana. 

SEW  BABY  SHOES  at  home.  No  canvassing.  $40.00  weekly 
possible.  Write:  Tiny-Tot,  Gallipolis  19,  Ohio 

WANT  TO  MAKE  Big  Money  At  Home?  Invisibly  reweave 
damaged  garments.  Details  free.  Fabricon,  8340-S  Prairie, 
Chicago  19. 

MAIL  ORDER  CATALOGS 

WORK  AT  HOME 

ELECTRIC  GUITARS,  ACCORDIONS,  amplifiers,  wholesale, 
Carvin,  WG-2,  Covina,  Calif. 

$5.00  DAILY,  MAKING  scented  Orchids.  Free  Sample.  Boy- 
can,  Sharon  42,  Penna. 

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In  case  after  case,  while  gently  relieving 
pain,  actual  reduction  (shrinkage)  took 
place. 

Most  amazing  of  all  —  results  were  so 
thorough  that  sufferers  made  astonishing 
statements  like  "Piles  have  ceased  to  be  a 
problem!" 

The  secret  is  a  new  healing  substance 
(Bio-Dyne*)  — discovery  of  a  world-famous 
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ers—money back  guarantee.    *Beg.  u.  s.  Pat.  off. 


85 


Old  Fashioned  Love,  Modern  Style 


(Continued  from  page  44) 
morning,  when  the  news  broke  that  Candy 
had  finally  filed  suit  to  divorce  Mel  Torme, 
Hal  had  phoned  to  say,  "Poor  Candy.  Is 
she  all  right?  She  must  be  all  broken  up 
about  this.   Let's   take   her   to   dinner." 

Taking  Candy  to  dinner  was  a  friendly 
gesture  a  number  of  Hollywood  people 
had  been  making  frequently,  for  every- 
one likes  her.  Shirley  and  Johnny  Johns- 
ton, Keenan  Wynn  and  his  Sharlee,  Eddie 
and  Olga  O'Brien  were  a  few  who  had 
been  particularly  kind  about  dropping  in 
or  seeing  that  she  was  included  in  parties 
during  those  days  when  she  had  been  in- 
creasingly  alone. 

As  for  me — well,  Candy  had  been  my 
best  friend  ever  since  the  days  when  she 
and  Mel  Torme  and  Jack  Carter  and  I 
had  been  known  as  two  of  the  happiest 
young  couples  around  New  York  tele- 
vision. After  Jack  and  I  admitted  we 
couldn't  make  a  go  of  our  marriage  and 
secured  a  legal  separation,  I  decided  to 
go  to  the  Coast.  Candy  invited  me  to  be 
her  house  guest  until  I  found  an  apart- 
ment. Later,  she  spoke  to  friends,  in 
flattering  terms,  about  my  work  as  a 
decorator.  It  brought  me  some  of  my  first 
California   clients. 

As  her  frequent  companion  and  con- 
fidante, I  had  been  in  a  position  to  see 
that  the  real  problem  for  her  and  for  Mel, 
too,  was  loneliness.  Night-club  and  theater 
engagements  were  his  most  profitable 
bookings  as  a  starred  vocalist,  and  he  was 
almost  always  out  on  the  road.  That  tour 
he  made  through  Australia  became  the 
real  heart-breaker.  He  was  gone  so  long 
that  he  and  Candy  were  virtual  strangers 
when  he  returned.  It  was  tough  for  both 
of  them — but,  I  think,  worse  for  Candy 
because  she  is  warm  and  tender,  a  woman 
who,  while  she  enjoys  her  children  and 
cares  for  them  beautifully,  is  always  more 
the  wife  than  the  mother.  She  needs  to  be 
with  her  husband. 

Watching  their  problems  intensify,  I 
used  to  think  there  was  a  great  deal  to 
be  said  for  the  old  days  when  a  show- 
business  family  went  on  the  road  together, 
taking  their  luck,  both  the  good  and  the 
bad,  as  it  came.  That  had  been  my  life  as 
a  child.  In  the  traditional  phrase,  I  had 
been  born  in  a  trunk  and,  while  the  go- 
ing had  sometimes  been  rugged  and  a 
theatrical   boarding  house  does  not   com- 


pare with  a  Hollywood  home,  it  had  kept 
us  a  happy-go-lucky  family  unit. 

But  the  day  of  the  theatrical  boarding 
house  is  past,  the  cost  of  moving  a  family 
from  one  big  hotel  to  another  is  prohibi- 
tive and  ideas  about  child  care '  have 
changed.  Show  business  imposes  so  heavy 
a  weight  of  separation  and  loneliness  that 
many  marriages  break  under  it.  Mel  and 
Candy  were  only  two  of  many  persons 
I  know  who  couldn't  take  it.  I  grieved 
over  it  every  time  I  saw  it  happen,  and 
I  know   Hal   March   did,   too. 

I  also  knew  this  was  why  he  had  re- 
mained a  bachelor.  Often  I  have  heard  him 
say,  "I've  met  many  girls  who  would  make 
wonderful  wives,  but  I'm  not  going  to 
marry  until  I  know  I  have  achieved  suf- 
ficient stability  so  that  I  can  care  for  a 
family  properly  and  be  a  good  husband." 

Consequently,  in  our  little  group,  Hal 
had  turned  into  everyone's  family  friend. 
He  was  the  adoptive  "uncle"  to  every- 
one's children — the  man  who  remembered 
birthdays  and  showered  the  kids  with  so 
many  presents  that  their  mothers  had  to 
hide  some  away  and  ration  them  back  to 
the  children,  week  after  week. 

He  had  dated  many  a  pretty  girl,  but 
never  gotten  serious  with  any  of  them. 
Yet  now  at  dinner,  as  I  noticed  those 
smiles  Candy  and  Hal  were  exchanging 
across  the  table,  I  began  to  wonder.  Won- 
der so  much  that  eventually  I  told  myself, 
"Stop  it,  Joan.  You're  just  an  incurable 
match-making  romantic.  This  isn't  going 
to  happen.  He's  just  being  Uncle  Hal  again, 
being  pleasant  to  someone  who  is  un- 
happy." 

And  Candy — well,  even  after  I  put  the 
thought  of  romance  out  of  my  head,  I 
realized  this  was  just  such  an  evening  as 
Candy  needed.  However  long  a  woman 
may  have  known  a  divorce  is  inevitable, 
there's  something  about  taking  the  final, 
legal  steps  to  secure  it  that  licks  you  com- 
pletely. You  can't  help  feeling  you  have 
failed  in  your  most  important  job.  Nothing 
any  of  us  might  do  could  heal  Candy's 
wound,  but  this  pleasant  evening  with 
good  friends  was  certainly  helping  to  re- 
store her  confidence. 

For  Hal  was  the  perfect  host,  attentive 
and  deft  at  keeping  the  conversation  light 
and  happy.  He  was  full  of  stories  about 
the  interesting  contestants  on  The  $64,000 
Question.   When  we  left  the  restaurant,  he 


v 

R 

86 


I  saved  my 
MARRIAGE 

A  spade  is  called  a  spade  on  the  radio  program  "My 
True  Story".  It  brings  you  frank  stories  about  real 
people — about  their  hates  and  fears,  their  loves  and 
passions.  When  you  hear  these  dramatizations,  you 
may  easily  recognize  some  of  the  problems  that  are 
keeping  you  from  finding  happiness.  So  listen  to 
these  emotion-packed  stories.  Each  one  is  taken  right 
from  the  files  of  True  Story  Magazine. 

Tune  in  Every  Morning  to 

"MY  TRUE  STORY" 

American  Broadcasting  Stations 
Thwarted,  he  married  his  loved  one's  sister.  Don't  miss  "I  Took  A  Sub- 
stitute Wife"  in   May  TRUE  STORY  MAGAZINE,  at  newsstands  now. 


was  proud  to  show  off  the  new  convertible 
which  had  been  his  one  big  extravagance 
after  the  show  so  swiftly  turned  into  a 
hit.  It  was  very  pleasant  to  ride  along 
through  the  early  evening  and,  when  we 
reached  Candy's  house,  we  stopped  to  look 
in  on  the  sleeping  children — Stephen,  who 
is  three,  and  tiny  Melissa,  then  only  a  few 
months  old. 

As  Hal  and  I  drove  toward  our  own 
neighborhood — we  lived  only  two  blocks 
apart — he  made  a  significant  remark,  "Do 
you  know,  Candy  is  a  girl  I've  always  ad- 
mired. And  those  children — they're  just 
plain  wonderful." 

Again  the  thought  flashed  through  my 
mind,  "Is  this  actually  going  to  turn  into  a 
romance?"  but  I  didn't  question  him.  In- 
stead, I  spoke  of  how,  during  the  past 
summer,  Candy  had  often  brought  Stephen 
over  to  swim  in  the  pool  at  my  apartment 
house. 

Our  next  meeting,  I  believe,  was  at  one 
of  Hal's  fabulous  Saturday-night  dinners. 
As  he  says  it,  he  likes  "to  cook  up  a 
storm,"  and  will  often  have  as  many  as  a 
dozen  people  in  to  dinner.  That  night,  the 
dinner  he  served  surpassed  anything  you 
could  find  in  even  the  best  of  restaurants. 

As  everyone  was  sitting  around  listening 
to  his  records  collection,  I  again  admired 
the  way  he  had  decorated  his  apartment, 
blending  the  autumn  colors  of  rust,  green 
and  gold.  It  was  his  furniture,  however, 
which  truly  won  my  professional  ad- 
miration. 

He  had  told  me  the  story.  "I  got  it  that 
year  I  was  doing  very  well  in  radio  in 
New  York.  But  you  know  the  way  this 
business  is.  Feast  one  season,  famine  the 
next.  So,  while  it  lasted,  I  decided  I 
would  live  the  way  I  chose.  I  forgot  about 
cost,  designed  this  stuff  myself  and  had 
it  made.  I  wanted  something  more  simple 
than  the  'traditional'  furniture,  and 
warmer  in  feeling  than  most  of  the 
'modern'  which  was  then  in  the  stores." 

On  leaving,  as  I  thanked  him  for  his 
hospitality,  I  ventured  a  sort  of  trial  bal- 
loon, for  I  had  noticed  the  way  his  glance 
had  always  followed  Candy,  whenever  she 
moved  across  the  room.  "Hal,"  I  said,  "I 
believe  you  really  are  a  family  man  at 
heart.  You're  one  of  those  few  bachelors 
who  can  turn  an  apartment  into  a  home." 

"Maybe  I  am,"  Hal  replied  glumly,  "but 
now  I'm  going  to  have  to  decorate  all  over 
again.  I  need  to  move  to  New  York.  I 
can't  keep  up  this  transcontinental  com- 
muting. That's  too  much  for  any  man.  I 
like  to  feel  settled  down." 

Brief  as  his  leisure  hours  were,  I  found 
he  devoted  many  of  them  to  Candy.  When 
she  and  I  lunched  together,  her  conversa- 
tion centered  around  him.  It  was  "Hal 
says  .  .  .  Hal  thinks  .  .  .  Hal  and  I  went 
here  or  there." 

By  now,  I  was  beginning  to  feel  as  if  I 
were  watching  the  most  tense  movie  ever 
filmed.  Was  Candy,  who  recently  had  an- 
nounced she  would  never  love  again,  now 
beginning  to  fall  in  love  with  Hal?  Was 
Hal  seriously  interested  in  Candy,  or  was 
he  again  being  merely  the  charming  com- 
panion who  was  scrupulously  careful  not 
to  let  a  girl  think  he  had  marriage  in 
mind? 

I'll  never  forget  the  night  I  learned  the 
answer.  I  was  just  dozing  off  when  my 
phone  shrilled,  as  it  always  seems  to  do  so 
late  at  night.  Candy  was  on  the  line,  so 
excited  she  could  scarcely  speak.  "Joan," 
she  cried,  "the  most  wonderful  thing  has 
just  happened.  Hal  asked  me  to  marry 
him." 

"What  did  you  say?"  I  demanded. 

Candy's   tone   indicated   she   had   never 


had  any  doubt  about  it.  "I  said  yes,  of 
course." 

For  at  least  half  an  hour,  both  of  us 
went  completely  girlish.  Candy  said  Hal 
was  wonderful,  and  I  agreed.  I  added 
that  I  thought  she  was  pretty  nice  herself 
and  that  I  felt  they  belonged  together.  It 
wasn't  until  the  next  day,  at  lunch,  that  I 
received  any  coherent  account  of  just  how 
it  happened. 

Candy's  eyes  sparkled  as  she  told  me. 
"We  were  at  the  Villanova  ..."  I  knew 
the  restaurant.  It's  a  little,  out-of-the-way 
place  where  there  is  good  food  and  candle- 
light, a  place  where  a  young  couple  in 
love  could  linger  all  evening  over  their 
coffee.  Candy  went  on,  "Hal  said  that  he 
thought  he  at  last  had  the  kind  of  security 
he  wanted  to  offer  a  girl.  So  he  asked  me 
to  marry  him  and — well,  that  was  it." 

Never  have  I  seen  Candy  look  so  happy. 
But,  a  moment  later,  her  face  clouded. 
"Oh,  Joan,"  she  wailed,  "I  just  don't  know 
how  I'm  going  to  stand  it.  Hal  has  to  be 
in  New  York  and  I  have  to  be  here.  Darn 
it,   what  are  we  going  to  do?" 

As  it  turned  out,  I  was  able  to  help  with 
that  problem.  I  was  then  contemplating  a 
return  to  New  York.  I  planned  first  to 
visit  there  to  scout  for  a  place  to  live  and 
to  work.  Fortunately  for  me,  even  after 
our  separation.  Jack  Carter  and  I  have 
remained  on  friendly  terms.  He  was  going 
out  on  the  road  and  he  offered  to  lend  me 
his  apartment. 

Soon  after  my  arrival,  I  had  dinner  with 
Hal.  It  was  obvious  that  he  missed  Candy 
intensely.  All  evening,  he  talked  about 
nothing  but  Candy.  Then  I  had  an  in- 
spiration. "Do  you  suppose  she  would 
like  to  come  here  to  visit  me?" 

Hal  got  that  same  look  you  see  when 
someone  wins  The  $64,000  Question.  "Oh, 
Joan,  would  you  invite  her?" 

It  took  a  little  doing.  Candy's  mother 
was  the  one  who  really  made  it  possible, 
for  she  went  to  help  the  maid  with  the 
children.  For  a  solid  month,  the  two  of  us, 
carefree  as  a  couple  of  schoolgirls,  shopped 
during  the  day,  went  to  plays  with  Hal 
during  the  evening  and  spent  hours  plan- 
ning their  future  life  together.  Theirs  was 
the  kind  of  loving  happiness  which  leaves 
you  a  little  in  awe. 

It  practically  killed  me  not  to  be  able 
to  go  to  their  wedding  in  Las  Vegas,  but  I 
made  up  for  it  by  having  fun  helping  to 
decorate  their  apartment.  They  bought 
into  a  "cooperative"  on  Fifth  Avenue,  in 
the  Eighties.  The  place  is  gorgeous,  with  a 
dream  of  a  living  room,  a  model  kitchen 
and  three  bedrooms,  one  of  which  be- 
comes a  nursery.  Hal  likes  the  location. 
He  says,  "We're  right  across  from  Cen- 
tral Park.  That's  fine  for  Stephen  and 
Melissa." 

That  is  characteristic  of  him.  His  first 
thought  is  always  of  Candy  and  the  chil- 
dren. Some  men  marry  their  careers,  but 
not  Hal.  He  will  keep  the  career  going 
nicely,  but  his  family  comes  first.  He  has 
a  new  air  of  deep  contentment.  Thanks  to 
his  attention  and  consideration,  Candy  is 
blossoming  out  into  a  real  beauty.  She 
knows  how  much  she  matters  to  him  and 
she   looks   positively   beatific. 

They  are  settling  down.  That  March- 
designed,  much-traveled  furniture  has 
made  the  return  trip  to  New  York  and, 
in  decorating,  we  are  adding  new  pieces 
which  are  in  harmony  with  it. 

But  I  am  having  one  problem.  Because  I 
am  so  thrilled  about  two  of  my  favorite 
people  being  married  and  happy  together, 
I  feel  a  bit  romantic  about  it  myself  and 
my  work  tends  to  show  it.  Only  by  re- 
minding myself  firmly  that  it  would  be 
utterly  ridiculous  to  do  so,  am  I  able  to 
refrain  from  painting  a  frieze  of  smiling 
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87 


The  Peaceful  Pastoral  Panic 


(Continued  from  page  48) 
in  front  of  the  manse.  Eve  and  Brooks 
were  accumulating  a  social  life  which 
reflected  their  nearness  to  Hollywood  and 
Vine.  Propinquity  brings  all  manner  of 
invitations,  beginning  with  B  for  benefit. 

And  so  the  Wests  toured  the  country- 
side for  several  months,  until  they  found 
every  city-dweller's  dream  of  the  perfect 
situation:  A  rambling,  multi-bedroomed 
white  farmhouse  set  in  the  midst  of 
thirty-eight  rolling  acres  of  pasture  land. 
There  were  stables  for  saddle  horses, 
barns  for  the  burros  the  Wests  hoped  to 
breed,  ample  space  for  the  herd  of  sheep 
they  planned  to  run,  vast  horizons  to  be 
explored  by  children — without  danger  of 
traffic  hazards.  There  was  fresh  air  (smog- 
less).  There  was  sunshine.  And  it  was  an 
hour's  drive  from  Hollywood — not  too 
long  a  trip  for  Our  Miss  Brooks,  yet  rep- 
resenting enough  distance  to  give  a  sense 
of  separation  from  the  daily  grind.  In 
brief:   Here  was  spaciousness. 

Mr.  and  Mrs.  West  clasped  hands  and 
strolled  to  the  top  of  a  breeze-ruffled  hill 
that  lay  dappled  in  sunlight  and  spattered 
by  the  colors  of  wild  flowers  and  the  misty 
green  of  native  oaks.  "Here,"  they  agreed, 
"we  shall  build  a  calm,  orderly,  restful 
way  of  life." 

Recently,  a  long-time  friend  of  the 
family  decided  to  make  the  trip  from  Los 
Angeles  to  Thousand  Oaks  to  discover  for 
himself  how  the  plan  had  worked  out  for 
the  Wests.  He  arrived  on  a  mid-Sunday 
morning — to  note  evidence  of  vast  activity, 
but  no  sign  of  life. 

The  evidence  consisted  of  logs  which 
someone  had  been  splitting  to  create  a 
three-stretcher  fence,  and  a  can  of  white 
paint  with  an  assortment  of  brushes  which 
someone  else  had  been  using  on  the 
completed  portions  of  the  fence.  It  looked 
like  hard  work.  The  friend  shook  his  head 
and  wondered  whether  an  entire  family 
could  expire  simultaneously  from  over- 
exertion. 

At  about  that  time,  he  heard  shouts  of 
jubilation  from  the  barn,  so  he  made 
haste  in  that  general  direction.  Gathered 
around  a  straw-filled  enclosure  was  the 
West  clan:  Eve,  Brooks,  Liza  (aged 
eleven),  Connie  (aged  nine),  Duncan 
(aged  almost  three),  and  Doug  (not  quite 
two).  The  source  of  their  delight  was  a 
pair  of  new-bom  twin  lambs. 

After  proper  admiration  had  been  lav- 
ished upon  the  babies  by  the  guest,  a 
tour  of  the  animal  kingdom  was  suggested 
and  the  following  statistics  compiled: 
The  Wests  own  one  pinto  pony  named 
"Patches,"  two  American  saddle  horses, 
two  heifers,  one  burro  who  is  to  be  asso- 
ciated soon  with  others  of  appropiate  sex 
to  assure  issue,  two  young  goats,  ten  Suf- 
folk sheep,  and  three  flocks  of  chickens. 
The  Hampshire  chickens  are  permitted  to 
forage  around  the  immediate  vicinity  of 
the  house  and  gardens.  Eve  still  can't 
understand  why  the  eggs  aren't  perfumed, 
considering  no  bloom  is  rejected  by  the 
Hampshires.  And  the  children  don't  un- 
derstand why  the  lotus-eaters  don't  lay 
Easter  eggs  the  year  around. 

Living  in  the  barn  and  stable  area  is  a 

pair   of   silver    bantams    which   represent 

the  beginning  of  a  flock  of  dwarf  poultry. 

Living  in  the  south  end  of  the  field  is  a 

flock  of  Hamburgs — which  are  handsome 

fowl,    being    black    with    dramatic    white 

markings.     Because    the    Hamburgs    are 

reliable   setters,   they   are   entrusted   with 

T    the  business  of  hatching  eggs  laid  by  the 

V    Hampshires.    Confessed    Eve,    "The     ex- 

I    pression    on    the    Hamburgs'    faces    when 

they   hatch   Hampshires,   is   something   to 

see." 

88 


The  animal  inspection  completed,  the 
Wests  returned  to  the  house.  En  route, 
Eve  outlined  her  current  weekly  routine. 
She  and  Brooks  drive  into  town  on  Mon- 
day morning,  report  to  the  studio  and  are 
on  the  set  from  ten  until  six,  preparing 
Our  Miss  Brooks  for  TV.  Monday  night 
they  remain  in  town,  and  Tuesday  morn- 
ing Eve  has  her  hair  done.  From  one  P.M. 
until  the  show  is  over  at  9:30,  she  is  busy 
with  the  program.  That  completed,  she  and 
Brooks  start  homeward. 

Wednesdays  and  Thursdays  are  "leisure 
days"  spent  merely  in  shopping,  taking 
one  or  more  children  to  the  doctor  for 
shots,  or  to  the  dentist,  and  then  market- 
ing for  themselves  and  their  stock.  Friday, 
the  Wests  return  to  "the  city"  for  an  early 
rehearsal  of  the  next  week's  TV  show,  and 
in  the  afternoon  Eve  tapes  two  radio 
shows. 

Saturday  and  Sunday  are  again  "leisure 
days,"  spent  only  in  helping  twin  lambs 
into  the  world,  building  and  painting  log 
fences,  scouting  antique  shops  for  addi- 
tions to  Eve's  collection  of  individualized 
shaving  mugs,  rounding  up  the  donkey 
(he  has  a  roving  nature),  heckling  Liza 
to  practice  her  piano  lessons,  and  en- 
couraging Connie  to  continue  her  model- 
ing of  clay  figures.  .  .  .  "When  I  run  out  of 
things  to  do,  I  can  always  work  on  the  rug 
I'm  hooking,"  Eve  has  said  wryly. 

Her  guest  wanted  to  know  how  the  pas- 
toral plan  was  working  out.  Had  the 
Wests  found  the  serenity  of  the  wide  open 
spaces,  the  ease,  the  peace,  the  still  re- 
moteness .  .  .  ? 

From  Liza's  room  came  the  blast  of  a 
rock  'n'  roll  tune.  Eve's  eyes  peeled  back 
and  she  arose  with  speed  to  ask  her 
musical  daughter  to  throttle  the  volume 
being  devoted  to  "Daddy-O."  "Dear,"  she 
said  in  her  best  Miss  Brooks  tone,  "why 
don't  you  play  something  else?" 

"Sure,"  said  Liza,  an  agreeable  type.  A 
few  seconds  later  the  lazy  air  was  being 
stimulated  by  something  entitled,  "See 
You  Later,  Alligator." 

"Serenity — that's  what  we  were  talk- 
ing about,  wasn't  it?"  inquired  Eve. 

The  doorbell  rang.  The  caller  was  the 
representative  of  a  charitable  organization 
which  collects  battered  dolls  and  refur- 
bishes them  as  gifts  for  children  who 
might  not  otherwise  be  remembered  when 
Christmas  comes.  "I'm  sure  we  have 
something  for  you,"  Eve  said,  calling  to 
the  girls.  Both  Liza  and  Connie,  having 
been  introduced  to  the  routine  several 
years  ago,  had  contributions. 

At  that  point,  Seiior  Doug  (not  quite 
two,  you  will  remember)  suffered  a  mo- 
ment of  violent  emotion.  He  decided  that 
he  was  as  suitable  an  object  for  charity  as 
anybody  and  loudly  protested  giving  up 
a  doll  which  he  thought  he  might  be  able 
to  use  in  Indian  massacres  without  ar- 
gument, at  long  last.  "Gug's  doll,"  he 
shouted.  "Gug's  doll."  (He's  having  trouble 
with  the  letter  "D".) 

"Okay,"  said  his  mother.  "Then  I  sup- 
pose we'll  just  have  to  give  up  one  of  the 
twin  lambs."  That  produced  the  first 
crease  ever  to  line  a  forehead  as  smooth  as 
a  ripe  apricot.  Trying  to  shrug  off  concern, 
he  said,  "Gunk's" — his  way  of  giving  the 
lambs  to  his  older  brother,  Duncan,  and 
thereby  relieving  himself  of  regret  for 
any  loss  suffered. 

An  unfamilar  silence  settled  upon  the 
family  group  for  something  like  ten  ticks 
— before  Doug  passed  over  the  doll  and 
scampered  out  of  the  house  toward  the 
lamb  pen,  obviously  intending  to  stand 
guard  against  all  comers. 

The  doll  problem  solved,  Liza  decided 
to  practice  her  music  lesson.  She  is  work- 


ing on  "Rhapsody  in  Blue"  and  her  teacher 
thinks  she  has  shown  remarkable  progress. 
She  has  agile,  decisive  hands  which  con- 
trol the  keys  with  a  knowing  touch. 

These  same  hands,  incidentally,  manage 
a  horse  with  the  same  authority.  Eve  said, 
"Perhaps  I've  been  mistaken.  Perhaps  she 
isn't  going  to  be  a  pianist  at  all,  but  a 
jockey." 

Eve  has  long  been  a  camera  fan,  having 
started  with  a  Stereo-Realist  and  now 
focussing  on  a  Rolleiflex.  A  pair  of  her 
cherished  snapshots  picture  Liza  in  con- 
trasting situations  that  took  place  two 
months  apart.  The  first  snap  shows  her  as 
a  slim,  rather  pale-faced  youngster  timidly 
extending  two  fingers  over  the  manger  to 
pet  the  nose  of  "Bright  Lady,"  Eve's  saddle 
horse.  The  second  picture,  taken  after  an 
elapse  of  sixty  days,  shows  a  brown, 
round-faced  Liza  tossing  her  saddle  over 
the  back  of  her  own  pinto,  "Patches." 

In  the  midst  of  this  discussion  of  horse- 
manship, Duncan  edged  into  the  room  and 
announced  in  the  manner  of  a  race  caller, 
'Tm  not  going  to  school."  As  this  problem 
was  some  two  years  distant  in  his  life,  no 
particular  chagrin  was  provoked  by  the 
announcement.  Eve  said  quietly,  "Of 
course  you  will  go  to  school,"  and  went 
on  with  the  general  conversation. 

"No,"  said  Duncan,  "I'm  not  going  to 
school."  Catching  his  mother's  eye,  he 
amended  the  statement,  "Well,  then,  I'm 
not  going  until  the  very  last  day."  He 
departed  with  alacrity. 

Eve  had  launched  upon  a  discussion  of 
primitive  paintings  (she  owns  a  priceless 
Grandma  Moses  canvas,  a  Doris  Lee 
skating  scene,  and  a  Camille  Bombois) 
when  Duncan  returned.  "Okay,  Mommy," 
he  announced,  "I'm  Mr.  Conklin  and 
you're  Mommy."  Considering  that  he  has 
been  permitted  to  see  the  Our  Miss  Brooks 
show  only  once,  Eve  was  startled. 

"You're  who?"  she  asked. 

"Mr.  Conklin.  Listen.  Can  you  spell 
this?  D-u-n-k-a-n.  It  spells  'Duncan.' " 
When  everyone  laughed,  he  lifted  an  eye- 
brow and  inquired  in  a  slightly  astrin- 
gent tone,  "Now,  what  have  I  said?" 

"Can  you  spell  n-a-p?"  Eve  wanted  to 
know.  Duncan  figured  a  way  out  of  that 
one.  "I'll  go  tell  my  brudder-dear.  He 
needs  a  nap,"  and  he  escaped. 

The  talk  settled  to  antiques  and  the 
Wests'  plans  for  the  summer,  which 
include  loading  the  entire  family  into  the 
station  wagon  and  driving  to  Shelton, 
Connecticut,  where  close  friends  of  Eve's 
and  Brooks'  have  a  farm  consisting  of 
fifty  glorious  acres  of  birch  forest. 

Peace  had  settled  upon  the  afternoon. 
The  country  stillness  hummed  with  the 
chorus  of  bees,  an  occasional  bird  call, 
and  the  movement  of  wind  through  the 
trees.  The  visitor  was  thinking  that  the 
Wests  had,  indeed,  settled  deeply  into  the 
eiderdown  of  a  pastoral  life — when  bedlam 
broke  loose  outside. 

All  four  youngsters  came  charging  in  to 
announce  that  the  donkey  was  missing. 
Mommy  had  to  get  into  the  station  wagon 
and  start  a  search;  there  was  no  telling 
what  had  happened. 

The  telephone  started  to  ring.  A  car 
came  churning  up  the  driveway,  its 
occupants  inquiring  about  a  pair  of  chil- 
dren out  on  some  adventure.  The  maid 
came  in  to  say  that  she  had  seen  a  rattle- 
snake near  the  stables  .  .  . 

"Ah,  life  in  the  country,"  said  Eve. 
"That  city-type,  that  Miss  Brooks,  thinks 
she  has  problems.  .  .  ." 

"What  we  have  here,"  opined  her  hus- 
band, "is  best  classified  as  pastoral  panic." 

They  grinned  at  each  other  and  said  in 
unison,  "But  we  love  it." 


Nice  Gal 


(Continued  from  page  53) 
the  fact  that  she  is,  at  this  writing,  un- 
married, her  repeated  "we"  grows  confus- 
ing, until  others  explain  that  this  is  her 
way  of  including  her  close  associates — 
her  partner-manager-discover,  Jack  Rael; 
her  press  agent,  Frances  Kaye;  her  secre- 
tary and  others  of  her  staff — in  her  per- 
sonal as  well  as  her  professional  activities. 
They  play  bridge  together,  dine  together, 
sail  together.  They  are  her  "family." 

For  Patti  is  the  kind  of  girl  who  must 
have  a  family.  She  was  reared  in  a  large 
one.  There  were  eight  daughters,  three 
sons,  in  the  Benjamin  Fowler  household 
in  Tulsa,  Oklahoma,  where  the  future 
songstress  was  christened  Clara  Ann.  At 
the  request  of  a  sponsor,  she  assumed  the 
name  "Patti  Page"  when  she  went  on  a 
local  radio  show.  There  by  chance,  band 
manager  Jack  Rael,  who  is  Benny  Good- 
man's cousin,  heard  her  and  signed  her  to 
a  contract.  Her  first  big  job  was  working 
with  Frankie  Laine — and  her  important 
television  break  came  when  she  became 
the  summer  replacement  for  Perry  Como. 

Patti's  first  big  hit  record  was  "Ten- 
nessee Waltz,"  the  lament  of  a  girl  whose 
friend  stole  her  sweetheart.  Musically,  she 
later  attended  the  nu  .als  of  this  two- 
faced  friend  with  another  hit,  "I  Went  to 
Your  Wedding."  With  many  a  best-seller 
in  between,  she  continued  this  musical 
serial  with  a  top  hit  which  also  had  a 
touch  of  brave  loneliness,  "Doggie  in  the 
Window."  Her  current  record,  "Go  on 
With  the  Wedding,"  should — in  Patti's 
words — "wrap  up  this  little  cliff-hanger 
for  good.  There  our  girl  starts  up  the  aisle 
to  the  altar,  sees  an  old  beau  among  the 
wedding  guests,  and  can't  decide  which 
man  to  marry!" 

In  her  personal  life,  Patti  made  that 
most  important  decision  during  the  past 
year.  She  announced  her  engagement  to 
Charles  O'Curran,  a  Hollywood  dance  di- 
rector whom  she  met  when  he  helped  her 
stage  the  act  she  was  presenting  at  a  night 
club. 

Distance  and  time  have  been  the  das- 
tardly villains  these  two  must  conquer 
before  they  can  be  together.  Charles' 
work  keeps  him  on  the  West  Coast.  Patti 
films  her  television  show  in  New  York, 
then  tours  all  over  the  map.  The  telephone 
had  proved  an  expensive  substitute  for 
personal  meetings:  "At  the  rate  we  run  up 
tolls,  you'd  think  we  were  buying  A.T.&T. 
on  the  installment  plan,"  says  Patti. 

The  situation  promises  to  get  worse 
instead  of  better,  for  Patti,  during  the 
spring  and  early  summer,  is  committed  to 
a  tour  which  will  take  her  to  the  Orient — 
Japan,  Hong  Kong,  possibly  Korea,  pos- 
sibly Australia.  Perhaps  there  will  also  be 
some  bookings  in  Europe.  She  would  love 
it,  if  Charles  could  arrange  his  work  so 
that  he  could  come  along.  Might  they 
elope?  Patti  says  tersely,  "We  just  might." 

In  the  meantime,  she  has  a  new  com- 
panion in  her  New  York  apartment.  As 
his  birthday  gift  to  Patti,  Charles  sent 
what  she  calls  "the  darlingest  dog."  It  is 
a  miniature  Yorkshire  terrier  which,  on 
arrival,  wasn't  much  bigger  than  a  kitten. 

It's  name?  You've  guessed  it.  Of  course, 
he  is  "Window"! 

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T 
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89 


House  Party  Host 


(Continued  from  page  63) 
gentlest  and  most  exquisite  consideration. 
The  child  knows  Art  is  a  friend  and,  thus 
assured,  gives  forth  with  statements 
which  must  sometimes  send  parents  into 
a  state  of  chagrin,  if  not  downright 
despair. 

Recently,  on  House  Party,  Art  was  on 
his  heels  before  a  chubby  girl  of  four, 
who  was  dressed  like  a  lovely  doll,  her 
hair  a  cascade  of  curls.  "What  does  your 
mummy  do  at  home?"  he  asked,  never 
taking  his  eyes  from  her  cute,  screwed-up 
little  face. 

"Oh,"  the  tot  replied,  without  a  mo- 
ment's hesitation,  "she  just  sits  around 
the  house  all  day  nibbling  jack-cheese 
and  stuff."  Art  went  hurriedly  to  the 
next  youngster — with  a  safely  different 
question. 

Innocence  and  the  utter  candor  of  child- 
hood are  the  means  by  which  Linkletter, 
on  the  House  Party  show,  draws  forth 
answers  which  are  often  the  very  essence 
of  pure  comedy.  Recently,  he  asked  a 
seven-year-old  boy — who,  in  his  eager- 
ness to  get  into  things,  had  been  twisting 
on  his  chair  as  if  it  were  a  hot  stove — 
how  his  parents  happened  to  meet  and 
fall  in  love. 

"I'm  not  sure  how  they  met,"  the  little 
man  replied  thoughtfully,  "but  I  do  know 
they  were  roommates  in  college." 

While  Linkletter  is  the  very  core  of 
kindness  when  dealing  with  children,  his 
rapier-like  wit  sometimes  flashes  when 
he's  confronted  by  a  self-assured  adult 
of  the  know-it-all  variety.  "I  am  pitiless 
when  I  find  some  show-off  who  seems 
bent  on  disrupting  my  show,"  he  admits. 
"When  that  happens,  the  individual  gets 
short  shrift  from  me." 

People,  he  says,  are  gregarious  and  will 
do  almost  anything  to  get  into  the  lime- 
light. Knowing  that  his  two  principal 
shows,  House  Party  and  People  Are 
Funny,  are  seen  by  more  than  75,000,000 
viewers  each  week,  they  seem  to  lose  all 
natural  inhibitions  when  the  camera's  all- 
seeing  eye  is  upon  them.  Added  to  this, 
of  course,  is  the  immemorial  urge  to  get 
something  for  nothing.  When  people  allow 
themselves,  not  at  all  reluctantly,  to  be- 
come a  part  of  these  performances,  they 
are  certain  of  a  gift,  generally  substan- 
tial— and  there  is  always  the  possibility 
of  hitting  the  jackpot,  such  as  a  new  auto- 
mobile. "Repeaters"  are  a  constant  prob- 
lem, but  Art  has  become  so  expert  at 
picking  them  out  of  the  crowd  that  he  is 
seldom  fooled.  "I  can  generally  spot 
them  as  soon  as  they  put  their  hands  up," 
he  says. 

The  ideas  used  on  his  People  Are  Funny 
show  are  the  result  of  much  head -cudgel- 
ing by  himself  and  his  producer  and  part- 
ner, John  Guedel.  Linkletter  reads  two 
daily  papers  thoroughly,  and  as  many  as 
ten  magazines  a  week.  But  his  best 
japeries  come  from  a  shrewd  observance 
of  life  itself.  Once  in  a  blue  moon,  how- 
ever, the  best  of  these  will  backfire.  The 
one  which  he  calls  his  "arsenic  and  old 
lace  story"   certainly  did! 

"It    was    during    a    Community    Chest 

drive,"   he  recalls.   "I  wanted   to   make   a 

contribution   from  the   show   and,   at   the 

same  time,  test  out  one  of  my  theories — 

namely,  that  people  will  actually  pay  good 

money  for  the  opportunity  of  giving  vent 

to  a  long-suppressed  desire.    Accordingly, 

I   announced   on   the   People   Are   Funny 

show    that   I   believed    there    were    many 

T    individuals    who    harbored    a    frustrated 

v    desire  to  hit  me  in  the  face  with  some- 

B    thing.    I  would,  therefore,  auction  off  the 

privilege — the  money  going  to  the  Com- 

munity    Chest — and    the    highest    bidder 


would  be  given  a  huge  custard  pie  which 
he  or  she  could,  without  let  or  hindrance, 
slam  smack-dab  into  my  mug. 

"The  bidding  was  spirited.  The  amounts 
rose  from  $50  to  $75,  to  $100  and,  from 
then  on,  by  slower  jumps  to  $200.  Good 
heavens,  I  thought,  there  must  be  a  lot 
of  people  in  the  world  who  really  hate 
me!  I  noticed  one  bidder  particularly. 
She  was  a  sweet-appearing  little  old  lady 
with  a  gentle,  almost  angelic  face.  It  was 
much  easier  to  imagine  her  singing  lulla- 
bies to  a  golden-haired  grandchild  than 
vying  for  the  privilege  of  bashing  a  kindly, 
inoffensive  guy  like  me  in  the  face  with  a 
custard  pie.  Nevertheless,  each  time  some 
tough-looking  fellow  in  the  audience 
named  a  figure,  her  reedy,  quavering  old 
voice  upped  it.  She  won,  at  last,  with  a 
bid  of  $225. 

"I  asked  her  to  come  up  on  the  plat- 
form and,  without  a  word,  she  sat  down, 
wrote  out  a  check  and  handed  it  to  me.  I 
put  the  check  in  my  pocket,  gave  her  the 
pie,  straightened  up,  with  my  hands  rigid 
at  my  sides,  shut  my  eyes  and  said:  'All 
right,  dear  lady,  shoot  if  you  must.'  The 
words  were  hardly  out  of  my  mouth  when 
wham!  I  got  it.    A    bull's  eye. 

"When  I  wiped  off  the  goo  and  looked 
around,  she  was  gone.    I  have  never  seen 


FIGHT  CAIVCEK 
With  A  Checkup 
And  A  Chech 


her  since.  But,  two  days  later,  the  check 
bounced.  The  bank  told  me  they  had 
never  heard  of  her." 

Many  of  Linkletter's  stunts  are  spur- 
of-the-moment  affairs,  strictly  off  the 
cuff.  Others  are  as  intricately  planned 
and  coolly  calculated  as  the  movement  of 
a  regiment  of  infantry  from  the  rear 
echelons  to  the  front  lines  under  heavy 
fire.  These  are  likely  to  run  into  consid- 
erable sums  of  money. 

One  such  was  prompted  by  the  thought: 
What  would  a  young  couple  do  if  they 
returned  home,  after  an  absence  of  a  day 
or  so,  to  find  their  house  gone — vanished 
without  a  trace?  Would  they  yell  for  the 
police,  doubt  their  own  senses,  give  way 
to  anger  and  tears?  Or  would  they,  if 
offered  a  sufficient  reward,  agree  to  hold 
off  the  authorities  and  hunt  their  house 
themselves? 

Link  decided  to  find  out,  and  at  once 
ran  into  a  gaggle  of  difficulties.  It  was 
necessary  that  the  couple  be  young  and 
childless,  and  that  both  be  employed.  The 
next  problem  was  to  find  a  landlord  who 
would  consent  to  having  his  house  moved 
away. 

With  the  aid  of  Lou  Schor,  a  staff  man, 
the  proper  house  and  landlord  were 
found.  Then  Schor,  posing  as  a  real-estate 
agent,  stationed  himself  in  the  house, 
awaiting  prospective  renters.  Couple  after 
couple  was  turned  away  and  the  days 
went  by.  At  last,  young  Mr.  and  Mrs. 
Harvey  Hunter  appeared  and  everything 
seemed  serene.  He  was  employed  at  the 
Douglas  Aircraft  plant,  she  at  the  Broad- 
way Hollywood  Department  Store.  The 
rent,  $82.50  a  month,  was  within  their 
means  and  the  house  satisfactory.  They 
moved  in. 


At  this  point,  it  was  necessary  to  get 
the  cooperation  of  Douglas  officials.  Work- 
ing through  the  personnel  office,  an  ar- 
rangement was  made  whereby  Hunter 
would  be  sent  to  Dallas,  Texas,  on  a  has- 
tily arranged  mission,  together  with  his 
wife,  as  a  bonus  for  good  services  rendered. 
Everything  now  seemed  ready  for  the  big 
climax — when,  suddenly,  a  vice  president 
vetoed  the  entire  scheme.  The  only  hope 
now  was  to  work  through  Mrs.  Hunter 
at  the  Broadway  Hollywood. 

Under  the  pretext  that  a  campaign  was 
being  conducted  to  discover  the  most 
photogenic  girl  in  the  store,  Sid  Avery, 
staff  photographer,  began  taking  pictures 
which,  strangely  enough,  resulted  in  Mrs. 
Hunter  being  chosen.  A  trip  was  ar- 
ranged to  San  Francisco,  where  she  and 
her  husband  were  promised  royal  enter- 
tainment, as  a  reward.  The  young  couple 
left  the  next  day,  happy  in  their  delusion, 
and  accompanied  by  a  photographer.  That 
same  night,  the  house  movers  went  into 
action. 

When  the  Hunters  returned  to  Los  An- 
geles, they  were  met  at  the  airport  by 
Sid  Avery.  He  told  them  that  this  was 
the  "Broadway  Hollywood  night"  on  Peo- 
ple Are  Funny.  They  were  driven  at 
once  to  the  studio — where,  by  a  strange 
coincidence,  they  were  selected  as  par- 
ticipants in  the  program.  On  the  stage, 
Linkletter  announced  that  he  wished  to 
test  their  powers  of  observation  and 
asked  them  to  tell  him  the  number  of 
windows  in  their  house.  They  gave  an 
uncertain  answer,  and  Linkletter  in- 
formed them  that  they  would  be  driven 
to  their  home  to  check  on  the  accuracy 
of  their  statement.  He  also  assured  them 
that  a  valuable  prize  would  be  awarded 
them  if  they  were  correct. 

Arriving  at  the  place  where  their  house 
had  formerly  stood — having  been  driven 
there  in  a  limousine  the  windows  of  which 
had  been  thoroughly  soaped  to  prevent 
them  from  seeing  what  had  happened  to 
their  home  before  stepping  from  the  car — 
they  stood  in  slack-jawed  disbelief  while 
television  cameras,  concealed  in  a  truck, 
revealed  their  stunned  expressions  to  the 
audience  in  the  studio.  Then  they  were 
whisked  back  to  the  studio,  where  they 
were  shown  the  film  which  revealed  to 
them  how  their  house  had  disappeared. 

At  this  point,  Linkletter — the  very  in- 
carnation of  sweet  benevolence — told  them 
that  if  they  could  find  their  house,  with- 
out aid  from  the  police,  he  would  not  only 
make  a  down  payment  on  a  new  house, 
but  would  continue  the  installments  for 
a  period  of  two  years.  The  ensuing  search, 
by  helicopter  and  on  foot,  consumed  four 
weeks  of  time,  titillated  millions  of  view- 
ers and  listeners,  and  furnished  top- 
drawer  material  for  People  Are  Funny. 
Art  still  regards  the  affair  as  one  of  his 
more  satisfactory  ventures  into  frenzy, 
frustration  and  flub-dub,  with  the  tra- 
ditional happy  ending  which  his  "victims" 
always  find. 

What  keeps  the  Linkletter  shows  from 
falling  into  the  pit  of  crass  insensitiveness 
is  the  underlying  kindness  which  sweet- 
ens his  most  insane  tomfoolery.  He 
refuses  to  plunge  any  of  his  audience 
participants  into  a  position  where  they 
appear,  at  least  in  the  end,  as  witlessly 
ridiculous.  A  hilarious  case  in  point 
came  up  one  evening  on  his  People  Are 
Funny  show.  He  picked  a  young  bach- 
elor, who  prided  himself  on  his  reputaton 
as  a  cook,  and  told  him:  "You  really 
must  be  something  of  a  genius.  Now,  I'll 
tell  you.  I'm  going  to  take  you  down 
among  the  ladies  in  the  audience  and  let 
them  ask  you  questions  about  the  culinary 


art.  If  you  can  correctly  answer  five  out 
of  seven  questions,  you'll  win  a  big  prize. 
But,  for  every  one  you  miss,  that  woman 
will  get  her  female  revenge  by  selecting 
an  ingredient  which  will  be  made  into 
a  new  recipe  by  Prudence  Penny,  head  of 
the  Home  Economics  Department  of  the 
Los  Angeles  Examiner.  And  you,  my 
friend,  will  have  to  eat  it!" 

The  bachelor  missed  five  out  of  the 
seven  questions  asked,  and  the  culinary 
results  were  appalling!  Prudence  Penny 
mixed  the  prescribed  raw  oysters,  clams, 
catsup,  tabasco  sauce  and  blackstrap  mo- 
lasses into  a  huge  salad  bowl — surrepti- 
tiously adding  a  little  chopped  meat — and 
handed  it  to  the  young  man.  Holding  the 
bowl  with  shaking  hands,  the  self-fancied 
cook  began  to  grow  pale,  and  Linkletter 
quickly  intervened.  Taking  the  spoon  in 
his  own  hand,  he  dipped  it  into  the  revolt- 
ing mess  and  put  it  in  his  mouth. 

"I've  never  hated  anything  so  much!" 
Art  admits.  "But  I  couldn't  let  that  fel- 
low make  an  irretrievable  spectacle  of 
himself.  After  I'd  swallowed  the  awful 
stuff — and  it  was  awful — my  friend 
brightened  considerably  and  managed  to 
get  down  a  couple  of  spoonfuls  before 
gagging.  The  audience  cheered  him  to 
the  rafters  and  his  dignity  was  saved." 

Art's  uncanny  ability  to  get  along  with 
children  of  all  ages  is  no  mystery  to 
those  who  know  him.  He  had  a  tough 
childhood  and,  from  his  own  bitter  "ex- 
perience, he  understands  now  that  the 
paramount  secrets  of  dealing  with  the 
juvenile  mind  are  honesty,  sincerity,  and 
kindness.  The  most  tragic  mistake  that 
an  adult  can  make  with  a  child  is  to  lie 
to  him,  according  to  Art.  Sooner  or 
later,  the  falsehood — implied  or  uttered — 
is  revealed  and  trust  is  forever  lost.  He 
recalls  his  own  first  great  disillusionment 
as  an  illustration  of  this. 

Born  in  Moose  Jaw,  Saskatchewan, 
July  17,  1912,  Art  was  orphaned  in  baby- 
hood and  put  into  a  foundling  institu- 
tion. Taken  from  there  at  the  age  of  one, 
he  was  adopted  by  the  F.  J.  Linkletters 
and,  when  he  was  five,  brought  to  San 
Diego,  California,  where  he  grew  up.  His 
foster  father — a  man  of  passionate  religious 
fervor — became  an  evangelistic  preacher, 
and  Art's  early  recollections  are  high- 
lighted by  memory  pictures  of  himself 
standing  on  street  corners  whacking  a 
steel  triangle  while  the  senior  Linkletter 
pleaded  with  grinning  onlookers  to  con- 
fess their  sins.  Another  and  more  sear- 
ing memory  is  of  the  constant,  aching 
poverty  in  which  the  family  existed.  But 
the  discovery  that  he  was  not,  actually, 
the  natural  son  of  the  Linkletters  hurt 
him  more  than  any  misfortune  he  has 
ever  known. 

At  a  very  tender  age,  he  began  to  run 
wild  on  the  streets  with  a  group  of  boys 
just  a  little  older,  tougher  and  more  ma- 
liciously wise  than  himself.  He  was  saved 
from  downright  delinquency  by  the 
YMCA,  where  a  kindly  individual  re- 
vealed to  him  the  blessings  of  clean  living 
and  the  ultimate  value  of  an  education. 
Impressed,  Art  got  into  high  school,  stuck 
to  it  and  managed  to  finish  with  credit- 
able grades.  After  graduation,  he  hitch- 
hiked all  over  the  United  States,  riding 
freights,  sleeping  under  railroad  trestles, 
eating  in  jungle  camps  with  other  itiner- 
ants. He  worked  as  a  busboy  in  Chicago, 
a  harvest  hand  in  North  Dakota,  a  forest 
fire-fighter  in  Washington,  a  stevedore  in 
New  Orleans,  a  meat  packer  in  Minne- 
apolis, and  a  coupon  clerk  in  a  Wall  Street 
bank.  While  in  New  York,  he  signed  on 
as  a  deckhand  with  a  ship  plying  the 
coastal  trade  ports  of  South  America. 

Returning  to  San  Diego  and  remem- 
bering the  advice  of  his  YMCA  friend, 
he  decided  to  enter  San  Diego  State  Col- 


lege, with  the  thought  of  becoming  a 
teacher.  There  still  remained,  however, 
the  problem  of  financing  his  way  through 
the  ensuing  four  years.  His  best  job 
came  in  his  junior  year,  when  he  was 
hired  as  an  announcer  at  KGB,  San  Diego. 
It  was  about  this  time,  also,  that  he  met 
Lois  Foerster,  a  spirited  young  lady  who 
gave  every  evidence  that  the  wildly  un- 
predictable young  Linkletter  was  someone 
in  whom  she  could  become  permanently 
interested.  Such  naive  trustfulness  was 
vaguely  disturbing  and  presently,  to  his 
own  astonishment,  he  found  himself  in 
love.  Ever  one  to  take  opportunity  on 
the  wing,  he  proposed  and,  a  year  later, 
they  were  married.  This  was  in  1935  and, 
not  long  after,  Art  was  appointed  radio 
program  manager  for  the  Texas  Cen- 
tennial in  Dallas. 

When  the  Texas  Centennial  had  blown 
itself  out  (not  even  Texas  can  keep  a 
celebration  going  indefinitely),  Art  took 
his  foot  in  hand  and  came  to  earth  in 
San  Francisco,  where  the  World's  Fair 
of  1939  was  attracting  the  foremost  bally- 
hoo artists  in  the  country.  Modestly  con- 
sidering himself  to  be  one  of  these,  he 
became  the  official  radio  announcer.  A 
political  free-for-all  among  the  manage- 
ment developed,  however,  and  he  turned 
to  free-lance  broadcasting,  where  he  was 
soon  making  more  money  than  he  had 
received  as  salary.  It  was  then  that  he 
met  John  Guedel,  who  had  long  been 
waiting  for  a  brash  young  man  with 
plenty  of  ideas,  crust  and  ability.  To- 
gether they  designed  a  show  to  be  called 
"Meet  Yourself,"  which  finally  crystalized 
into  the  audience-participation  spectacle 
now  famous  as  People  Are  Funny.  They 
have  been  together  ever  since. 

"Art  seems  to  have  been  born  for  radio 
and  television,"  says  one  of  his  associates. 
"Benny,  Hope  and  Allen  all  came  from 
other  successes,  but  not  Art.  He  began 
his  public  career  on  radio  and,  from  the 
start,  conducted  himself  before  the  mike 
with  all  the  sang  froid  of  a  small  boy 
spearing  a  hot  grounder  in  the  sandlot 
league.  Where  other  professionals  fight 
butterflies  in  their  stomachs  just  before 
air  time,  Linkletter  can  hardly  wait  for 
the  clock." 

A  few  of  his  audience  participants  who 
have  won  prizes,  Art  has  discovered,  are 
inclined  to  look  a  gift  horse  in  the  mouth 
and  almost  stoop  to  examine  its  feet. 
Occasionally,  one  who  has  received  a 
valuable  award,  such  as  a  diamond  ring 
or  a  set  of  sterling  silverware,  will  rush 
to  a  jeweler  to  have  the  prize  appraised. 
But  money  seems  to  concern  Art  himself 
very  little.  Talking  to  him  recently,  I 
noticed  something  peeping  out  of  his 
breast  pocket  which  looked  suspiciously 
like  the  lovely  green  stuff  which  most  of 
us  treat  with  such  respect.  "What's  that?" 
I  asked,  pointing. 

"Oh,  this?"  he  said,  plucking  out  five 
$100  bills  and  tossing  them  carelessly  to 
the  table.  "I  was  going  to  give  them 
away  today  on  my  show,  but  the  right 
situation  just  didn't  come  up." 

The  Linkletters  themselves  live  in  an 
unostentatious  house  in  Holmby  Hills,  Los 
Angeles,  with  their  five  children:  Jack,  18; 
Dawn,  16;  Robert,  11;  Sharon,  9;  and  Diane, 
7.  Mrs.  Linkletter— who  has  endured  com- 
motion, crises  and  catastrophe  for  twenty^- 
one  years,  with  the  imperturbable  serenity 
of  an  early  Christian  martyr — now  finds 
existence  on  the  edge  of  a  volcano  a  re- 
warding experience  and  is  wholly  unable 
to  imagine  a  quiet,  uneventful  life.  Like 
the  New  Yorker  who  couldn't  sleep  after 
the  clattering  elevated  railways  were  torn 
down,  she  finds  tranquility  in  turmoil, 
peace  in  pandemonium. 

For  Lois — and  all  the  Linkletters — every 
day  is  a  House  Partyl 


ANSWERS 
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(Continued  from  page  50) 
based  on  believable  situations  and  char- 
acters. We  have  an  array  of  regular  char- 
acters that  includes  a  stage  manager  and 
a  stagehand,  a  schoolteacher  and  a  sec- 
retary, a  delivery  boy  and  a  singer.  These 
people  represent  a  wealth  of  talent  and  a 
wealth  of  warmth.  They  are  nice  and  good 
people,  and  I'd  like  to  tell  you  about  them. 
On  the  show,  we  use  their  real  names. 
But,  in  most  cases,  their  TV  and  radio 
personalities  have  postively  no  resem- 
blance to  their  real  selves. 

Take  Al  Rafkin  first.  He's  performing 
double-duty,  for  he's  on  both  the  daily 
TV  and  our  Saturday  radio  shows.  He 
comes  on  in  one  of  those  satin  jackets 
lettered  COBRA,  wears  a  baseball  cap,  a 
sloppy  apron  and  delivers  such  unappe- 
tizing sandwiches  as  creamed  liverwurst 
or  marmalade  with  shrimp  ...  on  pound 
cake.  And  viewers — some  of  them — take 
Al  so  seriously  that  they  write:  "Bob, 
please  don't  eat  the  food  that  boy  brings 
in.  He  looks  so  dirty."  So  let's  give  Al  a 
fair  shake.  Off  the  show,  he  stands  a  neat 
five-seven  in  Brooks  Brothers  clothes. 
And,  off  the  show,  he  is  an  associate  di- 
rector for  CBS. 

"Right  now,"  Al  tells  you,  "I  don't  know 
whether  my  future  career  will  be  in  front 
of  the  camera  or  behind  it.  It  could  be 
either,  depending  on  the  breaks." 

A  few  years  ago,  he  was  a  beginner.  Out 
of  the  armed  services  in  1952,  he  worked 
in  some  night  clubs  and  the  USO  circuit, 
but  decided  there  was  no  future  for  him 
as  an  entertainer.  He  got  a  job  at  CBS  and 
was  assigned  to  us  as  program  assistant.  A 
program  assistant  is  low  man  on  the  totem 
pole.  While  on  this  job,  Al  heard  us  dis- 
cussing a  new  character.  He  spoke  up  and 
asked  if  he  could  read  for  the  part  of  the 
delivery  boy.  He  read  and  he  was  great. 

Al  is  twenty-seven  and  a  bachelor,  but, 
as  one  bachelor  speaking  of  another,  I 
don't  have  much  hope  for  him.  He's  al- 
ready getting  tired  of  eating  in  restaurants 
and  of  cooking  his  own  meals. 

"It's  true  and  it's  a  pain  in  the  neck — 
particulary  making  dinner,"  he  says.  "It's 
a  terrible  thing,  but  today  it  seems  if  a 
bachelor  can't  serve  up  a  dreamy  eight- 
course  dinner,  he's  not  charming.  You 
invite  some  of  your  friends  up  to  the 
apartment  and  you  just  can't  serve  them 
crackers  and  cheese.  You've  got  to  give 
them  a  meal.  I  cook  well  enough,  but 
everything  gets  on  the  walls — the  kitchen 
walls,  the  hall  walls  and  the  living-room 
walls.  Everywhere.  It  takes  me  four  days 
after,  just  to  clean  up." 

Al's  family  never  encouraged  him  to  be 
an  entertainer.  "The  family  has  lived  in 
Woodmere,  Long  Island,  since  I  was  born," 
Al  says.  "I  get  home  once  a  week,  or  every 
ten  days  at  the  least.  I  go  home  first  thing 
and  pick  up  my  parents,  and  then  we 
drive  over  to  my  sister  Claire's  to  play 
with  ray  nephews." 

To  find  and  work  with  new  talents  like 
Al  is  a  great  satisfaction  to  me.  I've  said 
it  before,  and  I  mean  this  sincerely — some 
day,  when  I  retire  from  this  end  of  show 
business,  I  hope  to  be  an  agent  and  devote 
myself  to  finding  and  developing  new 
talent.  Of  course,  I  don't  mean  to  imply 
that  everyone  on  the  show  is  new  at  the 
business.  We  have  actors  with  a  great  deal 
of  experience.  Take  Doro  Merande,  who 
plays  my  prim,  proper  and  sarcastic 
schoolteacher.  Doro  has  played  in  twenty- 
five  Broadway  shows,  many  radio  and  TV 
dramas  and  movies.  Two  of  the  films  are 
currently  in  theaters.  In  "Man  With  the 
Golden  Arm,"  she  plays  Vi,  and  in  "The 
Seven  Year  Itch,"  she  plays  the  waitress- 
owner  of  a  vegetarian  restaurant. 


When  Doro  went  to  Hollywood  to  make 
the  latter  picture,  she  drove  out  and  back 
alone — because  she  wanted  to  see  the 
country.  She's  that  kind  of  a  woman,  keen 
and  active.  She  has  a  house  in  Connec- 
ticut and  an  apartment  in  Murray  Hill, 
and  a  piano  both  places.  Music  is  her  first 
interest  outside  the  theater  and  she  is  a 
fine  pianist.  For  sports,  she  prefers  am- 
ateur picnics,  gets  out  her  basket  in  early 
spring  and  doesn't  put  it  down  until  the 
first  frost,  when  she  digs  out  her  ice  skates. 
Doro,  whose  forebears  were  New  Eng- 
landers,  was  raised  in  Kansas.  She  is  five- 
six,  slender,  with  brown  hair. 

Now,  Doro  is  very  much  a  professional 
actress.  At  the  other  extreme  is  Carol 
Bushman,  who  makes  no  pretensions  of 
being  either  actress  or  comedienne.  Carol, 
of  course,  is  one  of  the  Chordettes.  The 
Chordettes  have  been  singing  on  my  show 
a  long,  long  time.  How  Carol  got  to  doing 
a  comedy  bit  is  hard  to  remember,  but  I 
think  she  kind  of  grew  into  it.  She  and  the 
other  Chordettes  had  occasional  lines,  and 
then  Carol  was  doing  the  funny  lines. 
Soon  we  decided  that  Carol  had  just  the 
right  voice  to  read  the  letter  from  a  sister 
in  Snellfax,  Ohio.  Actually,  Carol's  only 
sister  fives  in  Plaster  City,  California, 
which  is  even  funnier — and  Carol  herself 
is  from  Sheboygan,  Wisconsin,  which  is 
funnier  yet.  Carol's  married  to  Bob  Bush- 
man, who  is  the  brother  of  Janet  Bleyer, 
the  "bass"  in  the  Chordettes. 

"Back  in  Wisconsin  we  used  to  rehearse 
at  the  Bushman  house,"  Carol  recalls,  "I 
used  to  see  Bob,  but  nothing  ever  hap- 
pened in  Sheboygan." 

Bob  came  down  to  say  hello  to  his  sister 
five  years  ago,  and  never  went  back  home. 
Bob  and  Carol  live  in  Oceanside,  Long 
Island.  Bob  owns  and  runs  a  restaurant. 

Carol  doesn't  consider  herself  a  come- 
dienne, but  you  never  know.  Last  year, 
for  example,  she  and  the  other  Chordettes 
had  been  working  so  hard  with  TV  and 
radio  and  out-of-town  appearances  that 
they  hadn't  a  single  day's  rest  in  three 
months.  Finally,  they  got  one  day  off,  a 
Sunday.  So  Carol  went  skiing  and  broke 
her  leg.  A  thing  like  that  usually  happens 
only  to  a  comic. 

Tom  Mahoney  is  a  comic,  and  things 
happen  to  him.  When  he  mimics  the  boss, 
the  boss  catches  him.  And  once  he  ex- 
pected to  have  only  one  child,  and  now  he 
has  almost  four.  Tom  describes  himself  as 
being  skinny,  and  he  is.  Tom  is  six-three 
and  weighs  just  one-fifty.  He  plays  the 
bungling  stage  manager  and  has  had  the 
part  for  two  years.  Before  he  joined  us, 
he  played  with  Red  Buttons.  When  Tom 
first  read  for  the  part,  I  told  him  that  he 
looked  familiar  and  he  told  me  that  he  had 
worked  as  theater  manager  at  Studio  60 
several  years  previously,  when  I  did  the 
matinee  show  there  with  Rosie  Clooney 
and  Loman  and  Fields. 

Tom,  like  me,  is  a  native  New  Yorker. 
He  was  born  in  1923,  and,  after  high 
school,  got  a  job  as  a  messenger  for  a  rail- 
road. One  day,  he  was  choo-chooing  past 
the  CBS  building  and  applied  for  a  job. 
He  was  hired  as  a  mail  boy.  He  then  went 
to  work  in  the  press  relations  department, 
and  it  was  there  that  the  boss  caught  Tom 
mimicking  him.  But  the  boss  laughed  and 
sent  Tom  over  to  Major  Bowes  for  an 
audition. 

"I  was  just  budding  out  as  a  character," 
Tom  says,  "when  war  broke  out  and  Uncle 
Sam  plucked  me  and  cast  me  in  World 
War  II." 

After  the  war,  he  came  back  to  CBS  and 
began  to  work  in  their  studios  as  a  theater 
manager  until  his  breaks  came  along. 
During   the   past   season,   he   has  worked 


with  Red  Skelton  as  well  as  on  my  show. 
Tom  lives  on  Staten  Island  with  his  pretty, 
petite  wife,  an  Irish  Setter  and  almost 
four  children.  Tom's  oldest  is  Leslie,  and 
she  is  five  and  a  half.  His  second  is  Claire, 
two  and  a  half. 

"Claire's  adopted,"  Tom  explains.  "We 
were  at  the  point  where  we  had  just  about 
given  up  hope  of  having  another  child 
ourselves,  and  wanted  a  bigger  family." 
Now,  however,  it  looks  as  if  nature  is 
about  to  deal  Tom  a  full  house  for,  since 
Claire,  they  have  had  their  first  son,  Paul, 
who  is  eleven  months  old,  and  their  fourth 
is  expected  in  August. 

You  may  think  it  strange  that  we  call 
Tom  Mahoney  by  his  real  name,  although 
he  is  playing  a  part.  It  is  to  make  the  role 
as  believable  as  possible  to  Tom  and  the 
rest  of  us  and  you.  But  sometimes  we 
almost  outfox  ourselves. 

Now,  Cam  Andrews  has  been  the  old 
stagehand  four  years  and  getting  a  goodly 
share  of  laughs.  Recently,  however,  he 
came  on  the  stage  in  costume  and  make- 
up and  crawled  under  the  table,  sup- 
posedly to  fix  something  while  I  acted 
irritated.  In  character,  he  was  to  exagger- 
ate, and  thus  announced,  "You  know,  I'm 
eighty-three  years  old."  Instead  of  snick- 
ering the  studio  audience  began  to  applaud. 
They  thought  it  was  just  wonderful  that 
this  elderly  man  was  still  working.  That 
gives  you  an  idea  of  the  authentic  per- 
formance   Cam    gives. 

Cameron  is  actually  forty-five.  He  came 
over  to  New  York  from  Philadelphia 
twenty-three  years  ago.  Since  then  he  has 
done  thousands  of  radio  and  television 
shows.  He  first  worked  with  Phil  Lord  in 
Seth  Parker  and  had  a  regular  berth  in 
radio's  equally  famed  Showboat.  Recently, 
he  has  played  on  Robert  Montgomery 
Presents,  Ethel  And  Albert,  Love  Of  Life, 
Golden  Windows,  a  Broadway  musical. 
At  present  he  has  a  running  part  in  the 
CBS  Radio  show,  My  Son  Jeep.  He  plays 
Mr.  Mooney. 

Cam  is  handsome.  He  is  slight  of  build 
and  slim-faced,  with  brown  eyes  and 
brown  hair.  He's  given  up  a  putter  for  a 
lawnmower  and  has  thirty-two  acres  out- 
side of  Suffern,  New  York.  He's  married 
but  has  no  children.  "I'm  a  happy  uncle 
in  the  summer,"  he  says.  "That's  when  all 
of  my  nieces  and  nephews  visit.  We  have 
a  ball." 

He  lives  in  a  modernized  farmhouse 
with  three  cats  and  boasts  a  red  barn 
that  boasts  an  Arabian  stallion.  Cam  likes 
to  ride  and  does  some  gardening.  He  was 
cast  to  the  part  of  the  stagehand. 

"I  usually  play  very  young  or  very  old 
parts,"  he  tells  you.  "I've  done  a  lot  of 
dramatic  things,  but  I'm  most  comfortable 
as  a  character.  My  father  was  a  character 
actor  but  gave  it  up  to  go  into  business. 
I  enjoy  acting.  I  don't  see  how  I  could 
ever  give  it  up." 

No  one  has  ever  suggested  to  Cam  that 
he  should. 

Perhaps  one  of  the  best  things  that  can 
happen  to  a  man  at  work  is  to  have  a 
secretary  who  is  dependable,  intelligent 
and  capable.  I  have  such  a  real-life  sec- 
retary in  Nancy  Robinson,  but  she  gets 
Saturday  off.  Julann  Wright  was  hired  to 
take  over  Saturday's  chores.  Thus  a  wit 
was  born. 

Julann  is  five-six.  She  has  red  hair  that 
is  so  long  she  can  sit  on  it,  although  she 
usually  uses  a  chair.  She  has  brown  eyes 
and  pink,  pierced  ears.  The  ears  were 
pierced  when  she  was  thirteen.  She  was 
with  an  aunt  who  was  looking  for  a  maid, 
and  they  called  on  a  woman  who  an- 
nounced she  had  pierced  twelve  sets  of 
ears  that  day  and  wanted  to  make  it  an 
even  baker's  dozen— so  Julann  lent  hers. 

Julann  has  raised  herself  to  be  an 
actress.  She  is  from  Ironwoods,  Michigan, 
and  her  father  is  a  probate  judge.  Julann 


is  one  of  four  daughters.  "With  five  fe- 
males in  the  house,  something  was  always 
happening,"  Julann  says,  "and  we  all 
double-dated — except  for  mother."  Julann 
goes  on,  "Once  I  remember  catching  my 
sister  wearing  my  sweater  when  I  wanted 
it.  She  was  scrubbing  her  teeth,  so  I 
poured  water  on  just  one  side  of  her  head 
and  she  went  to  school  with  one  side  of  her 
hair  in  curls  and  the  other  side  limp  as 
string." 

No  one  thought  of  thwarting  Julann's 
ambition  for  the  stage,  but  her  mother 
insisted  that  she  spend  a  year  at  the 
University  of  Michigan  and  learn  to  type. 
Julann  did.  "One  sister  stayed  in  Michi- 
gan and  the  other  three  of  us  came  down 
to  New  York,"  she  says.  "I  wanted  to  be 
an  actress,  and  one  sister  wanted  to  be  a 
nurse,  and  the  third  of  us  wanted  to  be 
a  secretary  for  the  FBI." 

Each  of  the  sisters  has  realized  her  am- 
bition. Julann  has  worked  with  several 
good  stock  companies  and  has  played  in 
an  off-Broadway  production,  where  the 
competition  is  just  as  keen  as  it  is  on 
Broadway.  And  she  has  made  good  use  of 
her  mother's  advice.  She  got  a  job  doing 
stenographic  work  in  my  office,  working 
only  mornings  so  that  she  would  be  free 
to  make  the  rounds  of  casting  offices  in 
the  afternoons.  One  of  her  duties  as  a 
Saturday  secretary  was  to  come  to  the 
broadcast  and,  among  other  things,  to 
serve  me  coffee  during  the  show.  Now, 
the  radio  show — outside  of  the  musical 
numbers — is  unrehearsed.  We  talk  infor- 
mally and  just  have  a  good  time.  So  one 
morning,  when  Julann  brought  my  coffee, 
I  said  innocently,  "How  are  you  this 
morning?"  She  answered  in  a  couple  of 
hundred  unusual  words,  and  another  char- 
acter was  born. 

If  I  recall  accurately,  Julann  once  said 
that  she  had  been  up  most  of  the  night 
losing  a  couple  of  pounds.  She  explained 
that  she  had  been  two  pounds  overweight 
at  bedtime,  so  she  slept  without  blankets 
or  pajamas.  This  raised  her  metabolism 
and  her  body  burned  up  two  pounds  of 
fat.  Unfortunately,  she  was  so  cold  that 
she  stayed  up  most  of  the  time  rubbing 
her  hands  and  blowing  on  her  toes. 

I  was  to  learn  that,  by  asking  Julann 
how  she  felt  any  Saturday  morning  I 
would  get  intriguing  answers.  Before 
Christmas,  she  started  to  can  turnips  as 
gifts  for  her  friends — until  a  couple  of 
cans  exploded.  We  discovered  that  she 
prefers  the  old-fashioned,  homespun  life 
and  cooks  most  of  her  meals,  bakes  cakes 
and  pies  and  even  bakes  bread  by  her 
great  grandfather's  recipe.  She  sews,  paints 
pictures  or  walls,  and  repairs  and  up- 
holsters furniture  when  necessary.  She 
dates,  but  no  one  man  steady. 

"I  don't  restrict  myself  to  one  kind  of 
man.  I  like  many  different  kinds,"  she 
says,  "but  mostly  I  like  a  steady,  depend- 
able man  with  a  good  sense  of  humor." 

Julann  and  her  sisters  lived  together 
in  a  West  Side  apartment,  until  one  of 
the  sisters  got  married.  She  was  replaced 
by  an  operatic  trainee,  a  forty -dollar 
piano,  and  a  cat  named  Wendell  Ambrose. 

"I  think  of  myself  as  an  actress  and  not 
as  a  comedienne,"  Julann  says,  "but  I 
remember  that,  back  home,  whenever  I 
went  to  picnics,  I  wore  old  clothes — be- 
cause I  was  the  one  they  always  threw 
into   the    creek   for   laughs."  ' 

And  so  it  goes.  These  are  the  people — 
Carol,  Doro  and  Julann,  Al,  Cam,  and 
Tom.  Aided  and  abetted  by  a  couple  of 
dozen  other  people  (including  some  won- 
derful fellows  known  as  "writers")  they 
make  the  show.  To  them  I  owe  my  thanks, 
and  to  you  we  owe  our  thanks.  We  hope 
you  always  like  The  Robert  Q.  Lewis 
Show —  because  when  you  like  it,  we  love 
you — and  when  you  don't  like  it,  we  hate 
ourselves. 


"My  marriage  is 
happier  now  than 
when  I  was  a  bride!" 


says  Mrs.  C.  L.  Kellogg  who  now 
uses  ZONITE  to  douche! 

SAFE!  Many  married  women,  as  well  as 
brides-to-be,  wonder  about  douching  for 
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Kellogg  who,  years  after  her  days  as  a 
bride,  later  learned  about  the  importance 
of  following  the  proper  method  of  douch- 
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EFFECTIVE!  No  other  type  liquid  anti- 
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to  body  tissues  as  zonite. 
HEALTHFUL!  zonite  completely  deodor- 
izes, promptly  washes  away  germs  and 
odor-causing  waste  substances.  A  nurse 
once  advised  Mrs.  Kellogg  that  if  any 
abnormal  condition  exists,  she  should  see 
her  doctor.  She  said  he  would  probably 
recommend  that  she  continue  to  use  zonite. 
DAINTY!  You,  too,  can  be  one  of  the  mod- 
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often  as  needed,  without  the  slightest  risk 
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V         •  STREET 

«    : 

:  CITY STATE 

94 


PARTIAL  CONTENTS 

How  to  Obtain  Tick- 
ets •  The  Admission 

•  The  Best  Seats  • 
The  Warm-up  • 
Your  Appearance  • 
How  Contestants  are 
Selected  •  The  Pre- 
Show  Interview  • 
Why  Certain  Con- 
testants are  Select- 
ed •  City  vs.  Urban 
Contestants  •  How 
To  Fill  Out  the 
Questionnaire  •  The 
Write-In  Contestant 

•  The  Home  Con- 
testant •  The  Tele- 
phone Winner  •  Is 
Stage-fright  Serious 

•  Kind  of  Quiz 
Shows  •  Picking  the 
Category  •  Which 
Quiz  Show  is  Best  • 
Types  of  Questions 

•  How  Questions 
Are  Prepared  • 
Books  To  Study  • 
The  Come-Back 
Contestant  •  When 
To  Stop  •  Who  Sees 
the  Questions  •  The 
Income  Tax  •  The 
Emcee  •  How  Hon- 
est are  Quiz  Shows? 


Nice  Guy 


(Continued  from  page  52) 
with  an  hour-long  program  on  Saturday 
evening. 

All  summer  long,  critics  and  experts 
wondered  whether  he  would  get  away 
with  it.  This  new  booking  put  him 
squarely  under  the  big  guns  of  "Mr.  Sat- 
urday Night" — Jackie  Gleason,  the  man 
whose  high-power  comedy  had  first  up- 
rooted the  entrenched  opposition  and  then 
mowed  down  each  new  program  almost 
as  soon  as  it  was  put  on  the  air.  Perry 
was  pleasant,  said  the  experts,  but  could 
he  even  get  a  foothold  in  this  new  battle 
for  ratings? 

Perry  met  the  problem  by  being  just 
Perry.  He  invited  people  whom  he  liked  to 
appear  with  him,  and  raised  the  curtain 
on  some  of  the  good-natured  clowning 
which  has  always  gone  on  backstage  dur- 
ing his  rehearsals.  He  sang  the  songs  he 
liked  and  they  also  proved  to  be  the  songs 
the  audience   liked. 

Before  many  weeks  had  gone  by,  the 
answer  was  in.  Part  of  it  was  discovered 
to  be  in  the  letters.  Where  previously,  he 
had  received  between  three  and  four 
thousand  pieces  of  mail  a  week,  the  count 
now  jumped  to  nearly  seven  thousand. 
"And,"  says  Lee  Cooley,  his  producer, 
"when  we  analyze  them,  it's  almost  un- 
believable. People  who  object  to  some- 
thing are  the  ones  who  first  take  pen  in 
hand — everyone  in  broadcasting  knows 
that.  Yet,  out  of  every  hundred  letters 
which  Perry  receives,  we  seldom  find  as 
many  as  five  which  are  unfavorable." 

The  ratings  told  the  official  story.  Perry's 
audience  climbed  steadily,  equalled  that 
of  his  opposition,  then  forged  a  bit  ahead. 
Como  clearly  had  succeeded  in  giving  the 
majority  of  television  viewers  just  what 
they   wanted. 

Such  acclaim  often  brings  a  new  danger. 


It  has  been  known  to  alter  the  perspective 
and  personality  of  a  star.  A  "few  of  the 
professional  viewers-with-alarm  have 
raised  the  classic  question:  "Will  this  new 
success  spoil  Perry  Como?" 

Again  the  answer  has  come  from  two 
directions.  In  the  Como  home  at  Sands 
Point,  Long  Island,  the  only  change  has 
been  that  the  children,  Ronnie,  Terri  and 
David  grew  an  inch  or  two  and  were 
interested  in  more  activities.  Their  parents 
were  a  little  busier  driving  them  to  Boy 
Scout,  Girl  Scout,  school  and  church 
meetings.  But  the  bond  between  Perry 
and  his  Roselle  was  even  closer  than  it 
was  that  day  they  were  married  in  1933. 

Producer  Lee  Cooley  reported  on  the 
effect  of  this  new  success  in  the  studio. 
"We're  all  working  harder,  of  course,  but 
when  the  rating  went  up,  there  wasn't  a 
word  out  of  Perry.  Had  they  gone  down, 
I  know  that  he,  like  the  rest  of  us,  would 
have  been  disappointed,  but  he  wouldn't 
have  said  anything  then,  either.  He's  still 
the  same  nice  guy." 

Now,  "nice"  is  a  word  which  no  adver- 
tising manager  would  ever  blazon  on  a 
billboard.  Probably  it  has  never  sold  a 
theater  ticket.  Yet — in  that  backstage 
world  where  cast,  staff  and  crew  can  pay 
for  a  star's  bursts  of  temperament  with 
personal  ulcers,  nervous  exhaustion  and 
heart  attacks — when  his  associates  call  a 
star  "nice"  it's  darned  near  the  highest 
accolade.  If  he  can  master  the  difficult  art 
of  self-discipline,  if  he  breaks  the  strain 
with  a  touch  of  humor,  and  if  he  is,  at  all 
times,  a  considerate  human  being,  he 
becomes  to  them  the  greatest  of  heroes. 

That's  why  Perry  Como  is  the  "favorite 
TV  male  singer  of  1955-56"  to  those  behind 
the  scenes  of  broadcasting — as  well  as  to 
all  the  viewers  who  voted  him  TV  Radio 
Mirror's  medal   of  honor. 


Hooray  for  Gene! 


(Continued  from  page  68) 
had  every  right  in  the  world  to  lose  his 
temper.  But,  when  I  told  him,  he  smiled 
and    said,    "Forget    it,    Louise,    you    can't 
cry  over  spilled  records.  .  .  ." 

The  people  who  work  with  Gene,  his 
friends  who  know  him  best,  can  tell  you 
that  there  is  no  one  in  Hollywood  who  is 
more  a  "real  person"  than  Gene  Autry. 
"One  of  Gene's  most  wonderful  qualities," 
says  his  long-time  friend  and  TV  pro- 
ducer, Lou  Gray,  "is  the  fact  that  Gene 
never  changes.  He's  the  same  quiet,  un- 
assuming man  today  that  he  was  twenty- 
five  years  ago  when  I  first  met  him.  .  .  . 
When  we  go  on  location  to  Joshua  Tree, 
Gene  is  just  one  of  the  cowboys.  If  a  call 
goes  out  for  a  crack-of-dawn  scene,  he's 
there — and  he's  still  there  when  the  sun 
goes  down.  If  a  hard-riding  scene  comes 
up,  something  that  might  demand  a  stunt 
man,  Gene  says,  'Aw,  come  on,  now,  let's 
don't  make  a  big  thing  of  this,' — and  we  go 
ahead  and  do  it. 

"To  go  back  twenty -five  years:  I  first 
heard  of  Gene  when  I  worked  in  a  New 
York  agency.  Each  month  the  record- 
sales  report  came  across  my  desk.  Gene's 
records  for  Sears  &  Roebuck  were  be- 
ginning to  hit  the  top  ten.  People  in  the 
office  began  asking,  'Who's  Gene  Autry?' 

"One  day  Gene  finally  got  to  the  New 
York  office.  He  came  clumping  in,  wear- 
ing boots  and  a  big  white  hat,  and  said, 
'Howdy,'  to  all  the  girls.  They  just  gaped. 
You  just  didn't  see  many  boots  on  Madi- 
son Avenue  in  those  days.  Well,  from 
then  on.  Gene  was  referred  to  as  the 
'boy  in  the  big  white  hat.'  Of  course,  he's 


a  big  man  now — point  is,  as  far  as  I  can 
see,  Gene  hasn't  changed.  I  still  call  him 
'the  man  in  the  big  white  hat,'  and  he 
still  says,  'Howdy.' " 

Says  his  wife  Ina,  "Gene  talks  plain 
United  States,  and  I  mean  just  the  plain- 
est. In  fact,  he  spoke  so  'easy'  it  made  an 
impression  on  me  the  first  day  we  met. 
Gene  had  known  my  aunt  and  uncle  for 
some  years,  and  I  was  staying  with  them 
while  going  to  college  in  Springfield,  Mis- 
souri. They  talked  about  him  and  how  he 
was  playing  on  Station  WLS.  To  a  kid  in 
college,  like  me,  anybody  in  Chicago  radio 
was  really  big. 

"I  was  in  a  dither,  when  Gene  stepped 
off  the  train  for  a  visit  that  morning  in 
1931,  but  he  spoke  more  'Missouri'  than 
my  uncle  and  aunt!  And  I  thought,  Now, 
here's  a  person  whose  head  will  never  be 
turned  by  success,  no  matter  what.  I  think 
I  decided,  then  and  there,  'Here's  the  man 
for  me.'  We  went  back  to  the  house, 
visited  for  a  spell,  and  then  he  took  me 
to  a  movie.  When  he  left,  we  wrote.  Then 
he  visited  again,  three  or  four  times,  and 
finally  he  wrote  to  me  from  St.  Louis  to 
come  and  get  married.  I  did,  and  I've  never 
been  unhappy  about  it  a  day  in  my  life — 
and,  before  long,  we'll  have  been  married 
a  quarter  of  a  century." 

With  nearly  twenty -five  years  of  mar- 
riage, twenty-six  years  of  radio,  and  a 
record  of  sixteen  years  association  with 
the  same  sponsor,  TV  Radio  Mirror  salutes 
Gene  Autry.  For — as  his  many  faithful 
listeners  long  ago  agreed — to  know  Gene 
is  to  love  him  .  .  .  plain  folks,  it  seems, 
never  wear  out  their  welcome. 


Always  for  the  Home  Team 


(Continued  from  page  41) 
within  the  security  of  their  togetherness. 
To    maintain    that    balance    of    happiness 
takes  work.   No   lazy   parents   need   apply 
for  a  position  in  this  household. 

Harriet  is,  to  a  degree,  in  much  the 
same  position  as  many  other  women  today 
who  must  be  three-dimensional.  They  are 
wives-mothers-and-career  women,  through 
economic  necessity,  desire  or  circum- 
stances. Harriet's  approach  to  her  triple- 
duty  life  is  much  the  same  as  that  of  any 
other  conscientious  woman  whose  family 
comes  first.  Although  she  winces  at  the 
phrase,  "model  woman,"  she  has  come  as 
close  to  the  target  as  possible  without 
becoming  a  stuffy  paragon  of  virtue. 

"Fortunately,  I  have  a  background  of 
show  business,"  Harriet  muses,  reflecting 
on  the  unusual  nature  of  the  Nelson  activi- 
ties. "I've  always  been  so  amazed  when 
people  say  'Poor  child,  her  parents  were 
show  people  and  she  didn't  have  the  things 
a  child  needs.'  You  see,  I  made  my  first 
professional  appearance  at  the  age  of  six 
weeks.  But  I  was  slow — I  didn't  get  my 
first  speaking  part  until  I  was  three.  As 
Dad  was  a  director  and  Mother  leading 
lady  of  the  stock  company,  it  was  only 
natural  that  I  teethed  on  scripts  and  act- 
ing. The  happiest  days  of  my  life  were 
moving  from  town  to  town,  hotel  to  hotel, 
meeting  new  people,  experiencing  the  thrill 
of  being  with  happy,  'doing'  people.  And 
if  you  think  it's  a  gay  carefree  life,  don't 
you  believe  it.  I  had  fourteen  mothers  and 
fathers  of  the  cast  surrounding  me  at  all 
times.  They  felt  it  was  their  bounden  duty 
to  make  me  a  good  citizen.  And  believe 
me  when  I  say  that  my  most  wonderful 
Christmases  were  in  highly  decorated  ho- 
tel rooms.  Christmas  was  a  big  thing  on 
the  road.  Every  member  of  the  troupe  had 
fabulous  decorations,  trees  and  gifts.  I 
loved  it  all.  I  was  loved,  secure  and  happy." 

Because  of  her  own  remembering,  Har- 
riet felt  no  qualms  when  she  toured  with 
Ozzie  and  his  band  while  David  was  a 
baby.  In  fact,  David  made  a  rather  im- 
promptu appearance  on  the  stage  at  the 
age  of  two.  Harriet  used  to  sing  one  num- 
ber, "The  Kid  in  the  Three-Cornered 
Pants,"  just  for  him  every  night.  One  night, 
she  realized  the  applause  and  reaction  was 
heavier  and  filled  with  hilarity.  Glancing 
down,  'way  down,  she  understood.  She  was 
sharing  the  spotlight  with  her  young  son, 
who  had  slipped  away  from  his  nurse,  and 
was  standing  by  her  side  applauding  her 
and  taking  a  few  theatrical  bows  on  his 
own.  This  was  an  omen  of  things  to  come. 

"Actually,  Linny  Crosby  was  the  reason 
the  boys  got  into  the  act,"  Harriet  smiles. 
"David  was  eleven  and  Ricky  eight,  and 
they  both  wanted  terribly  to  take  their 
own  parts  on  our  radio  show.  The  two  boys 
doing  the  roles  were  rapidly  growing  out 
of  them.  We  didn't  even  consider  letting 
David  and  Ricky  do  it.  Then  we  asked 
Bing  Crosby  to  be  on  the  show.  Bing 
agreed  and  asked  if  he  could  bring  his 
young  son,  Linny.  We  agreed.  Linny  and 
David  and  Ricky  were  friends.  When  they 
heard  that  Linny  would  be  on,  you  could 
have  heard  the  scream  of  protest  through- 
out Hollywood.  So  Ozzie  decided  to  write 
them  in  with  Linny.  He  wrote  a  whole 
story  around  them,  but  gave  them  very 
little  to  do.  We  decided  to  do  a  preview 
a  day  before  the  radio  show.  The  response 
amazed  us.  Ricky,  at  eight,  was  so  little 
he  couldn't  keep  his  chin  up  over  the  table, 
and  the  audience  loved  it.  Both  of  them 
punched  their  lines  across  like  old  pros 
and,  when  the  audience  went  into  gales  of 
laughter,  the  Nelson  family  became  an 
acting  team.  The  boys  had  tasted  blood  .  .  . 
and  they  wanted  more. 


"Ozzie  and  I  had  a  long  talk  about  it. 
Ozzie  said,  'I  can't  see  where  it's  done 
us  any  harm.  Let's  try  it.'  Perhaps  because 
of  my  own  childhood,  I  was  and  still  am 
adamant  about  their  acting  only  within 
the  family  circle.  They  are  not  child  actors 
in  the  usual  sense  of  the  word.  Their  work 
(which  they  think  is  fun)  is  always  with 
Ozzie  and  me.  At  the  studio  they  are 
treated  like  regular  kids  and  have  never 
had  the  phony  sense  of  being  a  celebrity 
that  can  ruin  a  growing  child.  They  are 
part  of  our  team  and  enjoy  themselves 
immensely." 

It  was  then  that  Harriet,  the  mother, 
sat  down  and  tried  to  anticipate  the 
possibilities  this  change  of  living  would 
have  on  them  all.  She  recognized  the 
pitfalls  ahead  for  two  young  boys  if  the 
attitudes,  securities  and  home  life  were 
not  thoroughly  explored  by  the  parents 
responsible  for  the  change.  As  usual, 
Ozzie  had  realized  the  same  necessities, 
and  their  talk  was  constructive  and  to  the 
point. 

"We  agreed  that  business  must  never 
become  more  important  than  the  living 
so  very  important  to  boys,"  says  Harriet. 
"If  they  didn't  work  outside  the  family 
circle,  then  they'd  never  be  outside  our 
knowledge  and  control.  We  agreed  to  try 
for  a  balance  of  control  and  discipline  so 
that  they  might  be  able  to  experience,  ex- 
plore and  learn.  And  they  certainly  have," 
she  continues  with  a  smile.  "David  is 
thoughtful  and  methodical  and,  through 
the  years,  he  has  learned  cameras,  settings, 
cutting  and  every  facet  of  motion  picture 
making.  Rickey,  on  the  other  hand,  is  quick, 
impulsive  and  given  to  snap  judgments. 
He  disappears  between  takes  and  has  to 
be  called  at  least  three  times.  Once,  when 
he  was  thirteen,  I  asked  where  he  was 
and  someone  said  he  was  doing  some  splic- 
ing in  the  cutting  room.  'Splicing?'  I 
gasped,  'He  doesn't  know  how  to  splice.' 
'Don't  fool  yourself,  Harriet,'  my  friend 
answered.  'That  kid's  splicing  film  right 
now  so  you  couldn't  tear  it  apart.  He's  as 
good  as  the  cutters.'  " 

So  the  Nelsons  settled  down  to  the 
regime  of  twenty-four  hours  a  day  to- 
gether. The  boys  continued  their  other 
activities,  and  filming  was  centered 
around  the  idea  of  allowing  them  the 
freedom  they  needed.  David,  like  Ozzie, 
is  a  fine  football  player.  At  Hollywood 
High  he  was  a  varsity  star.  He  also  man- 
aged to  get  in  a  little  swimming,  basket- 
ball, tennis  and  water-skiing,  while  doing 
double-duty  as  a  boy  and  as  an  actor. 
Ricky,  another  natural  athlete,  is  playing 
football  and  tennis,  but  also  has  a  bent 
for  music  in  the  form  of  clarinet  or 
drums. 

"Ozzie  is  so  wonderful  with  the  boys," 
Harriet  says  with  a  note  of  pride.  "Maybe 
they  get  their  ability  to  do  so  many  things 
at  the  same  time,  fully  and  well,  from 
Ozzie.  He  understands  them,  because  he 
was  full  of  activity  when  he  was  a  boy 
(and  he's  never  stopped).  Even  when  he 
was  a  star  quarterback  and  honor  stu- 
dent at  Rutgers,  show  business  and 
music  were  uppermost  in  his  mind.  Ozzie 
didn't  start  in  show  business  quickly.  He 
took  his  time — he  was  four  when  he  first 
appeared  in  one  of  his  father's  amateur 
theatricals.  At  thirteen,  he  was  the  na- 
tion's youngest  Eagle  Scout  and  did  a 
lot  of  counseling  at  summer  camps.  If 
I  sound  immodest  about  my  husband, 
it's  because  I  think  it's  always  been  ob- 
vious that  Ozzie  was  going  to  be  a  fine 
man.  But,  along  with  his  other  activ- 
ities at  Rutgers,  Ozzie  was  art  editor  of 
the  school  humor  magazine  and  organized 
a  band  to  play  for   local  dances.     When 


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HOLLYWOOD 
IN  REVIEW 


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he  was  graduated  from  law  school,  he 
immediately  formed  a  band  that  almost 
as  immediately  became  a  'name  band.' 
I'm  pointing  this  out  because  I  think  it 
explains  the  boys'  terrific  ability  to  or- 
ganize themselves  and  do  so  many  things 
so  well." 

It  is  to  be  noted  that  Harriet  has  had 
her  full  share  of  heavy  organization  and 
pressure,  too.  She  manages  her  home 
with  its  million-and-one  demands  with 
one  hand,  while  she  plows  through  scripts, 
runs  to  the  studio,  does  her  role  and 
works  at  being  a  wife  and  mother  at  the 
same  time.  If  it  weren't  for  the  occasional 
two-month  respites  from  this  constant 
pressure,  it  is  possible  that  Mrs.  Nelson 
might  pop  her  cork. 

"It  is  heaven  to  have  pressure  off,"  Har- 
riet admits.  "Yesterday  was  the  begin- 
ning of  a  free  period.  I  was  in  seventh 
heaven  just  doing  what  I  wanted.  I 
did  a  lot  of  needed  things  .  .  .  but  I 
didn't  have  to  do  them.  I  wanted  to. 
It  makes  quite  a  difference.  Everybody 
has  to  be  careful  to  avoid  getting  caught 
up  in  a  tinge  of  self-pity  occasionally,  I 
think.  Particularly  when  you  can  see 
no  way  out  of  a  set  routine.  The  boys 
in  the  band  used  to  call  it  the  SPS — 'self- 
pity  society.'  They  also  had  a  sure  mire 
for  it — a  swift  kick  in  the  pants.  For- 
tunately, I  learned  this  early  and  the 
boys  have  learned  it  too.  Invariably,  we 
can  trace  hurt  feelings  back  to  ourselves. 
Something  we  have  or  haven't  done  is 
quite  often  responsible  for  the  feeling  of 
'poor  little  me.'  " 

A  sense  of  humor  helps,  too,  and  the 
Nelsons  are  long  on  that  commodity.  "We 
all  have  the  ability  to  laugh  at  ourselves. 
And  we  have  to,  with  the  heavy  sched- 
ules in  our  house.  For  Ozzie,  as  husband, 
father,  producer,  director,  chief  writer 
and  star  of  our  show,  is  one  of  the  busiest 
men  in  Hollywood.  We  all  do  so  many 
things,  but  happily  most  of  it  is  together." 

The  Nelsons  seem  to  be  thriving  on 
the  system  they've  set  up.  David,  now 
nineteen,  has  entered  into  the  activities 
of  college  life  at  USC  with  a  vengeance. 
He  joined  the  Kappa  Sigma  fraternity,  and 
last  fall  played  quarterback  on  the 
Freshman  football  team.  Loving  show 
business,  David  wants  to  do  what  Ozzie 
did — go  to  law  school,  and  then  apply 
his  knowledge  to  the  now  enmeshed 
mechanism  of  television.  Ozzie  has  not 
hidden  the  working  facets  of  show  busi- 
ness from  his  sons.  They  have  discussed 
the  financial,  production  and  technical 
ends  of  the  show  since  they  started.  Both 
boys  are  fully  aware  that  one  does  not 
"just  act"  any  more.  Today,  an  actor 
must  have  the  ability  to  fend  for  himself 
in  all  phases  of  production. 

In  many  ways,  they  have  had  an  edu- 
cation unsurpassed.  They  know  auto- 
matically many  areas  of  theater  which 
some  of  our  new  producers  and  direc- 
tors are  just  discovering.  While  they 
were  making  "Here  Come  the  Nelsons" 
at  Universal-International,  Jesse  Hibbs, 
the  director,  immediately  tabbed  Ricky 
"Mile-Away    Nelson."    For    Rickey's    in- 


quisitive nose  led  him  far  afield  on  the 
studio  lot.  The  minute  he  heard  the 
word  "cut,"  he  was  off  investigating 
the  Indians  on  the  next  set  or  trailing 
the  musicians  around  the  lot.  Ricky  is  an 
excellent  drummer,  incidentally,  and  he 
loves  and  knows  his  music. 

"When  we  were  going  to  Sweden  last 
summer,  Ricky  had  the  time  of  his  life," 
Harriet  says  proudly.  "We  went  on  a 
Swedish  ship,  the  Kungsholm,  and  had  one 
friend  on  board,  Mr.  Jansen,  who  could 
speak  both  Swedish  and  English.  The  band 
didn't  speak  a  word  of  English.  One  night, 
we  noticed  that  the  drummer  was  missing. 
Instantly  Ricky  was  on  the  alert.  He 
asked  Mr.  Jansen  where  the  drummer 
was.  It  seemed  he  was  sick.  Ricky  asked 
Mr.  Jansen  to  ask  the  leader  to  allow 
him  to  play  a  set.  Being  used  to  the  eccen- 
tricities of  Americans  and  also  feeling  po- 
lite toward  the  paying  guests,  the  musicians 
gave  a  reserved  approval.  When  little  Ricky 
got  up  and  started  for  the  bandstand  their 
dismay  was  obvious.  Halfway  through 
the  first  number  they  started  perking  up 
and  looked  real  pleased.  Ricky  played 
his  beloved  drums  to  his  heart's  content. 

"The  next  night,  they  asked  him  to 
join  them,  and  a  prouder  boy  you  never 
saw.  The  third  night,  I  missed  Ricky 
after  dinner.  When  I  asked  where  he 
was,  Ozzie  informed  me  that  he  was 
playing  with  the  band  in  the  cabin  section. 
After  that,  every  other  night,  Ricky 
would  dress  for  dinner,  sit  through  po- 
litely with  us  and  then  go  change  again 
and  take  his  turn  with  the  band.  I 
don't  think  a  boy  with  an  addiction  to 
drumming  could  have  been  closer  to 
heaven  than  Ricky  was  during  that 
trip!" 

Ricky,  at  fifteen,  is  also  serious  about 
show  business  for  a  future,  enjoys  his 
life  as  it  is,  and  looks  upon  girls  as  good 
tennis  partners.  A  forehand  is  more  im- 
portant to  him  than  a  forearm  at  this 
time.  But  he  is  teetering  on  the  edge 
of  girls-for-girls'  sake.  And  Harriet  and 
Ozzie  are  pleased.  Both  boys  have  evi- 
denced excellent  taste  in  their  choice  of 
girls. 

But,  however  pleased  Harriet  is  about 
her  boys,  she  is  not  smug  about  them. 
Her  attitude  toward  raising  her  children 
is  pretty  much  the  way  she  feels  about 
her  own  growth — it  is  a  continuing  ex- 
perience. "I  try  never  to  forget  that 
David  and  Ricky  are  people.  They  are 
so  individual  that  their  needs  are  often 
different.  Ozzie  has  the  fine  habit  of 
honestly  being  interested  in  the  things 
they  do.  When  David  has  played  a 
football  game,  or  Rickey  a  tennis  match, 
Ozzie  must  hear  every  detail.  He  really 
relishes  the  constant  contact  with  his 
growing  sons.  We  have  an  easygoing  yet 
respectful  relationship  all  around  .  .  . 
albeit  rather  informal.  The  boys  quite  often 
address  Ozzie  and  me  as  'you  guys.' 

"The  other  night,"  Harriet  recalls,  "we 
asked  David  if  he'd  like  to  go  to  a  movie 
with  us.  He  looked  at  us  quietly  for 
a  moment  and  then  said,  'No,  I  think  you 


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guys  ought  to  go  out  alone  more.  You're 
always  with  Rick  and  me.  You  should 
have  a  chance  to  go  out  by  yourselves.' 
Both  Ozzie  and  I  protested.  But  David 
was  adamant.  'No,'  he  answered  with  the 
wisdom  of  nineteen,  'I  think  it's  good  for 
you  to  be  alone.'  So  Ozzie  and  I  meekly 
accepted  his  ultimatum,  and  went  to  the 
movie  alone.  David  is  our  movie  mentor. 
If  he  says  we'll  like  a  picture,  we  go  see 
it.  If  he  says  it's  no  good,  we  skip  it. 
Once  we  ignored  his  advice  and  went  to 
a  bad  one.  We  left  in  the  middle  and 
have  never  doubted  his  judgment  since." 

Because  the  Nelsons  live,  eat,  sleep, 
and  work  together,  they  are  aware  of 
the  extra  need  for  not  getting  in  each 
other's  hair.  They  know  one  another 
very  well,  as  most  close  families  do,  and 
can  spot  a  phony  reaction  from  each  other 
quickly. 

"I  have  a  bad  habit,"  Harriet  grins, 
"in  a  difficult  piece  of  acting,  of  reverting 
to  the  coy  cute  boop-boopie-doop  when 
I'm  unsure  of  myself  or  off-balance.  I 
have  begged  them  all  to  stop  me  .  .  . 
and  they  do.  I  am  also  trying  to  learn 
to  become  void  of  anger.  Not  a  Mrs. 
Milquetoast,  but  devoid  of  the  need  for 
anger.  I  am  learning  to  hold  my  tongue. 
If  I  can  keep  my  mouth  shut  for  ten 
minutes,  I  find  the  need  to  lash  out  or 
hurt  someone  is  gone.  If  I  can  think, 
'How  would  I  feel  if  he  said  that  to  me?' 
.  .  .  that  usually  manages  to  stop  me. 

"When  I  was  eighteen,  I  was  the  rea- 
sonable facsimile  of  the  terrible -tempered 
Mrs.  Bang,"  Harriet  admits  ruefully. 
"One  night,  I  was  in  my  dressing  room 
waiting  to  go  on  with  my  act.  I  don't 
know  what  happened,  but  I  got  so  mad 


I  actually  kicked  a  hole  in  the  wall  of 
the  room.  And  immediately  burst  out  all 
over  with  a  bad  case  of  hives.  I  was  a 
dancer  then.  While  I  was  going  through 
my  act,  the  pain  was  killing  me.  Right 
in  the  midde  of  a  step,  I  suddenly  thought 
to  myself,  'This  serves  you  right.  You 
deserve  hives  for  losing  your  temper.' 
Between  numbers  I  had  to  sit  in  a  bath 
tub  of  hot  water  and  soda  and  look  at 
those  angry  welts.  It  cured  me  of  the 
physical  part  of  temper.  But  to  become 
completely  devoid  of  anger  is  something 
to  be  worked  toward  all  one's  life." 

Self-control  and  belief  in  human  dignity 
are  very  deep  parts  of  Harriet  Nelson's 
personality.  Basically,  she  is  the  same 
fine  woman  seen  weekly  on  television. 
No  one  can  play  a  part  completely  un- 
like themselves  so  consistently  without 
showing  through.  Women  like  Harriet 
instinctively,  and  that  is  a  compliment. 
She  is  warm,  outgoing  and  interested  in 
those  she  meets.  Her  response  to  others 
is  a  constant,  searching,  working  growth. 
For,  to  Harriet  Nelson,  raising  good  boys, 
good  athletes,  is  a  part  of  life,  not  all  of 
it.  Sometimes  she  learns  from  them, 
sometimes  from  Ozzie.  And,  quite  often, 
they  learn  from  her. 

The  living  proof  of  her  success  as  a 
three-dimensional  woman — wife,  mother 
and  actress — is  when  the  front  door  opens 
and  one  of  the  Nelson  boys  comes  in 
yelling,  "Hey,  you  guys,  what  you  doing?" 
No  one  can  manufacture  the  aura  of  love, 
affection  and  warmth  in  this  family.  Any- 
one who  sees  them  together  knows 
that  Ozzie  and  Harriet  have  practiced  the 
theory  of  "loving  with  open  hands"  with 
excellent  results. 


Sincerely  Loretta 


(Continued  from  page  65) 
seen,  a  number  of  letters  arrived  at  Lew- 
islor  Productions  protesting  the  cigarette. 
The  important  thing  to  remember  is  sim- 
ply that  the  cigarette  was  a  touch  of  the 
character  she  played — and  not  of  Loretta. 

The  second  thing  which  establishes  Lor- 
etta as  an  award-winning  actress  is  her 
unconscious  creativity.  For  example,  the 
day  she  was  playing  the  part  of  a  Japanese 
wife  in  the  teleplay,  "The  Pearl,"  the  same 
writer-interviewer  was  present  on  the  set. 
She  was  surprised  during  this  visit  to  see 
Loretta,  hands  folded,  seated  quietly  in  a 
corner  with  a  Japanese  war  bride  there  as 
adviser.  At  the  end  of  the  day,  Loretta  left 
the  set  with  the  same  deferential  demeanor 
as  the  Japanese  girl  herself. 

"In  contrast  to  this,"  says  Helen  Fergu- 
son, "I  remember  when  Loretta  was  mak- 
ing the  movie,  'Mother  Is  a  Freshman,'  in 
which  she  played  the  role  of  a  teen-age 
daughter's  mother  who  went  to  college. 
One  evening  after  work,  she  dropped  in  at 
my  house — and  stayed  for  dinner — just  as 
a  teenager  would.  She  was  simply  filled 
with  a  contagious,  bouncy  enthusiasm 
which  had  us  both  in  giggles  before  the 
evening  was  out." 

Loretta  is  unaware  of  this  unconscious 
creativity.  She  doesn't  realize,  when  she 
leaves  the  set  each  day,  that  she  is  think- 
ing deferentially  as  a  Japanese  wife — or 
objectively  as  a  newspaper  woman.  But 
thinking  she  is. 

This  unconscious  thinking  trait  shows  up 
in  the  detailed  perfection  of  every  me- 
chanical movement  which  Loretta  is  called 
on  to  perform.  As  Inga,  the  Swedish  farm 
girl,  for  example,  she  steps  aboard  the 
tractor  as  Inga  would — not  as  Loretta.  If 
she  plays  a  nurse's  role,  Loretta  adminis- 
ters a  hypodermic  as  though  she  had  spent 
her  adult  life  in  a  hospital. 

An  important  thing  to  remember  in  this 
regard  is  that  she  does  not  practice  these 


mechanical  duties  before  a  mirror.  Instead, 
Loretta  spends  her  off-stage  moments  con- 
templating her  behavior,  practicing  her 
gestures  mentally,  and  thinking  like  the 
farm  girl — or  Japanese  wife — or  nurse. 
When  the  time  comes  for  the  performance, 
it  is  as  real  as  though  she'd  been  doing 
these  things  all  her  life. 

A  third  and  final  explanation  for  Lor- 
etta's  100%  perfection  as  a  performer  is 
her  objectivity  about  herself  as  an  actress, 
her  willingness  to  accept  criticism.  For  ex- 
ample, when  she  was  making  the  picture, 
"Rachel  and  the  Stranger,"  she  was  visited 
on  the  Eugene,  Oregon  location  by  Helen 
Ferguson.  After  a  scene,  Loretta  came  over 
to  show  Helen  some  still  pictures  from  the 
production.  Helen  looked  at  them  and  said, 
"I  have  a  suggestion." 

Loretta  asked,  "What's  that?" 

"The  pictures  show  your  lovely  finger- 
nails, but  I  think  they  should  be  trimmed 
while  playing  'Rachel,  the  bondswoman.' 
If  your  nails  were  shorter,  you  would  use 
your  hands  differently  while  feeding 
chickens  and  milking  cows." 

Loretta  looked  at  her  nails — and  at  the 
still  pictures — without  saying  anything. 
Later,  at  lunch,  Helen  saw  her  examining 
her  nails  again.  When  they  returned  to  the 
set,  Loretta  called  for  nail  clippers.  .  .  . 
Says  Helen  Ferguson,  "You  can  discuss 
Loretta's  performance  as  if  you  were  dis- 
cussing another  person." 

Loretta  Young  has  always  believecf  in 
giving  her  best  .  .  .  and  in  relation  to 
television,  especially,  for  she  thinks  it's  the 
greatest  invention  man  has  made.  When 
television  was  new,  Loretta  immediately 
became  devoted  to  warm,  sincere  person- 
alities like  Arthur  Godfrey  and  Kate 
Smith.  "They  bring  so  much  enjoyment 
into  my  home  and  are  such  welcome  visi- 
tors," she  says.  That's  why  Loretta  her- 
self went  into  television  with  all  her  heart 
.  .  .  for  she  wanted  to  "go  visiting,"  too! 


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The  Things  She  Said  To  Me! 

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Two  For  The  Money 


(Continued  from  page  61) 
is,  not  all  kids  are  musicians.    You  can't 
wreck  a  band  to  make  room  for  a  fellow 
who's  got  the  spirit  but  not  the  talent." 

Cost,  too,  is  a  factor.  "Some  kids  haven't 
the  money  for  a  sax  or  a  trumpet.  Can't 
afford  the  lessons,  either.  It  takes  a  long 
time  to  learn  to  play  an  instrument."  But 
a  harmonica,  he  points  out,  is  within 
everyone's  reach.  "It  costs  only  a  few 
dollars,  and  almost  anyone  can  play  it. 
You  get  to  hear  a  tune  right  away.  If  a 
kid  is  interested,  then  there's  no  telling 
how  far  it  might  lead." 

Herb  himself  is  the  shining  example  of 
"how  far  it  might  lead,"  for  his  childhood 
harmonica  eventually  proved  to  be  his 
passport  to  show  business.  He  credits  a 
high-school  teacher  with  providing  the 
same  kind  of  help  he  would  now  like  to 
pass  along  to  other  kids.  "I've  forgotten 
this  man's  first  name,"  he  confesses,  "and 
I  probably  misspell  his  last  name,  but  I'll 
never  forget  what  Mr.  Moreaux  did." 

Red-headed  Herb — who,  even  today, 
looks  like  Tom  Sawyer  grown  up — was 
one  of  a  group  of  boys  who  sometimes 
got  together  to  try  a  tune  on  their  har- 
monicas. "That's  all  most  of  us  could 
afford,"  he  explains.  "Things  were  kind 
of  miserable  back  in  Indiana  during  the 
Depression."  Their  early  efforts  drew  few 
plaudits.  "Then  Mr.  Moreaux  offered  to 
teach  us — he  was  the  biology  teacher  at 
Central  High  School  and  it  was  sure  nice 
of  him  to  take  time  off  from  his  bugs  and 
frogs.  He  turned  our  defender.  He  made 
us  respectable.  We  formed  a  harmonica 
band  and  they  let  us  play  at  pep  rallies 
and  football  games  and  thinks  like  that." 

Radio  was  their  next  objective:  "There 
was  hardly  any  network,  disc  jockeys  hadn't 
been  heard  of,  and  so  there'd  be  a  man 
playing  the  organ.  Then  they  would  have 


organ  and  birds,  or  piano  and  birds. 
Right  after  school,  we'd  tear  over  to  the 
station  and  sometimes,  if  the  fellow  who 
was  playing  got  tired,  they'd  let  us  go  on." 

A  harmonica  quintet  evolved  which 
played  for  barn  dances,  theaters,  little 
night  clubs.  Herb  took  to  making  a  few 
remarks  between  numbers.  "Nobody  paid 
much  attention,"  he  says,  "Back  home, 
guys  just  standing  around  talking  to  each 
other  were  funnier  than  I  was." 

His  solo  venture  into  Chicago  nearly 
ended  in  oblivion:  "I  rigged  up  neon 
lights  on  my  harmonica  and  a  booker 
figured  it  was  a  good  gimmick.  He  asked 
if  I  wanted  to  play  Sydney.  I  thought  he 
meant  Sidney,  Ohio,  and  said  sure.  When 
it  turned  out  to  be  Sydney,  Australia,  I 
wondered  if  I'd  ever  get  back  home." 

But  his  homespun  humor  and  trusty 
harmonica  proved  equal  to  the  task.  They 
eventually  brought  him  to  Broadway, 
radio  and  television.  Now  Herb  hopes  to 
open  the  same  route  to  other  young 
enthusiasts:  "We're  going  to  try  to  have 
some  regional  contests  and  award  scholar- 
ships and  prizes.  That  will  give  kids  some- 
thing to  work  for." 

Already  his  idea  is  catching  fire.  "It's 
kind  of  nice,"  Herb  smiles,  "the  way 
people  who  remember  how  to  play  har- 
monicas are  writing  in  to  say  they  want 
to  organize  bands." 

This  happy  Pied  Piper  has  set  an  im- 
pressive goal  for  his  young  followers: 
"If  they  don't  tear  it  down  before  we  get 
there,  we're  going  to  have  a  big  concert 
in  Carnegie  Hall.  Bring  in  the  contest 
winners  from  all  over  the  country.  That 
will  do  what  Mr.  Moreaux  did  for  us  back 
home — make  harmonica-playing  respect- 
able, and  make  kids  proud  to  belong  to 
a    harmonica    band." 


Cheers  for  the  Queen 


(Continued  jrom  page  69) 
And  if  you  want  the  real  story  about  the 
'Queen,'  talk  to  Ray  Morgan.  He's  the  man 
who  created  her,  and  he's  the  man  who 
really  gives  her  heart." 

Mr.  Raymond  Morgan,  tall,  gray-haired 
and  distinguished,  has  piercing  yet  kindly 
blue  eyes.  When  he  talks  of  his  "Queen," 
it  is  plain  to  see  that  he  is  a  man  in  love. 
Mr.  Morgan  has  had  thirty  years  experi- 
ence as  a  producer,  but  "Queen"  is  his 
favorite.  His  first  big  success  was  Chandu, 
The  Magician,  followed  by  Detectives 
Black  And  Blue,  then  Breakfast  In  Holly- 
wood, with  the  late  Tom  Breneman. 

"The  ladies  who  came  to  our  Breakfast 
In  Hollywood  show  gave  me  the  idea  for 
'Queen,' "  says  Mr.  Morgan  modestly. 
"They  were  so  appreciative  of  even  the 
small  things  we  gave  them.  For  example, 
they  were  more  impressed  with  a  kiss 
from  Tom  Breneman  than  with  an  electric 
range.  It  occurred  to  me  then  that  the 
average  woman  hasn't  quite  enough  of 
anything — never  enough  love,  affection  or 
household  appliances — never  enough  mon- 
ey to  do  the  little  things  she'd  like  to  do. 
...  I  thought  if  we  could  take  an  average 
housewife,  glamorize  her,  show  her  Holly- 
wood, and  perhaps  solve  some  of  her  prob- 
lems, women  throughout  the  country  could 
share  her  experience." 

Raymond  Morgan  learned  his  basic  phi- 
losophy of  life,  "Give  to  the  world  the  best 
you  have,  the  best  will  come  back  to  you," 
at  an  early  age.  When  he  was  a  child  of 
nine,  he  sold  magazines  to  help  out  his 
family.  The  magazines  gave  away  prizes  as 
an  added  sales  incentive. 

Later  he  earned  his  way  by  selling  auto- 


mobiles. He  soon  discovered  he  could  set 
records  by  selling  a  trip  and  giving  away 
the  car.  Between  magazines  and  motor 
cars,  Ray  Morgan  caught  the  give-away 
habit.  .  .  .  Today,  Queen  For  A  Day  has 
an  office  staff  of  twenty-one  dedicated  to 
the  task  of  giving  away  about  $1500  worth 
of  merchandise  each  show  day.  In  the 
eleven  years  the  show  has  been  on  the  air, 
$13,000,000  in  gifts  have  been  distributed. 

With  the  growing  success  of  "Queen," 
Morgan's  generosity  has  been  returned  to 
him  tenfold.  The  riches  that  he  and  his  en- 
tire staff  of  sixty  derive  from  "Queen"  come 
in  great  measure  from  their  relationship 
with  the  show.  "Becoming  Queen,"  he  says, 
"changes    every    woman's    life    instantly. 

"When  the  Queen  comes  home  that 
night  she  generally  finds  her  yard  filled 
with  waiting  neighbors — they  have  heard 
the  show  and  want  to  know  if  it  is  true! 

"Her  Majesty  will  come  into  her  room  a 
more  confident  woman  than  when  she  left. 
Ultimately,  she  will  have  a  completely 
new  wardrobe.  In  addition,  her  looks  will 
be  enhanced  by  a  new  coiffure  and  make- 
up. She'll  find  her  husband  more  affection- 
ate. He  will  most  likely  insist  they  go  out 
to  dinner  and  dancing — perhaps  for  the  first 
time  since  their  children  came. 

"And  her  children  are  all  around  her — 
in  awe.  After  all,  'Mommy'  is  now  a  TV 
star  in  the  eyes  of  the  neighbors!" 

Yes,  all  who  are  associated  with  Mr. 
Raymond  Morgan,  agree  that  his  "Queen" 
is  a  queen  of  hearts.  Letters  telling  of  the 
happiness  the  "Queen"  has  brought  to 
viewers  across  the  country  are  sure  proof 
that  "If  you  give  to  the  world  the  best  you 
have,   the   best  will   come   back   to   you." 


'<. 


Fibber  and  Molly 


(Continued  from  page  56) 
shows  a  year  and  still  luxuriated  in  the 
fascinating  business  of  being  grandparents. 
However,  before  grandchildren  came,  Jim 
and  Marian  Jordan  had  other  interests: 
Their  Valley  home,  Jim's  ivy,  Marian's 
African  violets,  their  cattle-ranch  and 
trailer  life. 

As  a  matter  of  fact,  the  trailer  life  came 
as  a  result  of  the  Jordans'  again  contem- 
plating retirement.  It  was  pointed  out  to 
them  by  friends  that  they  could  rent  or 
buy  a  trailer  .  .  .  that  they  didn't  have  to 
go  into  real  retirement — but  their  trailer 
trip  could  be  a  vacation  .  .  .  and,  at  the 
same  time,  the  quiet  of  Mother  Nature 
would  be  conducive  to  clear  thinking — 
and  "Fibber"  could  make  up  his  mind 
which  one  of  a  hundred  areas  of  interest 
he   would   tackle   next. 

Jim  and  Marian  accepted  the  idea,  for 
it  was  then  1944  and  traveling  by  trailer 
was  practically  a  national  hobby.  Their 
friends  had  described  the  beauty  of  road- 
side resting  places,  ferny  dells,  the  won- 
der of  living  in  a  trailer  in  the  midst  of 
nature.  But  Jim  says,  "I  liked  the  part 
about  taxes — there   were   none!" 

The  Jordans'  trailer  trip  was  full  of 
surprises — just  bike  Fibber  McGee's  closet. 
The  first  day,  Jim  and  Marian  traveled  as 
far  as  the  front  gate  when  Jim  discovered 
the  trailer  was  too  big  for  the  car,  which 
wouldn't  pull  it  up  the  hill  outside  the 
house.  Next,  the  hitch  had  to  be  changed 
so  they  could  go  around  curves. 

"We  did  get  started,"  says  Jim,  "but  in 
1944  there  were  no  elegant  trailer  parks. 
I  believe  we  had  to  drive  to  the  end  of  the 
coastline  before  we  could  find  a  place  to 
turn  around." 

The  Jordans  camped  on  the  Wall  River 
in  Oregon  to  fish  for  trout.  "We  had  a 
very  small  kitchen  in  the  trailer,"  says 
Jim,  "and  not  much  variety.  If  we  stored 
too  many  foods  there  was  no  place  to  cook. 
So  we  were  eating  in  this  restaurant  when 
in  came  a  local  camper  with  the  biggest 
trout  I'd  ever  seen." 

The  lucky  fisherman  wanted  the  patrons 
to  sign  a  certificate  attesting  to  the  size  of 
his  fish — fourteen  pounds,  six  ounces.  Jim 
agreed,  and  signed,  "Fibber  McGee."  The 
fisherman  was  furious  because  Fibber's 
signature  had  made  the  testimonial  a  big 
lie.   He  was  finally  placated  when  Marian 


did  her  little-girl  "Tweeney"  routine  to 
prove  that  Fibber  was  really  Fibber. 

On  the  way  home,  Jim  and  Marian 
decided  to  rest  up  in  San  Francisco. 
"And,"  says  Jim,  "to  get  some  more  vari- 
ety in  our  diet.  There  was  a  trailer  court 
in  south  San  Francisco,  but  we  thought  we 
could  find  a  place  closer  to  town.  We 
drove  up  one  hill  and  down  another — 
naturally,  we  couldn't  leave  our  trailer 
on  one  of  those  hills.  Finally,  we  drove 
back  to  south  San  Francisco  to  park." 

The  Jordans  then  drove  back  into  San 
Francisco.  "We  couldn't  check  into  a  ho- 
tel," says  Jim,  "because  we  didn't  have 
any  bags.  So  Marian  bought  two  dollar 
suitcases  in  an  inexpensive  store  and  we 
drove  up  to  the  St.  Francis  Hotel."  The 
bellhop  came  rushing  out  to  the  big  new 
car,  and  Jim  reports  he  gave  them — with 
their  unkempt,  bearded  looks  and  their 
empty,  inexpensive  suitcases — the  most 
suspicious  look  he's  ever  seen. 

"After  a  few  days  of  shopping,  clean 
clothes,  and  some  San  Francisco  cooking," 
recalls  Jim,  "I  felt  we  had  enough  strength 
to  hitch  up  the  trailer  and  return  home. 
Two  days  of  living  in  San  Francisco  also 
told  me  we  had  had  enough  of  'retiring'  to 
our  trailer  and  communing  with  nature." 

Back  in  Hollywood  in  1944,  Jim  and 
Marian  parked  the  trailer  in  back  of  their 
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100 


(Continued  from  page  67) 
the  past  eight  years  .   .  .   and  of  under- 
standing  the   people   and   situations   with 
which  Jerry  Malone  has  to  deal. 

"There  was  a  time,"  she  says,  "back  in 
the  beginning  months  of  the  program, 
when  Sandy's  daughter  on  the  show — 
Jill,  played  by  Rosemary  Rice — was  about 
the  age  our  Joyce  is  now,  eleven,"  Ruth 
says.  "One  day,  I  was  listening  and  I  heard 
Sandy  talking  so  calmly  and  understand- 
ingly  to  Jill  about  something  she  had  done 
which  he  didn't  like.  I  started  to  laugh, 
because  just  that  morning,  our  Joycie, 
who  was  only  a  little  thing  then,  had  been 
particulary  trying  about  something  she 
wanted  to  do  which  neither  of  us  approved 
— not  unusual,  of  course,  with  kids!  Sandy 
had  tried  to  explain  but  finally  had  to 
give  up,  without  too  much  calmness. 

"Most  of  the  time,  however,  Sandy  is  as 
quiet  and  calm  at  home  as  he  is  on  the 
show.  Our  children  worship  him.  Some- 
times I  think  I  should  start  being  home 
with  them  less,"  she  laughs,  "so  they 
will  make  as  much  fuss  about  me  when  I 
come  in!  They  never  want  anyone  to  tell 
their  father  if  they  have  been  naughty, 
and  his  displeasure  is  punishment  enough. 
But  they  are  very  good  children,  and 
Sandy   and  I   are  proud   of  them." 

Besides  Joyce,  there  are  Curtis,  six,  who 
helps  Sandy  uphold  the  male  viewpoint 
in  the  family,  and  Annelle,  five.  All  three 
are  used  to  the  odd  situation  of  having  a 
daddy  who  is  many  people,  not  just  one 
person.  They  know  he  is  also  Dr.  Jerry 
Malone,  listened  to  and  loved  all  over  the 
United  States.  They  know  he  is  the  Sandy 
Becker  who  does  several  children's  pro- 
grams on  television  which  they  and  their 
friends  adore,  and  that  he  is  a  host  on 
The  Adventures  Of  Robin  Hood,  over 
CBS-TV,  and  does  commercials  on  many 
important  shows. 

The  kids  also  know  that  Sandy  is  a 
daddy  who  can  make  all  sorts  of  interest- 
ing things  in  his  basement  workshop,  in 
the  big,  white  colonial  house  on  Long  Is- 
land where  they  live.  He  can  sculpture  the 
puppets  he  uses  on  his  children's  pro- 
grams (one — called  Marvin  Mouse — that 
he  created  recently  for  a  show  is  now 
being  produced  in  quantity  and  sold  for 
children  everywhere).  Sandy  can  build 
wonderful  things,  tables  and  cabinets, 
shelves  and  toys.  He  can  repair  and  paint, 
he  understands  about  the  insides  of  auto- 
mobiles and  is  excited  about  the  beautiful 
white  Mercedes-Benz  sports  car  they 
love  to  ride  in.  They  have  watched  him 
build  hi-fi  sets,  one  for  the  big  house  and 
one  for  the  little  place  in  Manhattan  which 
he  uses  as  combination  office  apartment 
when  his  work  keeps  him  running  back 
and  forth  from  studio  to  studio,  as  it  does 
so  much  of  the  time  now.  And  they  think 
he's  the  best  sketcher  and  cartoonist  in 
the  whole  world.  In  short,  Sandy's  a 
daddy  who  is  quite  a  fellow! 

Sandy  himself  takes  a  more  modest  view 
of  the  situation.  "To  the  kids,"  he  says, 
"acting  is  something  I  happen  to  do.  Just 
as  the  fathers  of  other  kids  in  our  town 
go  off  to  work  in  the  morning,  I  go  off  to 
my  job.  Mostly,  I  guess  I'm  just  the  fellow 
who  plays  games  with  them,  goes  sledding 
in  winter  and  swimming  in  summer — we 
hope  to  have  our  own  pool  built,  back  of 
the  house,  in  time  to  enjoy  it  this  year.  The 
kids  know  I  love  animals,  as  they  do,  and 
we  always  have  a  lot  of  them  around  the 
place.  In  fact,  we  are  practically  living  in 
a  combination  aviary-zoo  right  now,  with 
a  cuckoo,  a  cockatoo,  parrot  and  para- 
keets as  regular  members  of  the  family, 
and  others  being  added  from  time  to  time. 
There  are  my  own  tanks  of  tropical  fish, 


and  those  belonging  to  the  children.  And 
there's  always  Jocko,  our  wonderful  Ger- 
man shepherd.  It's  quite  a  collection." 

There  was  another  bird  in  the  Becker 
household  last  year,  a  saucy  little  green 
dwarf  parrot  named  Hajji  Baba,  who  was 
always  on  one  of  Sandy's  morning  shows 
for  kids.  One  morning,  someone  left  the 
window  open  in  Sandy's  office  while  Hajji 
was  strutting  about  outside  the  little  house 
his  master  had  made  for  him.  Hajji  smelledl 
freedom,  and  flew  off  into  the  wild  blue. 
But  no  one  doubts  that  he  misses  the 
morning  coffee  he  used  to  have  with 
Sandy,  as  he  perched  on  the  rim  of  his 
own  special  cup  and  scolded  at  Ruth  if  the 
toast  was  either  underdone  or  too  brown. 
The  Beckers  admit  to  missing  Hajji,  too. 

The  new  swimming  pool  promises  to  be 
one  of  the  biggest  happenings  in  the  fam- 
ily's life  this  year.  Sandy's  good  friend  and 
neighbor,  police  captain  Fred  Blahnik, 
put  in  a  claim  for  the  backyard  "hot  dog 
concession"  while  the  pool  was  still  in  the 
planning  stage.  "Smart  fellow,"  Sandy 
grins.  "He  knows  that  pool  will  be  one  of 
the  busiest  spots  in  the  neighborhood." 

The  children  for  blocks  around  are 
Sandy's  friends.  They  form  fan  clubs, 
send  him  the  lists  of  members  and  rules 
and  copies  of  important  club  documents. 
"My  husband  really  likes  kids,"  Ruth 
comments.  "He  knows  they  are  hungry 
for  knowledge  and  believes  it  can  be  made 
entertaining,  too.  Sandy  always  has  a  lot 
of  new  ideas  about  the  way  to  give  chil- 
dren the  information  they  want  without 
their  realizing  they  are  learning  impor- 
tant things.  He  knows  how  to  make  a 
game  out  of  learning,  how  to  keep  it  in- 
teresting and  fun.  I  think  he  is  at  his 
very  best  when  he  can  do  things  his  own 
way  and  inspire  others  to  use  their  cre- 
ative talents." 

This  need  to  express  himself  kept 
Sandy  turned  toward  acting  and  toward 
building  some  shows  of  his  own,  at  a  time 
when  he  might  have  branched  off  per- 
manently into  newscasting.  He  was  doing 
some  work  on  special  events  and  special 
news  broadcasts  and  had  been  singled  out 
by  some  of  the  top  network  brass  for  a 
build-up,  after  they  heard  him  do  a  couple 
of  extra-fine  on-the-spot  news  commen- 
taries. "I  asked  myself — first,  if  I  had  the 
necessary  background  of  good,  solid  news 
training — second,  if  it  was  what  I  really 
wanted  to  do,  even  if  I  got  over  that  first 
hurdle.  I  decided  it  wasn't.  I  reminded 
myself  that  I  was  an  actor,  happy  being 
Jerry  Malone,  and  with  all  those  ideas  in 
my  head  about  future  shows.  So  I  stayed 
with  the  work  that  was  giving  me  so  much 
satisfaction." 

There  are  amusing  incidents  in  connec- 
tion with  being  Jerry  Malone.  In  the  early 
days  of  the  show,  one  of  Sandy's  good 
friends,  Dr.  Keyne  Monson,  was  interning 
in  a  New  York  hospital,  on  his  way  up  to 
becoming  a  prominent  surgeon-specialist. 
Sometimes  Sandy  would  want  to  see  his 
friend  at  the  hospital  and  would  call  to 
make  the  appointment.  When  the  switch- 
board operator  at  the  hospital  asked  who 
was  calling,  he  would  say  "Dr.  Malone." 
"Yes,  doctor,"  the  girl  would  answer  and 
put  the  call  through  as  quickly  as  possible. 
Arriving  later,  Sandy  would  announce 
himself  again  as  "Dr.  Malone,"  keeping 
up  the  joke. 

It  worked  fine — until  once  or  twice,  it 
backfired.  "I  was  waiting  in  a  corridor  for 
my  friend  one  day,"  Sandy  recalls,  "when 
a  nurse  began  to  tell  me  about  a  partic- 
ularly difficult  case  they  had,  and  asked  if 
I  had  ever  run  into  anything  like  it  in  my 
experience.  I  did  a  fast  bit  of  double-talk 
— because   the   pre-medical   course   I   had 


once  taken,  when  I  thought  of  being  a 
doctor,  was  of  no  use  to  me  at  that  point — 
and  I  got  out  fast. 

"Another  time,  my  friend  was  in  surgery 
when  I  arrived,  and  the  nurse  ushered  me 
in  before  I  realized  where  she  was  taking 
me.  As  'Dr.  Malone,'  she  concluded  that 
either  I  was  on  the  case  or  at  least  there 
as  an  observer.  I  backed  out  with  some 
tame  excuse — and  decided  my  little  joke 
had   gone   far   enough." 

Sandy's  friends  often  refer  to  him  as 
"Doctor,"  and  sometimes,  when  Ruth  calls 
their  own  family  physician  on  the  phone 
to  ask  some  advice,  he  will  chuckle  and 
ask  why  she  doesn't  consult  her  husband. 
But,  all  joking  aside,  Sandy  has  great 
respect  for  this  unselfish  medico  he  plays. 

"I  admire  his  strength  of  character," 
says  Sandy,  "and  the  fact  that  he  will  never 
sacrifice  his  own  rigid  code  of  ethics  to 
advance  himself,  or  for  any  monetary  gain. 
Jerry  Malone  is  an  idealist  who  makes 
no  compromises,  and  the  world  has  need 
of  his  kind.  It  is  a  gratifying  part  to  play. 
Everyone  on  the  program  helps  make  it 
stimulating.  Most  of  us  on  the  show 
started  together,  or  have  been  together  a 


long  time,  and  even  the  newcomers  soon 
become  part  of  a  closely-knit  group. 

"To  name  just  a  few,  there  is  Jone  Alli- 
son, who  is  my  wife,  Tracey.  Rosemary 
Rice,  who  is  my  daughter,  Jill.  Bill 
Smith,  one  of  my  friends  in  real  life,  who 
is  Dr.  Brown.  Bob  Readick  is  Dr.  Mason, 
and  his  wife,  Marcia,  is  Elspeth  Eric. 

"Our  director,  Ira  Ashley,  is  just  great. 
We  all  have  a  lot  of  fun  together.  We're  a 
happy  gang.  If  I  have  done  a  good  job,  it's 
because    these    people    made    it    possible." 

What  does  he  look  forward  to  now,  this 
good-looking  fellow  of  thirty-four  who 
has  already  achieved  so  much  and  had 
such  a  good  time  doing  it?  "Just  more  of 
the  same,"  Sandy  says  emphatically.  "The 
chance  to  continue  with  all  that  I  am 
doing,  trying  to  get  a  little  better  at  it 
all  the  time,  adding  new  things  whenever 
the  time  is  ripe  for  them.  Looking  ahead 
to  the  kids  growing  up  happy  and  healthy 
and  useful,  to  the  continuation  of  all  the 
happiness  Ruth  and  I  have  shared  throug- 
out  our  marriage.  What  could  any  man 
want  more  than  this?" 

And  young  Jerry  Malone  would  un- 
doubtedly   agree    with    Sandy    Becker. 


New  Look,  Old  Favorite 


(Continued  from  page  55) 
on   the   radio    version   of   the   show.   This 
makes  an   even   dozen   TV  Radio  MirSor 
Awards  that  Jack  Webb  and  Dragnet  have 
divvied  up  between  them. 

Creator,  producer,  director  and  star  of 
the  series,  Jack  Webb  keeps  his  feet  firmly 
planted  on  the  high  road  by  the  simple 
device  of  moving  with  the  times.  Take,  for 
example,  the  "new  look"  on  the  TV  Drag- 
net. 

The  most  eye-catching  part  of  the  new 
look  is  Marjie  Millar,  a  pert  blonde  who 
turned  up  on  TV  this  year  as  Sharon  Max- 
well, a  secretary  at  the  Los  Angeles  Police 
Department,  on  whose  official  files  the 
documentary  series  bases  its  hard-hitting, 
realistic  dramas.  In  the  role  of  Miss  Max- 
well, Marjie  has  caused  a  noticeable  thaw 
in  the  official  demeanor  of  Sgt.  Friday. 

Devising  a  TV  program  is  very  much 
like  making  a  cake — you  mix  and  blend  a 
variety  of  ingredients.  But,  if  you've  a 
recipe  that's  become  a  family  favorite, 
why  deviate  from  it?  This  sort  of  thinking 
may  work  in  the  kitchen,  but  it  has  meant 
indigestion  for  many  a  radio  and  television 
program.  Not  so  with  Dragnet.  Jack  Webb 
constantly  adds  new  ingredients  to  his 
tried  and  true-to-life  formula.  And  when 
he  decided  to  spice  his  TV  show  with  a 
dash  of  romance,  everybody  ate  it  up. 

Another  part  of  Dragnet's  new  look  is 
also  an  eye-filler.  Not  quite  so  curvaceous 
as  Miss  Millar,  it  is  more  monumental. 
When  the  Los  Angeles  Police  Department 
built  itself  a  new,  ultra-modern  headquar- 
ters, Jack  Webb  plunked  down  $40,000  to 
duplicate  the  building  in  a  new  Dragnet 
set.  Completely  authentic,  as  was  the 
earlier  one,  the  new  set  duplicates  every- 
thing down  to  the  actual  phone  exten- 
sion numbers  and  up-to-date  crime-lab 
equipment.  The  dimensions  are  exact  and 
there's  even  a  working  candy-vending  ma- 
chine for  Friday's  food-loving  partner, 
Frank   Smith — played  by   Ben  Alexander. 

Authenticity  keynotes  each  edition  of 
this  series.  In  point  of  fact,  it  was  a  real- 
life  cop's  gripe  about  far-fetched  police 
yarns  that  inspired  the  series. 

It  happened  while  Jack  was  appearing 
in  the  film,  "He  Walked  By  Night,"  and 
Detective  Sergeant  Marty  Wynn  was  act- 
ing as  a  technical  advisor.  One  day,  be- 
tween takes,  Wynn  asked,  "Why  don't  you 
do  a  real  story  about  policemen?" 

Wynn  forgot  all  about  the  conversation. 
Webb  remembered,  mulled  it  over  and, 
three   weeks   later,   turned    up    at   police 


headquarters  to  ask  to  ride  along  with 
Wynn  and  his  partner  on  their  calls.  Night 
after  night,  Jack  rode  in  the  back  of  the 
police  car,  listening  to  the  radio's  unemo- 
tional reports  of  crime  and  human  weak- 
ness, observing  every  word  and  gesture  of 
the  two  officers  and  both  the  victims  and 
culprits  they  met. 

On  June  3,  1949,  Jack  translated  what 
he  had  learned  into  the  first  Dragnet  pro- 
gram. The  snowball  that  had  started  roll- 
ing in  a  casual  conversation  grew  to  an 
avalanche  of  TV  and  radio  success,  gath- 
ered momentum  with  recordings,  both 
straight  and  parodies,  of  the  Dragnet 
theme,  and  with  a  movie  of  "Dragnet"  and 
later  of  "Pete  Kelly's  Blues." 

"Today,"  says  Jack,  "people  are  looking 
for  more  realism  in  television.  They  want 
to  be  entertained,  but  they  also  want  to 
learn,  to  benefit  and  to  become  better  citi- 
zens as  a  result  of  it.  You  might  call  it  en- 
tertainment with  an  ulterior  motive." 

Webb's  own  motive  is  ambition.  And,  if 
it's  a  crime,  Jack  was  an  early  offender. 
A  sickly  youngster,  he  spent  a  poverty- 
ridden  boyhood  in  a  shabby  Los  Angeles 
apartment.  "He  was  always  searching  for 
something,"  his  mother  recalls,  "but  he 
didn't  know  what." 

But,  by  the  time  Jack  entered  Los  An- 
geles Belmont  High  School,  he  was  no 
longer  grpping.  The  search  had  led  him  to 
amateur  dramatics.  Jack  also  drew  car- 
toons for  the  school  yearbook  and,  in  his 
senior  year,  edged  out  the  football  captain 
to  become  president  of  the  student  body. 

Acting  was  Jack's  answer.  He  worked 
with  local  California  radio  stations  until 
he  joined  the  Air  Force  in  1942.  After  his 
discharge,  he  returned  to  radio,  and, 
wherever  he  worked,  engineers  and  other 
technicians  were  flattered  by  the  constant 
stream  of  questions  Jack  threw  at  them.  In 
San  Francisco,  he  finally  landed  the  title 
role  in  Pat  Novak  For  Hire.  From  there  he 
went  to  small  film  roles  and  to  more  ques- 
tions, this  time  of  film  technicians.  Years 
later,  he  returned  to  the  same  studio  'to 
produce  and  star  in  a  feature  film  based 
on  his  own  creation,  Dragnet. 

If  anyone  is  a  victim  of  Jack  Webb's 
ambition,  it  is  himself.  Certainly,  the  long 
hours  and  complete  absorption  in  his 
career  have  caused  marital  difficulties,  and 
Jack  has  often  been  criticized  for  "driving 
too  hard."  But  the  proof  lies  in  the  product. 
Sergeant  Friday  is  an  honest  cop  and  the 
facts  are,  ma'am,  that  Jack  Webb  is  an 
honest  actor — and  an  honest  man. 


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Mirth  and  Melodye 


{Continued  from  page  57) 
all  by  herself.  Records,  dances,  songs  and 
jokes.  She  has  never  done  this  act  in  pub- 
lic, but  she  tries  it  out  on  some  of  her 
friends  when  they  come  over  to  visit.  Once 
in  a  while,  when  Martha,  too,  has  guests, 
Melodye  will  take  a  notion  she  wants  to 
perform.  But  you  know  how  kids  are 
about  such  things." 

As  the  writers  and  producer  made  the 
necessary  changes  in  the  script,  Nick  dis- 
patched a  car  to  Connecticut  to  pick  up 
Melodye.  Melodye  and  Martha  live  near 
Westport,  about  an  hour's  commuting  time 
from  New  York.  Theirs  is  an  English-style 
house  with  a  big  living  room  and  ample 
grounds — a  fine  place  for  Melodye's  young 
friends  to  drop  in.  Their  lives  there  are 
as  far  from  show  business  as  Martha  Raye 
can  ever  get,  for  here  she  is  the  suburban 
mother,  rather  than  the  nation's  highest- 
paid  comedienne.  "It's  as  much  fun  for 
me  to  work  on  a  PTA  project  as  it  is  to 
start  a  new  show,"  Martha  says. 

Good  PTA-er  that  she  is,  she  specified 
when  the  plan  to  put  Melodye  on  the  pro- 
gram was  being  worked  out,  "Don't  take 
her  out  of  class.  Go  to  the  house  first  and 
pick  up  her  dress  and  things,  then  meet 
her  when  school  lets  out.  She'll  have  time 
enough  to  come  in  on  dress  rehearsal.  She 
won't  need  more  than  that." 

Martha  herself  had  needed  less  for  her 
own  debut.  That,  in  fact,  had  been  a 
strictly  ad-lib  performance.  Her  parents, 
Pete  Reed  and  Peggy  Hopper,  were  ap- 
pearing in  a  tab  show — a  miniature  mu- 
sical comedy — and  playing  at  Butte,  Mon- 
tana, when  Martha  was  born  on  August 
27,  1916 — "with  my  mouth  wide  open  and 
singing  loud,"  she  claims. 

Although  almost  born  on  stage,  she 
waited  until  the  venerable  age  of  three  to 
face  an  audience.  Tired  of  being  left  in  the 
dressing  room,  she  slipped  out  to  the  wings 
while  her  parents  were  doing  their  act. 
She  was  not  amused,  and  indicated  as 
much  in  a  penetrating  treble.  "But  my 
folks  knew  what  to  do,"  she  confides.  "In 
self-defense,  they  took  me  into  the  act." 

At  fifteen,  she  had  cut  the  apron  strings. 
She  sang,  danced  and  did  the  comedy  lead 
in  a  six-youngster   act.  The   others   were 


Jackie  Heller,  Sonny  OTDay,  Hal  LeRoy 
and  Buddy  and  Vilma  Ebsen.  All  became 
headliners. 

There  have  been  headlines  of  many  sorts 
in  Martha's  life  since  that  day,  some  tur- 
bulent, many  others  marking  great  achieve- 
ment. But,  when  one  watches  her  in  re- 
hearsal, it  is  difficult  to  realize  that,  this 
year,  she  is  celebrating  her  official  thirtieth 
year  in  show  business — and  adding,  "Some- 
body skipped  a  couple  of  years  some- 
where.  It's    actually   thirty-six!" 

Whatever  the  correct  figure,  Martha 
looks  like  a  teenager  in  her  rehearsal  out- 
fit of  well-washed  blue  jeans  and  light 
sports  shirt.  Lithe,  limber  and  quick,  she 
seems  to  be  everywhere  at  once,  the  same 
dynamo  of  energy  that  she  is  on  screen. 
There's  no  walk-through  of  a  part  for 
Martha.  She  plays  every  bit  at  full  pitch. 

But  one  could  see  her  tension  mount, 
that  day  she  waited  for  Melodye.  Her 
eyes — and  Nick's  too — were  always  turn- 
ing toward  the  door.  The  return  trip  from 
Westport  took  longer  than  they  had  esti- 
mated. Dress  rehearsal  was  over,  before 
Melodye,  glowing  with  excitement,  burst 
through  the  door  and  ran  straight  for  her 
mother's    arms. 

There  was  time  only  for  Martha  to  show 
the  child  where  she  was  to  stand,  but  few — 
if  any — TV  viewers  realized  that  Melodye, 
in  show  business  parlance,  was  "going 
on  cold." 

For  Melodye,  that  evening,  claimed  her 
birthright  as  a  trouper  from  a  family  of 
troupers.  Her  happy  smile  matched  her 
mother's  wide  one  and,  as  smoothly  as  a 
veteran,  she  took  her  own  cue  when  Martha 
spoke  the  proudest  fine  she  has  ever 
spoken  on  any  stage:  "My  daughter,  Melo- 
dye Condos." 

Does  this  mark  young  Melodye's  of- 
ficial entry  into  show  business?  Perhaps, 
for  she  made  such  a  hit  that  she  was 
invited  back  for  a  repeat  performance. 
Concerning  the  future,  Nick  states  her 
parents'  official  position:  "If  Melodye  wants 
to  go  into  show  business,  Martha  and  I 
will  help  her,  of  course.  But  whether  she 
does  depends  strictly  on  Melodye  herself. 
All  we  want  for  her  right  now  is  to  con- 
tinue to  have   a  happy  childhood." 


A  Champ  Named  Sullivan 


(Continued  from  page  37) 
would  have  said  it  was  fantastic.  It  isn't. 
The  ratings  prove  that.  The  overwhelm- 
ing mail  and  the  personal  response.  And 
now,  once  more,  TV  Radio  Mirror's  own 
annual  poll  of  its  readers,  who  continue 
to  award  Ed  and  his  show  top  honors  and 
gold  medals  for  solid  achievement. 

Talking  to  Ed  about  the  show,  about 
the  things  the  past  eight  years  have  taught 
him,  about  himself  and  his  family,  his 
wife  Sylvia  and  their  daughter  Betty,  isn't 
very  different  these  days  from  the  way  it 
was,  back  in  the  beginning  days  of  the 
show — except  that  now  Betty  is  a  young 
matron,  instead  of  the  schoolgirl  she  was 
then,  with  a  Navy  husband,  Robert 
Precht,  and  two  children,  Robbie,  two 
years  old,  and  Carla,  born  last  September 
24. 

"Boje,"  the  lovable  minature  French 
poodle,  still  barks  you  noisily  into  the 
apartment  at  the  midtown  New  York  ho- 
tel where  the  Sullivans  live  and  where  Ed 
has  turned  one  room  into  an  office.  "Boje" 
is  short  for  "Bojangles,"  and  "Bojangles" 
is  short  for  Bill  "Bojangles"  Robinson,  the 
late  great  dancer  whom  Ed  called  good 
friend.    Even    on    a    Saturday    morning — 


normally  a  quiet  day  in  New  York's  busi- 
ness life — the  telephones  in  all  four  rooms 
of  the  apartment  never  stop  ringing,  the 
several  connected  with  the  hotel  switch- 
board, and  the  private  phones. 

In  the  absence  of  Carmine  Santullo,  the 
man  who  has  been  Ed's  trusted,  efficient 
"right  hand"  for  about  twenty  years,  and 
Jean  Bombard,  Ed's  secretary  for  the  past 
six  years,  Sylvia — and  any  visitors  who 
can  be  pressed  into  service — answer  calls 
from  California,  from  Florida,  from  Wash- 
ington and  local  calls  from  Ed's  associates, 
from  managers  with  acts  to  suggest,  from 
friends  old  and  new.  The  phrases,  "Ed's 
on  another  phone — will  you  hold  the  wire, 
please,"  echo  through  the  apartment.  And 
Ed  picks  up  phone  after  phone  in  quick 
succession,  puts  in  necessary  calls  of  his 
own  in  between,  comes  back  and  takes  up 
an  interrupted  conversation  without  fal- 
tering. Somehow,  the  atmosphere  never 
seems  too  confused.  Ed  is  used  to  all  this. 
So  is  Sylvia. 

Sylvia's  stunning  portrait,  painted  in 
oils,  still  hangs  in  the  living  room.  But 
added  to  family  photos  strewn  about  are 
pictures  now  of  their  son-in-law  and  the 
grandchildren,    as    well    as    of    daughter 


Betty.  The  books  are  still  placed  in  casual 
rows  on  their  shelves,  looking  as  if  they 
were  picked  up  frequently  and  not  merely 
part  of  the  decor.  A  toy  belonging  to  Boje 
lies  in  the  hollow  he  has  made  in  a  sofa 
cushion,  and  his  rubber  bone  is  near  by 
on  the  carpet,  where  he  hopes  you  will 
notice  it  and  throw  it  across  the  room  and 
let  him  bring  it  back  to  you,  endlessly. 
(You  remember  how  tired  of  the  game 
you  got  before  Boje  did,  the  last  time  you 
were  there,  so  you  don't  get  involved, 
even  when  he  looks  at  you  pleadingly.) 

The  walls  of  Ed's  office  are  covered  with 
plaques,  citations,  photographs  taken  with 
most  of  the  famous  entertainment  person- 
alities and  the  leading  sports  figures. 
There  are  portrait  photos  autographed  to 
Ed  from  the  men  and  women  he  admires — 
one  of  Cardinal  Spellman,  for  instance. 
There  are  keys  to  cities,  awards  for  good 
work  done  for  youth  organizations  of 
many  races  and  religions,  citations  from 
all  branches  of  the  armed  services.  There 
are  two  desks,  two  typewriters,  stacks  of 
mail  just  come  in  to  be  gone  over  and 
answered,  lists  of  appointments,  records 
of  eight  years  of  producing  a  major  tele- 
vision  show. 

The  things  that  are  not  in  any  of  the 
records  are  as  revealing  as  the  mass  of 
data  they  contain.  As  revealing  as  the 
awards  and  citations,  the  scrolls  and  the 
complimentary  autographs.  You  remem- 
ber stories,  like  the  one  Marion  Marlowe 
told  you,  about  the  first  time  she  appeared 
on  Ed's  show,  after  she  was  let  out  by 
Godfrey. 

"I  knew  everybody  would  be  watching 
to  see  if  I  was  going  to  do  a  good  or  a  bad 
job,"  Marion  had  said.  "I  had  a  great  deal 
to  live  up  to — not  the  least  being  Ed's  own 
confidence  in  me.  It  made  me  scared. 
Everyone  connected  with  the  show  was 
being  extra-nice — you  never  saw  so  many 
people  bringing  cups  of  coffee  or  finding 
some  reason  to  do  some  little  service  for 
me.  But  it  was  Ed  himself  who  put  me  at 
ease.  Just  before  the  show,  he  brought  an 
old,  droopy  rose,  with  just  about  two  pe- 
tals left  hanging  on  the  stem.  He  must 
have  found  it  somewhere  backstage,  left 
over  from  another  performance.  He 
handed  me  the  poor,  dead  flower  as  if  it 
were  a  beautiful  fresh  bouquet.  'Good 
luck,'  he  said.  I  laughed,  and  that  broke 
the  tension  for  me.  I  knew  then  I  would 
be  all  right." 

One  of  those  on  Ed's  staff  says  of  him: 
"Ed  is  friendly,  sincerely  friendly.  Not  the 
cold,  reserved  newspaperman-type  some 
people  have  thought.  He  wants  people  to 
like  him,  but  he  is  never  phony  about  it. 
His  guests  will  tell  you  that.  He  puts  him- 
self out  to  take  good  care  of  everyone,  to 
present  talent  in  the  best  possible  light — 
no  smallest  detail  of  camera  work  or  light- 
ing, or  costuming,  is  too  much  for  him  to 
plan,  if  it  will  help  the  performer.  And  he 
has  a  great  streak  of  fun  that  helps  reduce 
tension  at  rehearsals." 

Everyone  is  nice  to  everyone  else  at  an 
Ed  Sullivan  Show  rehearsal.  Co-producer 
Mario  Lewis  and  director  Johnny  Wray 
put  the  show  on,  and  Ed  comes  in  later. 
But  he  has  already  approved  all  the  talent 
and  all  the  numbers  they  are  going  to  do, 
and  is  completely  familiar  with  everything 
that  is  going  on.  Now  he  watches  the  mon- 
itor, concentrates  completely  on  how  the 
show  will  come  over  on  millions  of  TV 
sets. 

It  is  interesting  to  note  that  Mario  has 
been  with  Ed  since  the  show  began,  that 
Johnny  joined  them  after  the  first  seven 
or  eight  shows,  that  Ray  Bloch  has  been 
responsible  for  the  music  and  an  integral 
part  of  the  program  since  its  inception, 
and  that  most  of  the  gang  date  back  to 
those  early  days.  Eddie  Brinkman  is  still 
stage  manager,  Bob  Daly  is  in  charge  of 
technicians,   Bob   Tamplin   is   general   as- 


sistant who  stop-watches  the  show  and 
brings  about  that  miracle  of  ending  on  the 
split-second,  Mark  Leddy  still  takes  care 
of  all  the  circus  acts.  Jack  Babb,  of 
Kenyon  &  Eckardt,  the  advertising  agency, 
is  still  liaison  man  between  the  show  and 
the  sponsor— the  same  sponsor,  too,  by  the 
way.  And,  of  course,  Carmine  Santullo 
and  Jean  Bombard  are  still  in  there  pitch- 
ing for  Sullivan.  Ed  is  understandably 
proud  of  the  way  the  combination  has 
stayed  together:  "It's  a  great,  smooth - 
working  team,  one  of  the  best  and  most 
unusual   in   this    business." 

Ed  himself  was  always  sure  that  vaude- 
ville had  not  "died"  because  of  lack  of 
public  interest,  as  some  said.  He  loved 
vaudeville  as  a  kid,  saw  the  shows  year  in 
and  year  out  as  he  was  growing  up,  knew 
the  great  old  acts.  "Then,"  he  recalls,  "mo- 
tion pictures  became  more  and  more  im- 
portant, and  competed  heavily  with  vaude- 
ville. The  movies  could  publicize  their 
stars  and  their  stories,  and  they  could 
pay  huge  amounts  of  money  because  they 
played    to    almost    unlimited    audiences. 

"In  those  days,  too,  vaudeville  was  apt 
to  be  a  slow  process.  Each  performer  did 
his  full  act,  and  one  act  might  consume 
fifteen  minutes.  Audiences  went  into  the- 
aters to  spend  the  afternoon  or  the  eve- 
ning. They  sat  and  watched  for  a  long 
time  and  waited  for  the  really  big  acts  to 
come  on,  and  those  terrific  ones  that  were 
always  billed  next-to-closing. 

"For  TV,"  says  Ed,  "I  knew  that  every 
act  would  have  to  be  exciting,  fast,  stream- 
lined, cut  down  to  its  very  core.  I  have 
flown-in  acts  for  our  show  from  Europe, 
taken  out  everything  but  the  real  essence 
of  the  act,  put  it  on  for  two-and-a-half  or 
three  minutes  only.  Really  great  acts,  that 
came  over  just  great." 

Another  thing  changed  by  the  Sullivan 
technique  is  the  slow,  weak  starter.  "Al- 
ways start  the  show  with  strength,"  is  an 
Ed  Sullivan  maxim  (and  this  divulges  no 
trade  secret,  because  everyone  looking  in 
can  confirm  this  for  himself).  He  doesn't 
believe  in  stereotyped  openings,  thinks 
audiences  don't  want  to  know  ahead  what 
will  be  coming  first,  middle  or  last.  When 
Julius  La  Rosa  was  billed  to  be  on  the 
show,  soon  after  the  famous  on-the-air 
firing,  Ed  knew  a  lot  of  excitement  had 
been  generated  before  the  young  singer's 
appearance.  He  came  out  on  the  stage  at 
the  beginning  of  the  program,  said,  "I 
know  what  you  want  to  see — it's  Julius 
La  Rosa,"  and  waved  Julie  on.  No  teasers, 
no  big  buildup,  but  a  real  surprise  opener. 

Sullivan  TV  "firsts"  are  far  too  numer- 
ous to  list,  but  a  few  might  be  noted  here. 
When  movies  and  TV  were  still  warring, 
Ed  was  the  first  to  make  an  alliance  with 
motion  pictures,  to  show  scenes  from  new 
films  of  major  studios,  to  present  their 
stars  in  "live"  appearances.  He  was  the 
first  to  do  scenes  from  current  Broadway 
hits,  played  by  the  actors  appearing  in 
them  (with  excellent  effect  upon  the  box- 
office  and  tremendous  viewer  response) 
.  .  .  first  to  pan  across  the  audience  and 
introduce  celebrities  .  .  .  first  to  do  the  big 
biographical  shows,  of  people,  projects, 
organizations  (such  as  ASCAP),  of  film 
studios  .  .  .  first  to  do  a  Walt  Disney  show, 
with  Walt  playing  himself  (he  had  a 
whole  show  on  Disney  four  years  ago) 
.  .  .  first  with  the  Sadler's  Wells  Ballet  and 
the  D'Oyly  Carte  Opera  Company  on  tele- 
vision. 

Other  TV  debuts  on  Ed's  show  include 
Humphrey  Bogart,  Bob  Hope,  Charles 
Laughton,  Rudy  Vallee,  Jimmy  Durante, 
Phil  Silvers,  Rita  Hayworth,  Hedy  Lamarr 
and  Lana  Turner — and  scores  of  others, 
perhaps  hundreds.  Also  included  is  Mar- 
garet Truman,  at  the  time  she  was  a  White 
House  daughter  and  the  Secret  Service 
men  swarmed  all  over  the  theater  during 
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Booth  made  her  first  appearance  on  tele- 
vision in  a  scene  from  her  Broadway  com- 
edy hit,  "The  Desk  Set."  Joyce  Grenfell, 
British  comedienne-monologist,  made  her 
American  debut  on  Ed's  show.  A  highlight 
of  this  season,  too,  was  the  appearance  of 
Lily  Pons,  in  a  Sullivan  Show  tribute  on 
her  twenty-fifth  show  business  anniver- 
ary — in  an  unusual  teaming-up  with  song- 
stress Pearl  Bailey,  which  only  a  Sullivan 
could  have  dreamed  up.  Orson  Welles 
guested,  and  also  emceed  shows  in  Ed's 
absence.  Kate  Smith  came  out  of  tem- 
porary retirement  to  be  Ed's  guest.  Pinky 
Lee  came  on  five  years  ago,  and  got  good 
advice  from  Ed:  To  start  a  show  for  kids. 
"You'd  be  a  natural  with  them,"  Ed  told 
him,  prophetically. 

Sullivan  likes  to  quote  from  a  letter 
Bing  Crosby  wrote  him  a  few  years  ago, 
which  helps  prove  the  point  about  the 
durability  of  vaudeville  and  variety,  when 
it  really  is  variety.  Bing  wrote  how  he 
had  often  told  his  kids  about  vaudeville, 
about  the  great  old  performers  and  acts, 
the  really  terrific  comedians,  the  excite- 
ment of  the  whole  business.  He  said  he 
always  had  the  feeling  that  the  kids  lis- 
tened to  him  indulgently  and  were  se- 
cretly thinking:  "This  is  just  the  Old  Man 
talking  about  the  days  of  his  youth." 
Now  they  were  seeing  Ed's  show  every 
week  and  had  found  out  what  the  "Old 
Man"  meant.  They  were  learning  the 
thrill  of  vaudeville  for  themselves.  They 
understood  what  he  was  talking  about 
when  he  described  some  of  the  wonder- 
ful acts  that  drew  people  back  into  the 
theater,  year  after  year.  Pops  had  been 
proved  smarter  than  they  thought. 

Sylvia  Sullivan,  who  married  Ed  some 
twenty-five  years  or  so  ago,  has  ideas  of 
her  own  about  some  special  reasons  for 
Ed's  success — first  as  a  sports  writer,  then 
as  a  newspaper  columnist,  and  now  as  TV 
impressario  and  performer. 

"Even  if  Ed  doesn't  happen  to  like 
someone  personally,"  Sylvia  observes,  "he 
can  remain  objective  about  that  person's 
work  and  say  it  is  great.  My  own  criti- 
cisms are  much  more  apt  to  be  tied  up 
with  my  feelings  about  people,  but  not 
Ed's.  He  can  violently  disagree  with  a 
performer,  for  instance,  and  still  respect 
his  work.  Occasionally,  he  gets  angry 
and  will  say  that  such-and-such  a  person 
will  not  be  on  the  show  again.  But, 
unless  there  is  a  matter  of  integrity  in- 
volved, or  something  equally  important, 
his  anger  is  quickly  forgotten.  There  is 
nothing  petty  about  him.  Added  to  all 
this,  he  has  excellent  taste  and  judgment, 
works  very  hard — and  more  rapidly  than 
anyone  else  I  know." 

The  success  of  the  Ed  Sullivan  Show  is 
undoubtedly  due,  in  part,  to  the  fact  that 
there  is  something  in  it  for  everyone, 
even  for  the  kids.  Nobody  has  to  be  crazy 
about  everything  in  it  to  enjoy  most  of 
it.  Ed  gets  a  kick  out  of  his  own  shows, 
enjoys  them  a  second  time  over  dinner 
with  Sylvia  after  the  Sunday-night  pro- 
grams. He  will  remember  the  funny  line 
someone  said  on  the  show  and  suddenly 
go  off  into  gales  of  laughter,  or  get  a  little 
sentimental  over  some  nostalgic  bit  from 
an  old-timer's  routine.  For  a  time,  he 
and  Sylvia  called  each  other  "Oiving" 
and  "Zelda" — because  ventriloquist  Ricky 
Layne's  dummy  on  the  show  (an  enor- 
mously droll,  original  little  fellow)  had 
decided  he  would  imitate  Ed  and  intro- 
duce some  celebrities  from  the  audience. 
He  had  then  called  on  "Oiving"  MacMur- 
ray  and  "Zelda"  Haver  (Fred  MacMur- 
ray  and  his  wife,  June  Haver),  insisting 
that  those  were  the  right  names.  Ed 
found  this  highly  amusing. 

"We  have  had  a  long  session  of  after- 
the-show  dinners,  eight  years  of  them," 
Ed   says.     "The   show   is   done   and   over, 


and  I  can  sit  back  and  relax.  I'm  not 
even  thinking  of  next  week's  program  at 
this  particular  time.  That  starts  the  next 
day — or,  rather,  it  continues,  because  I 
have  been  thinking  and  planning  'way 
ahead,  of  course,  as  you  always  must  in 
this  business. 

"Usually,"  he  says  of  these  Sunday- 
night  suppers,  "I  have  talked  to  Sylvia 
over  the  phone  and  had  her  reaction  be- 
fore meeting  her.  If  there's  something 
she  didn't  think  quite  came  off,  she  tells 
me.  Little  things  she  holds  back  until 
later,  so  as  not  to  spoil  my  feeling  about 
the  show  as  a  whole.  Things  like  my  tie 
not  being  just  right,  or  my  over-using 
one  word,  like  the  word  "wonderful'  or 
'tremendous' — which  are  the  first  ones 
that  come  to  mind  when  a  performance 
has  been  extra-good.  Sylvia's  criticism 
is  always  careful,  thoughtful,  and  con- 
structive, and  I  can  always  trust  it  to  be 
honest." 

The  whole  thing  really  works  this  way: 
First,  there  are  the  reactions  Ed  gets 
while  he  is  still  at  the  theater — from  his 
associates,  from  everyone  who  comes 
backstage.  His  conversation  with  Sylvia. 
A  telephone  talk  with  Joe  Moore,  Olym- 
pic skating  champion  back  around  1920 — 
when  Ed  was  still  a  sports  writer — and 
his  close  friend  ever  since.  "A  very  hep 
guy,"  Ed  describes  Joe.  Joe  gives  Ed  his 
opinion,  and  around  2  A.M.  he  calls  Ed 
from  Lindy's,  where  he  has  been  taking 
his  own  "Gallup  poll."  Then,  there's  what 
Ed  calls  "the  real  test"— at  about  9:30 
Monday  morning,  when  he  calls  Mary 
Smith  at  Trendex  to  get  their  official  rat- 
ing of  the  program. 

The  Hollywood  motion  picture  Ed  was 
planning  to  make  is  off,  for  the  present 
at  least.  "Too  many  other  commitments, 
too  many  complexities,"  he  says  about  it. 
"In  addition,  I'm  scared  to  death  that  I'd 
be  awful."  With  summer  ahead,  he  wiE 
be  taking  more  time  out  to  play  tourna- 
ment golf  and  will  be  out  there  practicing 
to  improve  his  game — a  good  one,  when 
he's  in  practice.  He  drops  it  almost  com- 
pletely during  the  winter  months,  brushes 
up  madly  come  spring.  He  and  the  family 
will  be  spending  some  time  in  the  big 
house  on  one  of  their  three  parcels  of 
farmland,  about  200-odd  acres,  in  South- 
bury,  Connecticut.  They  are  all  looking 
forward  to  having  the  Bob  Precht  family 
in  New  York  sometime  after  July,  when 
son-in-law  Bob  gets  out  of  the  Navy. 

Bob  is  interested  in  television,  but  in 
the  news  end — in  news  commentary  and 
in  documentaries.  But,  for  Ed,  there's 
nothing  like  a  variety  show.  Good  old 
vaudeville,  streamlined,  changed,  vastly 
quickened  in  tempo,  with  all  sorts  of  new 
ideas  for  it  simmering  in  Ed's  mind  at  any 
given  moment.  With  all  its  nostalgia,  its 
many-fabled  facets,  its  excitements  for 
the  old-timers — and  for  the  young,  too, 
who  had  never  known  its  unique  flavor. 
With  all  the  fun  of  finding  the  biggest, 
brightest,  and  finest  acts,  the  best  per- 
formers, and  of  editing  them  into  a  fas- 
cinating hour  of  entertainment.  Thus, 
once  a  week,  every  Sunday,  Ed  Sullivan 
becomes  a  welcomed  guest  in  millions 
and  millions  of  homes. 


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The  Secret  Passion  of  Garry  Moore 


(Continued  from  page  47) 
breast  soothed  only  by  the  blues  and  bleat. 
Here's  a  man,  a  hipster  at  heart,  who 
rocks  deceptively  in  an  old-fashioned 
rocker  in  his  office.  He  rocks  back  and 
forth,  so  quietly,  with  a  gentle  twinkle — 
one  to  an  eye,  but  beware  of  the  twinkle 
in  either  one.  Garry's  full  of  surprises 
and  spectacular  enthusiasms.  And  he 
shares  his  enthusiasms  with  his  audience. 
Recently,  he  produced  an  album  of  jazz 
for  Columbia  Records  and  he's  just  as 
excited  as  Father  Dionne  was,  once  upon 
a  time. 

"The  album's  called  'My  Kind  of 
Music,' "  he  says,  "and  that's  exactly  what 
it  is.  It's  music  and  musicians  that  I've 
heard  in  a  lifetime,  music  I  love — blues, 
swing." 

For  Garry,  a  "night  out"  usually  means 
a  table  down  at  Eddie  Condon's  or  some 
other  club  noted  for  jazz.  That  would 
happen  two  or  three  nights  a  month.  Most 
evenings,  after  work,  he  retires  to  his 
family  and  boat.  And,  many  evenings,  he 
carries  home  a  slim,  square  cardboard  en- 
velope containing  a  grooved,  plastic  disc: 
"As  I  approach  the  front  door  it's  almost 
as  if  I  can  hear  them  scurrying  and  shout- 
ing, 'Here  he  comes  with  another  jazz 
record.    To  the  woods!' " 

Everyone  knows  about  Garry's  wife 
Eleanor,  nicknamed  Nell.  Garry  talks 
about  her  so  often,  but  she  is  seen  so 
seldom.  Every  couple  of  years,  she  makes 
a  "farewell"  television  appearance.  About 
three  years  ago,  when  I've  Got  A  Secret 
premiered,  Nell  came  on.  Ed  Murrow  got 
her  on  camera  for  Person  To  Person  last 
year.  And  that's  all.  And  that's  too  bad, 
for  she  is  a  pretty  brunette  with  lovely 
brown  eyes  and  one  of  those  memorable, 
sweet-shy  smiles.  But  Nell  prefers  sym- 
phonic and  classical  music.  Actually,  that 
wouldn't  seem  much  of  a  problem,  for 
Garry  has  his  hi-fi  equipment  set  up  in  the 
den,  a  small  room — he  could  go  into  the 
den,  close  the  door  and  play  his  records. 
But:  "I  like  to  use  the  den  as  a  sound 
box,"  he  explains.  "I  get  the  volume  'way 
up,  and  then  go  into  the  living  room  to 
listen.  Of  course,  Nell  doesn't  have  to 
listen.   There's  always  the  roof  or  garage." 

Nell  isn't  quite  a  cat — nor  is  Garry,  Jr., 
who  belongs  to  the  rock-and-rattle  set — 
but  Mason,  the  first  born,  takes  after 
father.  He  plays  drums  in  a  jazz  quartet 
at  school,  and  joins  Garry  in  the  sit-me- 
down-and-listen  sessions  at  home. 

"To  me,  a  phonograph  is  as  much  a 
necessity  in  a  home  as  a  dining  table," 
Garry  says.  "When  I  was  a  kid,  it  was 
different.  My  parents  weren't  musical. 
They  didn't  play  instruments  and  they 
weren't  concert-goers,  but  my  brother  and 
I  liked  jazz.  I  began  to  collect  records 
at  twelve  and,  by  the  time  I  was  sixteen, 
I  had  a  pretty  fair  collection." 

Garry — then  Thomas  Garrison  Morfit — 
was  born  and  raised  in  Baltimore.  He  was 
one  of  three  children,  and  his  bedroom  was 
on  the  third  floor  of  the  house  and  on  the 
street  side.  Up  in  his  bedroom,  he  had 
a  phonograph  and  an  old  trumpet  that  was 
good  for  nothing.  Garry  would  put  on  a 
Louis  Armstrong  record  and  put  the  trum- 
pet to  his  lips  and  make  believe.  He  was 
about  fourteen  then,  and  it's  pretty  easy 
for  a  kid  to  pretend  he's  blowing  the  high 
ones. 

"One  day,"  he  recalls,  "I  was  standing 
by  the  window  with  the  trumpet  and 
playing  a  record.  I  glanced  down  at  the 
street  and  there  were  a  couple  of  men — 
well,  they  were  about  eighteen  years  old, 
anyway — staring  and  listening.  When  the 
record  ran  out,  I  put  on  another,  and  they 


didn't  move.  Just  listened.  Next  day  there 
were  three  or  four  outside  for  the  con- 
cert— and,  the  third  day,  enough  for  a 
whole  orchestra.  I  put  on  some  records 
and  'played  the  trumpet'  some  more  for 
them,  then  Dad  called  upstairs  and  said 
some  boys  were  asking  for  me  and  would 
I  come  on  down.  They  wanted  me  to  play 
in  their  orchestra.  I  told  them  that  I  was 
sorry  but  I  couldn't,  because  I  was  study- 
ing to  be  a  doctor.  They  went  away  un- 
happy, and  you  couldn't  blame  them — after 
all,  they  had  almost  got  Louis  Armstrong 
in  their  band." 

A  fitting  conclusion  to  this  story  might 
have  been  that  the  young  Baltimore  boy 
grew  up  to  be  Bix  Beiderbecke,  but — 
Hollywood,  go  away — Thomas  Garrison 
Morfit  grew  up  to  be  Garry  Moore.  At 
eighteen,  he  had  a  burning  ambition  to 
write  up  the  world,  and  was  encouraged 
by  rubbing  up  against  such  Baltimore 
notables  as  H.  L.  Mencken  and  in  col- 
laborating with  F.  Scott  Fitzgerald.  At 
eighteen,  Garry  went  to  work  at  WBAL 
in  Baltimore:  "I  was  hired  as  a  continuity 
writer  and,  when  I'd  dry  up  at  the  type- 
writer, I'd  go  up  to  the  studio  and  fool 
around  with  the  drums." 

One  day,  the  station's  comedian  failed  to 
turn  up  for  a  variety  show.  If  they  had 
asked  the  drummer  to  take  over  the  mike 
and  Garry  to  take  over  the  drums,  every- 
thing would  have  turned  out  all  right.  In- 
stead, Garry  was  asked  to  do  the  comic's 
spot.  He  did.  Did  very  well.  And,  once 
again,  he  was  frustrated.  For  many  years, 
the  story  of  Garry's  life  was  a  case  of 
push-pull,  click-click.  Click  he  did,  and 
shot  up  into  national  stardom — first,  as  a 
comedian  on  Club  Matinee  and  then  with 
his  five-year  co-billing  with  Jimmy  Du- 
rante. But  it  was  push-pull,  too,  for  Garry 
resisted  the  idea  of  being  a  comedian. 
One  day,  he  decided  he  wasn't  going  to  be 
a  comedian  anymore,  no  matter  what  any- 
one tried  to  call  him.  He  puts  it  this  way: 
"If  you  think  of  Jimmy  Durante  as  a 
comedian,  then  Garry  Moore  is  not.  It's 
that  simple." 

Garry  Moore  is  a  good-humored,  full- 
witted  showman.  The  fact  that  he  is  so 
good-hearted  has  much  to  do  with  his 
being  nationally  loved,  but  the  fact  that 
his  show  is  wonderful  and  well-liked  has 
a  lot  to  do  with  his  being  a  fine  showman. 
People  don't  stop  to  think  of  it  as  often 
as  they  might,  because  even  around  his 
office  the  atmosphere  is  non-hectic.  There 
is  no  star-pressure.  Garry  is  conscious  of 
everyone's  dignity  and  is  dedicated  to 
preserving  it.  He  makes  people  feel  at 
ease.  An  assistant  put  it  this  way:  "Most 
of  the  time  you  forget  that  you're  working." 

There's  nothing  exceptional  about  Garry's 
offices.  He's  in  a  CBS  building  which  is 
on  a  street  mostly  lined  with  warehouses 
and  service  buildings.  The  Moore  staff 
shares  the  third  floor  of  the  building  with 
Studio  One  personnel.  On  the  Moore  side, 
there  is  a  big  television  set  in  the  outer 
office  where  the  staff  can  watch  his  show. 
When  Garry  is  out  of  his  office,  his  door 
is  left  open  and  people  go  in  and  out  for 
paper  clips,  cigarettes  or  a  book.  When  he 
is  there,  the  door  may  be  closed — but  neyer 
for  long,  since  he  is  continually  walking 
out  to  read  a  letter  aloud,  or  just  to  talk. 

Garry's  office,  about  fifteen-by-fifteen, 
represents  the  taste  of  Nell  and  a  little  bit 
of  CBS.  CBS  furnished  the  big  desk  and 
the  paint  on  the  walls.  The  walls  are  green 
and,  in  deference  to  Garry's  love  of  boats, 
the  color  is  referred  to  as  "aquamarine." 
Wife  Nell  came  into  the  aquamarine  and 
hung  drapes  of  mixed  cocoa  and  gold  and 
aquamarine.    She  rugged  the  floor  with  a 


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kind  of  half-and-half  creamed  shag.  Just 
fore  of  the  desk,  she  put  in  an  oblong 
coffee  table  and  a  sofa  with  brown  scrib- 
bles but  predominantly  gold.  Rigged  above 
the  sofa  is  a  color  print  of  fishing  boats. 

On  another  wall  there  is  a  painting  of 
jazz  musicians  and  a  model  of  one  of 
Garry's  ex-sailboats.  Alongside  his  desk 
is  an  old  print  of  Abraham  Lincoln  in  an 
old-fashioned  frame.  In  front  of  the  desk 
there  is  the  famous  rocking  chair  where  he 
"sits,  stares  and  thinks."  Once,  in  the 
corner,  there  was  a  life-sized,  make-be- 
lieve bulldog  that  barked  and  chomped  its 
jaws,  but  Blondie  got  fond  of  the  bull  and 
took  it  home. 

Blondie  is  one  of  the  many  exotic  crea- 
tures that  have  visited  Garry  in  his  office. 
She  stayed  for  the  night.  She  weighs  may- 
be a  couple  hundred  pounds  more  than 
Garry  and  crowded  him  a  bit  in  bed,  but 
she  was  friendly  and  meant  well.  Actually, 
Blondie  is  a  lion  owned  by  Mr.  Charles 
Hipp,  of  Texas,  who  has  domesticated  her. 
The  lion  was  brought  to  New  York  to  be 
on  Garry's  daytime  show  and  I've  Got  A 
Secret:  "The  thought  was  that,  if  I  slept 
with  Blondie  that  night,  it  would  make  a 
swell  'secret.'  After  all,  how  many  people 
are  lucky  enough  to  sleep  in  the  same  bed 
with  a  lion?" 

Blondie  and  Garry  had  dinner  at  a 
hotel,  with  Mr.  Hipp  chaperoning.  Blondie 
ate  very  well,  for  her  teeth  measure  about 
three  inches  each  and  she  has  no  trouble 
crunching  bones.  That  night,  Garry  Moore, 
man  among  men,  crawled  into  bed  and  the 
lion  snuggled  alongside.  "Blondie  woke  me 
maybe  two  or  three  times,"  he  recalls. 
"You  know  the  Hon  is  a  nocturnal  animal. 
She  just  wanted  to  play.  Kept  grabbing 
for  the  pillow  or  blanket." 

Another  visitor  to  Garry's  office  was 
Irving  Townsend,  of  Columbia  Records. 
He  wanted  to  talk  to  Garry  about  record- 
ing some  children's  stories.  Garry  thought 
that  maybe  sometime  he  would,  but  he 
began  to  talk  about  music  and  the  kind 
he  liked. 

"I  think  most  people  could  get  together 
an  album  of  their  favorite  songs  and  musi- 
cians and  singers  if  they  were  asked," 
says  Garry.  "My  favorites — rather,  among 
them,  are  Wild  Bill  Davison;  Randy  Hall, 
who  is  a  personal  friend  of  mine  and  blows 
a  dime  whistle;  Ernie  Caceres,  who  plays 
clarinet  in  the  studio  band;  Mel  Henke 
and  George  Barnes,  whom  I  got  to  know 
during  my  Chicago  days.  The  kind  of 
music  I  wanted  to  hear  them  play  wasn't 
even  on  records." 

The  project  was  put  into  the  works 
immediately.  Recording  sessions  were 
held  on  the  West  and  East  Coasts.  By  mid- 
summer of  last  year,  Garry  had  acetate 
recordings  of  the  sessions.  "I  was  so 
thrilled  by  the  music,"  he  recalls,  "I  wore 
out  the  records  and  had  to  ask  Columbia 
for  another  set." 

The  album  has  built  into  one  of  Colum- 
bia's best-sellers — and  with  good  reason, 
for  it  is  a  happy  collection  of  sounds.  It 
rides  and  swings  from  beginning  to  end. 
One  exception,  perhaps,  is  the  trumpet 
tribulation  by  Wild  Willie.  Davison  blows 
the  blues  against  the  tasteful  strings  of 
Percy  Faith,  and  it  comes  out  a  powerful 
and  beautiful  blue  mood.  There's  a  man 
in  the  album  who  was  a  college  roommate 
of  Garry's  producer,  Herb  Sanford.  Randy 
Hall  is  his  name,  and  he  makes  a  five-and- 
ten  whistle  literally  dance  with  delight. 
The  other  musicians — Caceres,  Henke  and 
Barnes — bust  out  brightly  all  over. 

Garry   is   featured   on  the   last  number 

of  the   album.    He   shouts   the   blues.    So 

T    far  as   he's   concerned,  this   is  incidental, 

v    but  he's  so  effective  that  he's  almost  be- 

R    yond    recognition.     He    refused    to    play 

drums  although  he  does  play  occasionally 

on  his  daytime  show — and  even,  one  night, 


on  I've  Got  A  Secret.  "I'm  not  a  good 
enough  drummer  to  actually  record  with 
these  men,"  he  says. 

As  noted  before,  there  is  a  painting 
above  the  sofa  in  his  office.  There  is  an 
award  on  either  side  of  the  painting.  One 
is  an  Award  from  TV  Radio  Mirror  Maga- 
zine. The  other  is  an  award  from  Metro- 
nome Magazine  designating  Garry  as  "TV's 
Best  Sit-in  Drummer."  Garry  is  pleased 
with  the  award  but  doesn't  think  it  signi- 
fies that  he's  a  professional,  and  he  tells 
a  little  story  on  himself. 

The  Durante-Moore  or  Moore-Durante 
Show  (they  alternated  billings  each  week) 
came  from  the  West  Coast.  Garry,  as  one 
of  the  stars,  used  his  influence  to  see  that 
there  were  a  few  jazz  men  in  the  studio 
orchestra,  and  there  were  such  as  Eddie 
Miller  and  Joe  Venuti.  There  was  also 
Alvie  West,  saxophonist,  who  came  to  the 
studio  early  to  play  piano  while  Garry 
got  on  drums.  They  would  work  out 
maybe  forty-five  or  thirty  minutes  before 
the  immediate  preparations  began  for  the 
show.  Once,  Garry  and  Alvie  were  off  and 
running,  when  Jimmy  Durante  came  in 
for  a  special  rehearsal.  Garry  put  down 
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Alvie  West  said,  "What's  going  on  here?" 

"We'll  have  to  knock  off,"  Garry  said. 
"Jimmy's  going  to  need  the  studio." 

"Why  don't  you  tell  Durante  to  move 
the  microphone  into  the  dressing  room 
and  rehearse?" 

"That  wouldn't  be  right,"  said  Garry. 

"Well,  I  don't  know,"  said  Alvie,  "I've 
been  telling  people  you  were  a  pretty  good 
drummer — for  a  big  shot.  But  now  I  find 
out  you're  not  a  big  shot." 

Garry  is  actually  a  good  amateur  drum- 
mer. He's  got  a  fine  sense  of  rhythm.  Any 
one  of  the  boys  in  his  band  will  go  along 
with  that,  and  he's  got  some  fine  musicians 
there.  Among  them  are  Ed  Shaugnessy, 
who  drummed  for  Benny  Goodman,  bass- 
man  Trigger  Alpert  and  clarinetist  Ernie 
Caceres,  who  worked  with  Glenn  Miller, 
and  guitarist  Carl  Kress,  who  has  played 
with  just  about  every  big  name  in  the 
business.  The  leader  and  arranger  of 
Garry's  studio  band  is  Howard  Smith, 
who  was  pianist  and  arranger  for  Tommy 
Dorsey.  And,  while  on  the  subject  of 
awards,  it  should  be  noted  that  Howard 
Smith,  too,  received  a  Metronome  Music 
Award  for  his  good  music  on  Garry's  show. 

Although  Garry  is  personally  fond  and 
publicly  proud  of  Howard,  he  has  done 
some  devilish  things  to  him— and  to  Ken 
Carson  and  Denise  Lor  and  Durward 
Kirby,  as  well.  Every  once  in  a  while, 
Garry,  the  gourmand,  brings  on  some  ex- 
otic foods  like  French -fried  eel  or  maybe 
buttered  worms.  And  inevitably  he  in- 
vites Howard  to  help  himself. 

"Howard  takes  it  hard,"  Garry  says.  "I 
think  he's  got  a  nervous  stomach,  or  else 
he's  getting  one.  Those  fine  delicacies, 
those  gourmet's  delights,  always  make  him 
sweat." 

One  store  recently  served  the  cast  with 
canapes.     This    particular    species    was    a 


cracker  spread  with  cream  cheese  and 
topped  off  with  fried  grasshoppers.  Howard 
Smith  tried  to  make  it  a  color  telecast  by 
turning  green.  Ken  Carson  turned  violent, 
picked  up  his  fork  and  beat  the  defense- 
less hors  d'oeuvre,  screaming:  "I'll  kill  it." 
But  it  didn't  bother  Garry. 

"Basically,  I'm  a  meat  or  peanut-butter 
man,"  he  says,  "but  I  can  eat  anything. 
I  just  eat  those  exotic  things  to  be  sociable. 
I  want  Howard  and  Ken  to  have  company." 

He's  lucky  with  snakes,  too,  and  every 
once  in  a  while  gets  cozy  with  one.  He 
had  on — literally,  like  a  neck  tie — the 
Indian  Rock  snake,  a  white  python  eight 
feet  long  with  navy-blue  eyes.  Garry 
wasn't  afraid  of  its  biting.  Pythons  don't 
bite.  They're  constrictors.  They  just  choke 
you  to  death. 

In  fairness  to  Garry,  it  should  be  noted 
that  not  everything  on  the  show  is  done 
for  laughs.  The  animals  are  fascinating. 
This  stems  from  Garry's  personal  interest 
in  zoology.  There  have  been  some  great 
people,  too.  Carl  Sandburg  has  read  on 
the  show.  Thomas  Mitchell  has  read  from 
the  Bible.  With  outstanding  authorities, 
Garry  has  discussed  juvenile  deliquency 
and  the  problems  of  teachers. 

Even  more  important  is  the  warmth  of 
the  show — the  hope  to  leave  the  audience 
with  something  more  than  a  laugh.  This  is 
the  very  nature  of  Garry,  but  he  is  sick 
of  hearing  people  talk  about  him  as  being 
"exceptional."  He  just  doesn't  think  that 
he's  got  a  corner  on  the  world's  goodness, 
and  he  proves  it  with  something  that 
happened  in  his  own  office. 

Recently,  a  request  came  through  ask- 
ing for  a  "plug"  for  the  Foster  Parents 
Plan  for  War  Children.  The  organization 
adopts  homeless  children  who  have  been 
victims  of  a  war,  and  sent  over  biographies 
of  many  children.  Garry  read  through 
them  and  called  in  his  secretary,  Joan 
Madeo,  who  has  been  with  him  nearly 
five  years. 

"Look,"  he  said,  "I  can't  pick  one  out  of 
this  bunch.  It'll  break  my  heart.  You  pick 
one  for  me." 

Well,  to  make  a  long  story  short  and 
sweet,  the  girls  in  the  office  and  the 
writers  and  Denise  and  Ken  and  Durward 
— everyone  got  in  on  it.  This  is  what 
happened:  Garry  adopted  a  Greek  child; 
Durward,  an  Italian;  Denise,  a  German; 
Ken,  a  Korean;  Herb  Sanford,  an  Italian; 
the  orchestra,  a  French  girl;  the  girls  in 
the  office  and  the  writers,  a  French  boy. 
And  it  was  all  spontaneous. 

"That's  the  human  side,"  Garry  says, 
"but  that,  basically,  is  what  entertainment 
is  all  about — humanity.  Laughs  are  part  of 
it,  and  so  is  music  and  sentiment  and  the 
big  cry.  Our  life  is  noisy,  full  of  talk  and 
songs  and  yaks — most  times,  at  the  end  of 
the  day,  you  just  want  to  crawl  into  a 
quiet,  dark  closet  to  recover.  So  it's  fun. 
But,  some  days,  you  can't  help  feeling 
down  in  the  mouth — something  has  hap- 
pened, or  maybe  it's  just  the  weather.  So 
you  go  down  to  the  studio,  feeling  down 
in  the  dumps  and  you  can't  afford  it.  You 
walk  in  for  rehearsal,  and  maybe  Denise 
is  singing  nice  and  bright  and  the  band 
has  a  good  beat.  You  feel  better. 

"Or,  when  you  walk  out  on  the  stage,  in 
front  of  a  studio  audience,  you  begin  to 
feel  real  good.  The  warmth  and  life  of  six 
hundred  people  just  comes  up  at  you.  You 
feel  good  all  over,  even  though  you  were 
crabby  a  few  minutes  before.  Well,  I  think 
that's  what  we  hope  to  do  in  our  way- 
get  that  same  feeling  back  through  the 
coaxial  cable — just  the  warmth  of  people 
being  happy  and  together.  It's  like  getting 
in  time  with  the  heartbeat  of  the  man 
sitting  next  to  you.  And  I  think  that's 
what  I  like  about  jazz,  too:  It's  got 
emotion  and  warmth  and  a  very  strong 
beat." 


fJHm 


e  au 


at  r 


C 


K 


JOHN 
NEW 


The  Three 

H         B  R  E  ' 
YORK 


THERE  ARE  THREE  BRECK  SHAMPOOS 
FOR    THREE    DIFFERENT    HAIR    CONDITIONS 

When  you  buy  a  shampoo,  keep  in  mind  one  thought  -  the 
condition  of  your  hair.  It  is  either  dry,  oily  or  normal.  For  each 
of  these  hair  conditions,  there  is  a  different  Breck  Shampoo. 
One  Breck  Shampoo  is  for  dry  hair.  Another  Breck  Shampoo  is 
for  oily  hair.  A  third  Breck  Shampoo  is  for  normal  hair. 
A  Breck  Shampoo  is  mild  and  gentle  in  action  and  not 
drying  to  the  hair.  The  Breck  Shampoo  for  your  individual 
hair  condition   leaves   your    hair   clean,    soft   and    beautiful. 

Breck  Shampoos  are  available  at  Beauty  Shops,  Drug  Stores,  Department  Stores  and  wherever  cosmetics  are  sold. 


INC  ■  MANUFACTURING  CHEMISTS 

CHICAGO  •  SAN  FRANCISCO 

Copyright  1956  by  John  H.  Breck  Inc. 


SPRINGFIELD 
ANGELES 


;  MASSACHUSETTS 

OTTAWA  CANADA 


Real  flavor  -that's  WINSTON  ! 


Join  the  switch  to  WINSTON  and 

enjoy  filter  smoking  ! 


■  If  you  haven't  tried  Winstons  yet,  you  have 
a  most  pleasant  surprise  in  store.  This  filter 
cigarette  tastes  good— like  a  cigarette  should ! 
No  wonder  Winston  is  already  America's  first 
choice  among  all  filter  cigarettes. 

Winston  brings  you  full,  rich,  tobacco  flavor. 
What's  more,  the  exclusive  Winston  filter 
works  so  well  the  flavor  really  gets  through 
to  you.  Try  Winston ! 


R.  J.  Reynolds  Too.  Co..  Winsto 


Smoke  WINSTON    the  filter  cigarette  America  enjoys  most  of  all! 


NEW! 

MARTHA  WRIGHT 

MARVIN  MILLER 

THE  LINEUP 


GEORGE  GOBEL 


JAYNE  HELLER 

The  Brighter  Day 


BOB  HOPE 

25$ 


' 


i- 


at  last  ! 

A  LIQUID  SHAMPOO 
that's  EXTRA  RICH  I 


ITS  LIQUID 


FOR 


Absolutely  unique,  emerald-clear  new  Liquid  Prell  is  extra  rich  .  .  . 

that's  why  it  leaves  your  hair  looking  'Radiantly  Alive'.  And  your  hair 
falls  into  place  so  easily,  yet  feels  delightfully  soft  and  silky.  Truly  a 

luxurious  shampoo,  Liquid  Prell  bursts  instantly  into  mounds  of  richer, 
more  effective  lather.  Try  it  today.  There's  radiant  beauty  in  every  drop! 

JUST  POUR  LIQUID  PREtL  .  .  .  and  you'll  see  the  glorious  difference! 

Never  too  thin  or  watery  — never  too  messy  or  wasteful  — like  so 
many  ordinary  liquid  shampoos.  Never  too  thick,  with  a  "filming" 
ingredient  that  can  dull  hair  like  many  cream  shampoos.  Extra- 
Rich  Liquid  Prell  has  just  the  right  consistency.  It  won't  run  and 
it  never  leaves  a  dulling  film. 


sf& 


And  you'll  love 

PRELL  CONCENTRATE  — 

leaves  hair  extra  clean  . . . 
extra  radiant! 

Not  a  cream  — not  a  liquid  — 
but  a  clear  shampoo 
concentrate  that  contains  more 
cleansing  ingredients,  ounce 
for  ounce,  than  any  other 
type  of  shampoo!  That's  why 
Prell  Concentrate  leaves 
your  hair  extra  clean, 
extra  radiant! 


PRIU 


'— 1 


^aioBiT  AhampW 


CREATED    BV    PROCTER   4   GAMBLE 


■^-m 


/¥X 


'      '■    -H'.'. 


IVIUM 


PHOTOGRAPH     BY    RICHARD    AVEDON 


C  iVI 


The  doctor's  deodorant  discovery 
that  now  safely  stops  odor  24  hours  a  day 


Underarm  comparison  tests  made 
by  doctors  proved  a  deodorant  without 
M-3  stopped  odor  only  a  few  hours  — 
while  New  Mum  with  M-3  stopped 
odor  a  full  24  hours! 


You're  serene.  You're  sure  of  yourself.  You're  bandbox  perfect  from  the  skin  out. 

And  you  stay  that  way  night  and  day  with  New  Mum  Cream. 

Because  New  Mum  now  contains  M-3  (hexachlorophene)  which  clings  to 

your  skin  — keeps  on  stopping  perspiration  odor  24  hours  a  day. 

So  safe  you  can  use  it  daily -won't  irritate  normal  skin  or  damage  fabrics. 


/^  Guaranteed  by  **W|  ' 
another  fine  product  of  bristol-myers    (flood  Housekeeping  fil 


KIND  TO  YOUR  SKIN  AND  CLOTHES 


Can't  evaporate!  Never  dries  skin! 
Retains  strength  for  hours! 

Even  if  perfume  never  "lasts" 
on  you,  Coty  Creamy  Skin 
Perfume  will!  Smooth  it  on 
like  a  lotion  —  the  fragrance 
stays  with  you   for  hours! 


NEW 


SKIN 
PERFUME 

PURSER   l2s 

REGULAR  SIZE  1.85 
prices  plus  lax 

Choose  your  favorite 
L'AIMANT  •   L'ORIGAN   •  EMERAUDE   • 


"PARIS" 


Compounded  and  copyriohted  by  Coly.  Ine.«  In  U.S.A. 


TV 


RADIO 
MIRROR 


JUNE,  1956 


N.Y.,  N.J.,  CONN.  EDITION 


VOL.  46,  NO.   1 


Ann  Higginbotham,  Editor 
Ann  Mosher,  Executive  Editor  Jack  Zasorin,  Art  Director 

Teresa  Buxton,  Managing  Editor  Frances  Maly,  Associate  Art  Director 

Claire  Safran,  Associate  Editor  Joah  Clarke,  Art  Assistant 

Sonia  Gould,  Assistant  Editor  Bud  Goode,  West  Coast  Editor 


PEOPLE  ON  THE  AIR 

What's  New  From  Coast  to  Coast by  Jill  Warren 

If  You  Were  a  Millionaire  (Marvin  Miller) by  Gordon  Budge 

Lucky  To  Be  Martha  Wright by  Frances  Kish 

The  Home  That  Jack  Barry  Built by  Martin  Cohen 

Lady  of  Letters   (Lee  Graham) by  Helen  Bolstad 

Who's  Who  on  The  Lineup  (Warner  Anderson  and  Tom  Tully) 

The  Very  Heart  of  Bob  Hope by  Bud  Goode 

Wife  in  a  Million  (Ted  and  Rhoda  Brown) by  Marie  Haller 

He  Loves  the  Ladies  (Jack  Bailey) by  Elsa  Molina 

Ma  Perkins  (picture  story  from  the  popular  daytime  drama) 

Turning  Point  on  The  Road  Of  Life  (Douglass  Parkhirst) 

by  Gregg  Martin 

Heaven  on  Earth   (Curt  Massey) by  Fredda  Balling 

I  Made  a  Vow by  Danny  Thomas 


FEATURES  IN  FULL  COLOR 

Aunt  Jenny's  Favorite  Bride  (Agnes  Young  and  Nancy  Wells) 

by  Alice  Francis 

It's  Always  Playtime   (Bonnie  Sawyer) by  Mary  Temple 

It  Shouldn't  Hardly  Happen  to  "The  Birds  and  the  Bees" 

(George  Gobel) by  Mitzi  Gaynor 

Small-Town  Girl  (Jayne  Heller) by  Gregory  Merwin 


4 
29 
32 
34 
38 
40 
48 
56 
58 
60 

64 
66 
81 


44 
46 

50 
52 


YOUR  LOCAL  STATION 

The  Great  Gildersleeve 6 

Home  Is  Where  the  Music  Is   (WINS) 12 

Two  for  Talk  (WRCA,  WRCA-TV,  WABD) 14 

Three  for  the  Show   (WCSH-TV) 18 


YOUR   SPECIAL  SERVICES 

Steve   Allen's   Turntable 8 

Information    Booth 10 

New  Designs  for  Living   (needlework  and  transfer  patterns) 16 

New  Patterns  for  You  (smart  wardrobe  suggestions) 22 

Daytime    Diary 26 

Inside  Radio    (program   listings) 74 

TV  Program  Highlights 76 

Cover  portrait  of  Jack  Barry  and  family  by  Maxwell  Coplan 


BUY  YOUR  JULY  ISSUE  EARLY      •      ON  SALE  JUNE  5 


.»!!! 


PUBLISHED  MONTHLY  by  MacTadden  Pub- 


ltion 


In 


Ne 


York,   N.    Y. 


r«lO 


EXECUTIVE,      ADVERTISING      AND      EDI- 
\*  TORIAL     OFFICES      at     205      East     42nd 
Street,    New  York,    N.    Y.    Editorial    Branch 
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tising offices    also    in   Chicago,    221    North 
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CHANGE  OF  ADDRESS:  6  weeks'  notice  essential.  When 
possible,  please  furnish  stencil-impression  address 
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Write  to  TV  Radio  Mirror,  205  East  42nd  Street,  New 
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MANUSCRIPTS:   All  manuscripts  will  be  carefully  con* 


Fidered.  but  publisher  cannot  be  responsible  for  loss  or 
damage.  It  is  advisable  to  keep  a  duplicate  copy  for 
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RE-ENTERED  as  Second  Class  Matter,  June  28.  1954, 
at  the  Post  Office  at  New  York,  N.  Y-,  under  the  Act  of 
March  3,  1879.  Authorized  as  Second  Class  mail,  P.  O. 
Dept.,  Ottawa,  Ont..  Canada.  Copyright  1956  by  Mac- 
fadden Publications,  Inc.  All  rights  reserved  under  In- 
ternational Copyright  Convention.  All  rights  reserved 
under  Pan-American  Copyright  Convention.  Todos  de- 
rechos  reservados  segun  la  Convencion  Pan-Americana 
de  Propiedad  Literaria  y  Artistica.  Title  trademark 
registered  In  U.S.  Patent  Office.  Printed  In  U.  S.  A. 
by  Art  Color  Printing  Company. 

Member    of    the    TRUE    STORY    Women's    Group 


Germs  are  the  major  cause  of  bad  breath  . .  . 

no  tooth  paste  kills  germs  like  Listerine,  instantly,  by 

millions.  The  most  common  cause  of  bad  breath  is  the 

fermentation  of  proteins  which  are  always  present  in  your  mouth. 

Germs  in  your  mouth  attack  proteins,  cause  them  to  ferment, 

and  bad  breath  may  result.  So,  the  more  you  reduce  germs 

in  the  mouth,  the  longer  your  breath  stays  sweeter. 

Listerine  Antiseptic  kills  germs  on  contact!  Listerine 
Antiseptic  kills  germs  by  millions  .  .  .  instantly  halts  the 
fermentation  that  they  cause.  Keeps  breath  sweet  and  clean 
usually  for  hours  on  end.  In  clinical  tests  Listerine  averaged  four 
times  better  in  stopping  bad  breath  than  the  tooth  pastes  it 
was  tested  against. 

Listerine  Antiseptic  acts  on  many  surfaces.  Listerine  kills 
germs  on  the  teeth,  mouth  and  throat.  No  tooth  paste  offers 
proof  like  Listerine  of  killing  germs  that  cause  bad  breath. 


LISTERINE  CLINICALLY  PROVED  FOUR 
TIMES  BETTER  THAN  ANY  TOOTH  PASTE 


SAO   BREATH  BAD    BREATH 

WAS   REDUCED  WAS  REDUCED 

THIS  MUCH  THIS  MUCH 

BY   LISTERINE  BY   TOOTH  PASTE 


1  HR.  AFTER  USING 


BAD  BREATH  BAD  BREATH 

WAS    REDUCED  WAS    SEDUCED 

THIS  MUCH  THIS  MUCH 

BY   IISTERINE  BY  TOOTH  PASTE 


LISTERINE 
ANTISEPTIC 

The  most  widely  used  antiseptic  in  the  world 


4  HRS.  AFTER  USING 


By 
JILL  WARREN 


Unusual    gift    finds    Bill    Bishop    and    his 
bride  Shirley  agreeing  It's  A  Great  Life. 


Jeff  Donnell,  of  Gobel's  gang,  and  actor  Aldo  Ray  enjoy  an  evening 
with  Mrs.  Irving   Manheimer,  wife  of  TV   Radio  Mirror's  publisher. 


Commuters  between  New  York  and  a  Pacific  Palisades  home,  Eddie 
Fisher  and   Debbie   Reynolds  take  time  out  to  out-mug   "Charles." 


HJ1  here's    music    on   the    air!     Ford    Star 
-*-  Jubilee  will  present  another  super- 
special  on  their  June  2  show,  over  CBS-TV. 
They'll  do  a  musical  version  of  "A  Bell  for 
Adano,"  based  on  John  Hersey's  Pulitzer 
Prize-winning  novel,  with  music  and  lyrics 
by  Arthur  Schwartz  and  Howard  Dietz. 

Maurice  Chevalier  will  be  the  star  on 
NBC's  next  big  ninety-minute  spectacular, 
Sunday  night,  May  20.  The  popular  French- 
man was  acclaimed  on  his  TV  debut  a  few 
months  ago  and  at  the  movie  Oscar  rites. 

CBS  is  convinced  that  rock  'n'  roll  is  here 
to  stay,  at  least  long  enough  for  a  commer- 
cial radio  series.  They're  starring  Count 
Basie  and  his  orchestra  in  a  Saturday  night 
show  called  Rock  V  Roll  Dance  Party,  on 
the  full  network.  Basie's  blues  singer,  Joe 
Williams,  is  featured  and  Alan  Freed 
emcees.    Freed,   a   former   Cleveland   disc 
jockey,  is  known  in  New  York  City  as  the 
"Rock  'n'  Roll  King,"  via  his  popular 
broadcasts  over  Station  WINS.  The  weekly 
guest  stars  on  the  clambake  will  be  top 
name  recording  artists. 

G-E  Theater  has  lined  up  some  interesting 
shows   for   this   month   of   Sundays.    On 
May  6,  Burl  Ives  is  taking  a  night  off  from 
his  Broadway  show,  "Cat  on  a  Hot  Tin 
Roof,"  to  do  a  live  performance  of  "The 
Second  Stranger."  On  May  13,  "The  Clown" 
will  be  re-run,  by   (Continued  on  page  20) 


Richard  Hudnuf  3-month  test  proves 

NEW  PIN-QUICK  OUTLASTS 
ANY  OTHER  PINCURL  PERMANENT 


if* 


V   ' 


3  MONTHS  AGO 

"My  new  Pin-Quick  wave  was  perfect  right  from  the  start," 
says  charming  model  June  Ross.  "Pin-Quick's  simple  as 
setting  your  hair,"  June  declares.  "And  so  fast!  I  dried  it 
in  minutes  with  a  dryer."  ( See  that  lovely  lanolin  shine  in 
June's  soft,  casual  Pin-Quick  curls.) 


0 


TODAY 

"It's  amazing!"  June  announces.  "I've  had  my  Pin-Quick 
wave  for  months,  shampooed  it  time  and  again.  And  my 
curls  are  still  beautifully  soft  and  springy  as  new.  It's  the 
truly  lasting  pincurl  permanent."  The  secret  is  Pin-Quick's 
Magic  Curl  Control  that  locks  in  curls  for  keeps. 


Richard  Hudnut  guarantees 
Pin-Quick  to  last  longer 
than  any  other  pincurl  permanent 
.-.or  your  money  backl        1P^?x 


Re*"' 


RICHARD  HUDNUT 

NEW  f 

OIKOViKt    j 

jrin-Quick  ¥- 


tun 


The  Gnat  Gildersleeve 


The  water  commissioner 
may  be  a  bachelor,  but 
off-stage  Willard  Waterman 
is  very  much  a  family  man 


Gildy  is  a  bachelor,  a  bumbling  bon  vivant  and 
the  baffled  uncle  of  Leroy  (eleven-year-old  Ronald 
Keith)   and   Marjorie  (cover-girl   Stephanie  Griffin). 


When  Throckmorton  P.  Gildersleeve  ends  up  a  hero, 
it  isn't  his  fault.  Distributed  on  television  by  the 
NBC  Film  Division,  and  heard  on  NBC  Radio,  The  Great 
Gildersleeve,  as  portrayed  by  Willard  Waterman,  is  a 
cigar-smoking,  mustachioed,  goggle-eyed  official  City 
Water  Commissioner  and  unofficial  ladies'  man.  Gildy 
takes  his  job  seriously  and  dispenses  advice  freely.  Both 
characteristics  inevitably  land  the  sometimes-dignified, 
often -exasperated  bachelor  in  trouble.  .  .  .  Among  the 
people  who  surround  Gildy  and  love  him — but  don't 
consider  him  a  hero — are  his  diabolical  nephew  Leroy 
(played  by  Ronald  Keith) ;  his  niece  Marjorie  (Stephanie 
Griffin) ;  Birdie,  his  loyal  but  outspoken  housekeeper 
(Lillian  Randolph);  Peavey,  druggist  and  lugubrious 
confidant  (Forrest  Lewis) ;  and  Gildy 's  boss,  Mayor  Ter- 
williger  (Willis  Bouchey).  .  .  .  Off  camera  and  mike, 
things  are  better  for  Bill  Waterman.  At  home,  he  steps 
out  of  his  bachelor  shoes  and  into  the  comfortable  slip- 
pers of  a  family  man.  And  he  is  very  much  a  hero  to  the 
three  femmes  who  complete  the  Waterman  foursome  at 
the  colonial-style  home  in  Sherman  Oaks,  in  the  San 
Fernando  Valley.  .  .  .  The  first  step  toward  becoming  the 
center  of  attention  of  a  wife  and  two  daughters  was  for 
Wisconsin-born  Bill  to  neglect  his  engineering  studies, 
become  enamored  of  acting  and  move  to  Chicago  to  do 
network  radio  programs.   There,  he  met  Wisconsin-born 


Maryanna,  who  was  visiting  in  the' Windy  City.  In  spite 
of  the  fact  that  the  first  four  characters  Bill  portrayed 
on  radio  met  with  speedy  demises,  Maryanna  decided 
Bill  had  a  future.  Romance  bloomed  and,  as  predicted, 
so  did  the  Waterman  career.  .  .  .  While  Bill  was  playing 
the  role  of  George  Webster  in  Those  Websters,  the  pro- 
gram moved  to  California.  So  did  "those  Watermans," 
who  by  that  time  included  Lynne,  born  in  1938,  and 
Susan,  born  in  1944.  .  .  .  Their  home  is  furnished  with 
authentic  early  American  pieces.  "We  started  with  one 
piece,  which  was  a  dough  tray,  in  1948,"  Bill  recalls,  "and 
we  finally  completed  furnishing  about  one  year  ago  with 
a  washstand-bedside  table."  Allowed  free  run  in  the 
midst  of  this  Americana  are  Penny,  "part  springer,  part 
fox  terrier,  part  et  cetera,"  and  Blueboy,  a  parakeet 
whose  pet  expression  is  "I  am  too  pooped  to  peep."  .  .  . 
When  his  TV  and  radio  schedule  shows  a  free  hour,  Bill 
latches  on  to  a  camei'a,  also  likes  to  hunt  and  fish.  He 
notes:  "I  used  to  have  a  handicap  of  six  in  golf  but,  since 
starting  the  film  series,  my  handicap  has  risen  to  eleven." 
.  .  .  Aside  from  serving  as  water  commissioner  on  radio 
and  TV,  Willard  Waterman  is  Honorary  Water  Commis- 
sioner of  San  Francisco  and  of  Boise,  Idaho;  Honorary 
Subterranean  Water  Commissioner  for  the  State  of 
Idaho;  and  an  admiral  in  the  Confederate  Navy.  His  golf 
handicap  may  have  gone  up — but  so  have  his  ratings. 


Willard  is  the  head  of  the  hearth  for  wife  Maryanna,  daughters  Lynne  and  Susan. 


The  water  commissioner  may  not  be  a  hero  at  home,  but 
Bill    Waterman    is    definitely    "a    big    wheel"    to    Susan. 


As  daughters  Lynne  and  Susan   pamper  him,    Bill's  glad 
he    eschewed    the    bachelor    life — even    if    Gildy    hasn't! 


Comic  Jackie  Gleason  spots 
a  new  Western  music  star.  As 
for  Steve,  he  hopes  the  new 
Audrey  and  Jayne   Meadows 
novelty  does  well.  He  wrote  it! 


Greetings,  and  welcome  once  more  to  the 
monthly  record  rendezvous.  It's  the 
May  time,  gay  time  of  the  year  and  to 
go  with  it  we've  got  music  in  the  mood. 

Starting  off  in  the  romance  department, 
we  have  Frank  Sinatra  with  an  album 
called  "Songs  for  Swingin'  Lovers,"  with 
Nelson  Riddle's  orchestra.  Frank  features 
"You're  Getting  To  Be  a  Habit  With  Me," 
"Too  Marvelous  for  Words,"  "I've  Got  You 
Under  My  Skin,"  and  others.   (Capitol) 

George  Wright  III,  the  fourteen-year- 
old  lad  who  nabbed  $100,000  on  The  Big 
Surprise  TV  show,  received  a  bonus  extra 
in  the  form  of  a  record  contract  with 
Victor.  For  his  first  two  sides,  he  has  cut 
"Me  and  My  Shadow"  and  "Five-Feet- 
Two,  Eyes  of  Blue,"  the  songs  he  sang 
correctly  to  win  the  jackpot. 

We've  had  all  kinds  of  tunes  about 
coffee  and  tea.  Now  here's  "Hotta  Choco- 
lata,"  a  swingin'  novelty  by  The  De  John 
Sisters.  The  flip  side  is  something  called 
"The  Man  with  the  Blue  Guitar."  Ray 
Ellis'  orchestra  is  heard  on  both.    (Epic) 

Victor  is  so  excited  about  their  new 
country  and  Western  singer,  twenty-one 
year-old  Elvis  Presley,  that  they've  given 
him  an  album  as  his  second  release.  His 
first  record,  "Mystery  Train,"  made  a  lot 
of  noise,  and  he  should  do  okay  with  his 
album,  which  is  titled,  simply  enough, 
"Elvis  Presley."  He  does  a  variety  of  songs, 
including  "Blue  Suede  Shoes,"  "I  Love  You 
Because,"  "Money,  Honey,"  "I've  Got  a 
Woman,"  and  "Tutti  Frutti,"  with  Max 
Steiner's  orchestra.  Incidentally,  Elvis  got 
his  first  big  TV  break  when  the  Jackie 
Gleason  office  heard  him  on  a  radio  show 
and  signed  him,  sight  unseen,  to  appear 
on  Stage  Show.  Gleason  thinks  the  Pres- 
ley voice  is  a  "combination  of  Frankie 
Laine,  Johnnie  Ray  and  Tony  Martin." 

Bing  Crosby  stars  in  a  new  album  of 
"High  Tor,"  singing  the  score  from  the 
video  version  of  this  play,  which  he  did 
some  time  ago  on  CBS.  Nancy  Olson,  Julie 
Andrews  and  Everett  Sloane  are  also  heard 
doing  the  tunes  they  did  in  the  show. 
Joseph  Lilley,  his  orchestra  and  chorus 
supply  the  musical  background.  (Decca) 

Joseph  Lilley  gets  star  billing  on  another 
Decca  album,  "Alone  Together,"  which 
features  The  Skylarks  and  a  great  vocal 


chorus.  Lilley  uses  a  whispering  choir, 
arranging  the  voices  so  that  they  practi- 
cally sound  like  a  huge  string  section.  It's 
mood  music  at  its  best,  with  such  songs 
as  "April  in  Paris,"  "Autumn  in  New 
York,"  "These  Foolish  Things,"  "There's 
a   Small   Hotel,"   "Dancing   in   the   Dark." 

Rock  'n'  roll  is  still  with  us,  and  Jaye 
P.  Morgan  has  chosen  a  solid  roller  for 
her  new  one,  "Get  Up,  Get  Up  (You 
Sleepy  Head),"  with  Hugo  Winterhalter's 
orchestra  and  chorus.  Hugo  also  swings 
the  stick  on  the  backing,  an  upbeat  ditty 
called  "Sweet  Lips."   (Victor) 

Billy  Maxted  and  his  Dixieland  Band 
hold  forth  nightly  at  a  place  called 
Nick's,  in  Manhattan's  Greenwich  Vil- 
lage. Now  Cadence  Records  have  waxed 
two  albums  by  the  Maxted  crew — so  the 
rest  of  the  country  can  hear  what  the  New 
Yorkers  like  in  the  way  of  Dixieland  music. 
The  sets  are  titled  "Jazz  at  Nick's"  and 
"Dixieland — Manhattan  Style,"  and  the 
personnel  includes  Chuck  Forsythe  on 
trumpet,  Lee  Gifford  on  trombone,  clari- 
nettist Sal  Pace,  drummer  Sonny  Igoe,  and 
Billy  Maxted  on  piano. 

For  jazz  in  a  more  modern  mood,  the 
coolly-progressive  Randy  Weston  Trio  in- 
vites you  to  "Get  Happy."  Aside  from  the 
title  song,  the  long-playing  disc,  on  the 
Riverside  label,  includes  such  old  favorites 
as  "Summertime,"  "Dark  Eyes,"  and 
"Twelfth  Street  Rag,"  and  some  new  num- 
bers written  by  Randy  Weston — who  won 
the  1955  Downbeat  award  as  the  most 
promising  jazz  pianist — and  Sam  Gill,  his 
bass  man  who  won  ditto  for  his  work  on 
bass.    Wilbert  Hogan  is  on  drums. 

Eydie  Gorme,  the  versatile  songstress  on 
my  Tonight  TV  show,  has  a  new  record 
that  certainly  shows  off  her  ability  to  sing 
just  about  any  kind  of  song.  Eydie  belts 
out  "Too  Close  for  Comfort."  On  the  cou- 
pling, she  goes  tender  on  "That's  How." 
Don  Costa's  arrangements  and  orchestra. 
(ABC -Paramount) 

On  the  same  label  you'll  find  a  special 
album  release  for  the  small  fry — "The 
Mickey  Mouse  Club,"  with  Jimmy  Dodd 
and  The  Mouseketeers.  There  are  thirty- 
six  tunes  in  this  set,  all  from  the  very  pop- 
ular Mickey  Mouse  Club  on  TV. 

Columbia  Records  is  releasing  the  first 


single  pressing  in  this  country  by  Michel 
Le  Grand,  whose  albums  of  "I  Love  Paris" 
and  "Holiday  in  Rome"  were  such  big 
sellers.  Le  Grand  has  done  two  instru- 
mentals,  "Merry-Go-Round"  and  the  theme 
music  from  the  old  Joan  Crawford  movie, 
"Johnny  Guitar."  Le  Grand  is  only  twenty- 
three  years  old  and  is  an  accomplished 
pianist,  composer,  arranger  and  conductor. 
And,  girls,  they  tell  me  he  is  tres  attractive. 

Archie  Bleyer  and  Don  McNeill,  the  fa- 
mous Breakfast  Club  host,  have  teamed 
talents  to  record  "Make  America  Proud  of 
You."  Don  narrates  the  record,  backed  up 
by  a  thousand-voiced  choir  consisting  of 
high -school  students  from  Chicago  and 
Boy  and  Girl  Scout  choirs  from  the  Mid- 
west area.  All  profits  from  the  recording 
go  to  the  Boy  Scouts  and  Girl  Scouts. 
(Cadence) 

The  singing  sisters,  Jayne  and  Audrey 
Meadows,  better  known  to  me  as  my  wife 
and  my  sister-in-law,  have  recorded  a 
novelty  tune,  "Dungaree  Dan  and  China 
Sue,"  which  I  hope  is  a  smash  because  I 
wrote  the  darned  thing.  (Down,  boy!)  On 
the  flipover  the  Misses  Meadows  sing  a 
cutie  which  I  didn't  write,  called  "Dear 
Ralph."  The  gals  give  the  musical  go-by 
to  this  guy  who  just  ain't  true.    (Victor) 

"Moritat,"  one  of  the  themes  from  "The 
Three  Penny  Opera,"  was  a  big  hit  for  the 
Dick  Hyman  Trio,  and  now  the  piano,  bass 
and  guitar  combination  has  waxed  a  new 
album,  "The  Unforgettable  Sound  of  the 
Dick  Hyman  Trio,"  which  should  up  the 
Hyman  stock  considerably.  "Moritat"  is 
included,  along  with  "Baubles,  Bangles, 
and  Beads,"  "East  of  the  Sun,"  "Out  of 
Nowhere,"  "The  Very  Thought  of  You," 
"Besame  Mucho"  and  others.   (M-G-M) 

Perry  Como  fans  can  have  a  field  day 
with  three  new  albums — "I  Believe,"  "Re- 
laxing with  Perry  Como,"  and  "A  Senti- 
mental Date  With  Perry  Como."  You  can 
take  your  pick — and  how  can  you  go 
wrong  with  Como?  (Victor) 

And  I  had  better  go  right — right  off  the 
page,  that  is,  as  my  space  is  up.    So  long! 

Steve's  on  Tonight.  NBC-TV,  M-F,  11:30  P.M. 
EDT  (11  P.M.  CDT).  Steve  Allen  Show  starts 
on  Station  WRC A-TV  ( N.Y. ) ,  11 :20  P.M.,  M-F. 


R 


cJu  e  auiijul    eft  air 


E 


C 


K 


BKECK 


$1.75**-     ,, 

BRECK  HAjSpidaS %&%&?" 
oNE    P.NT    BRECK   SHAMPOO   ,.* 

$2.25Value 


A  BRECK  SHAMPOO  IS  OFFERED  IN  COMBINATION 
WITH  BRECK  HAIRDRESS  FOR  MEN 
There  are  three  Breck  Shampoos  for  three  different  hair  conditions. 
One  Breck  Shampoo  is  for  dry  hair.  Another  Breck  Shampoo  is  for  oily 
hair.  A  third  Breck  Shampoo  is  for  normal  hair.  A  Breck  Shampoo  will 
leave  your  hair  soft,  shining  and  beautiful.  Select  the  Breck  Shampoo 
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JOHN   H   BRECK 
NEW    YORK 


MANUFACTURING   CHEMISTS 


CHICAGO 


FRANCISCO  •  LOS 

Copyright  1956  by  John  H.  Breck  Inc. 


SPRINGFIELD 
ANGELES 


3  MASSACHUSETTS 

OTTAWA  CANADA 


What's  New  in 
Colgate  Dental  Cream 


that's 


-'■■.. 


in  every  other  leading 
toothpaste? 

It's  GARDOL ! 

And  Colgate's  with  Gardol  gives 

up  to  7  TIMES  LONGER  PROTECTION 

AGAINST  TOOTH  DECAY  and  a  CLEANER, 

FRESHER  BREATH  ALL  DAY 

with  just  one  brushing! 


GARDOL  Makes  This  Amazing  Difference! 


Morning  brushings  with  Colgate's 
help  protect  all  day;  evening  brush- 
ings all  night.  Because  the  Gardol 
in  Colgate's  forms  an  invisible,  pro- 
tective shield  around  teeth  that  lasts 
1 2  hours  with  just  one  brushing.  Ask 
your  dentist  how  often  to  brush  your 
teeth.  Encourage  your  children  to 
brush  after  meals.  And  at  all  times, 
get  Gardol  protection  in  Colgate's! 


MINUTES  AFTER 

BRUSHING  WITH  ANY 

TOOTHPASTE 


DECAY-CAUSING 
BACTERIA  RETURN  TO 
ATTACK  YOUR  TEETH ! 


12  HOURS  AFTER 

ONE  COLGATE  BRUSHING 

GARDOL  IS 


gardoT 


STILL  FIGHTING 

THE  BACTERIA  THAT 

CAUSE  DECAY! 


10 


HOOL   IS   COL 


No  other  leading  toothpaste  can  give 

the  12-hour  protection  against  decay 

you  get  with  Colgate  Dental  Cream 

with  just  one  brushing! 


l-LAUROYL  SA 


EE   BRANDS 


Cleans  Your  Breath  w!i e  Guards  Your  Teeth 


Ask 


your  questions- 


Fair  Lady 

/  ivould  appreciate  some  information 
about  Constance  Brigham,  who  appeared 
recently  on  The  Ed  Sullivan  Show. 

M.  M.,  Great  Neck,  N.  Y. 

There  was  once  a  time  when  Hollywood 
scouts  would  vie  to  put  a  girl  with  a  lovely 
face,  golden  blond  hair  and  a  cover-girl 
figure  on  the  screen.  And  if  she  had  lots 
of  talent,  the  contracts  would  be  expan- 
sive— and  expensive.  ...  So  it's  not  too 
surprising  that,  a  few  years  ago,  Constance 
Brigham  realized  her  ambition  to  be  in 
the  movies.  She  not  only  got  the  female 
lead  in  the  technicolor  production,  but  the 
male  lead,  as  well!  But  she  wasn't  seen — 
only  heard.  .  .  .  Connie  became  the  voice 
behind  the  puppet  stars  of  "Hansel  and 
Gretel."  She  was  spotted  for  the  role 
while  in  Leonard  Bernstein's,  "Trouble 
in  Tahiti."  .  .  .  Connie  has  graced  fashion- 
magazine  pages  as  one  of  New  York's 
highest-paid  fashion  models.  Her  singing 
ability — inherited  from  her  mother,  who 
had  a  successful  career  on  the  European 
concert  stage — won  her  several  parts  in 
Broadway  musicals.  She's  also  done  sum- 
mer-stock work  and  many  TV  drama  stints. 
When  she  appeared  recently  with  Her- 
mione  Gingold  on  The  Ed  Sullivan  Show, 
viewers  knew  they  wanted  to  hear — and 
see — more  of  her.  .  .  .  Constance  Brig- 
ham, whose  behind-the-scenes  movie  debut 
was  a  prelude  to  increased  recognition,  is 
once  again  "standing  by" — for  Julie  An- 
drews in  the  smash  Broadway  musical, 
"My  Fair  Lady."  To  look  at  this  talented 
fair  lady  herself  is  to  gaze  at  a  future  star. 


'fcatwflSlfir  " 


Constance  Brigham 


and  ive'll  try  to  find  the  answers 


Skitch  Henderson 


Nice  And  Successful 

Please  publish  some  information  about 
Skitch  Henderson,  the  musical  director  of 
NBC-TV's  Tonight. 

M.  S.,  Chattanooga,  Tenn. 

The  perfect  answer  to  the  cynics  who 
insist  that  "nice  guys  finish  last"  is  Skitch 
Henderson.  A  rare  talent  and  personality 
brought  him  fame,  fortune  and  a  very 
accomplished  wife,  Faye  Emerson.  .  .  . 
Born  in  Birmingham,  England,  on  Janu- 
ary 27,  1918,  Skitch  spent  the  major  part 
of  his  boyhood  in  the  United  States.  When 
he  was  fifteen  years  old,  his  family  moved 
to  Chicago,  where  he  began  to  study  music. 
By  the  time  he  was  eighteen,  Skitch  found 
that  his  interests  lay  in  pop  music  and,  in 
1938,  he  went  on  a  tour  with  Judy  Gar- 
land, which  ended  in  Hollywood.  There, 
he  worked  for  NBC  for  three  years  and 
studied  arranging,  piano  and  conducting 
for  radio  and  movies,  working  on  many 
Bing  Crosby  films.  .  .  .  Back  to  Los 
Angeles  after  the  war,  Skitch's  first  ci- 
vilian job  was  on  radio  with  his  present 
boss,  Steve  Allen.  Later,  he  worked  with 
Frank  Sinatra,  did  a  stint  as  soloist  for  an 
NBC  Radio  series  and  also  worked  again 
with  Bing  Crosby.  ...  In  1950,  Skitch 
waved  his  baton  on  Light  Up  Time.  He 
worked  with  Dave  Garroway,  founded  the 
New  York  "Pops,"  and  appeared  as  guest 
conductor  with  major  symphony  orches- 
tras. Skitch  has  also  composed  ballet 
music.  .  .  .  Besides  being  musical  director 
of  Steve  Allen's  Tonight  show,  Skitch 
conducts  on  NBC's  Air  Time.  And  he 
remains  unchallenged  as  one  of  the  nicest 
people  in  show  business.  Even  his  new 
beard  can't  hide  that. 


American   Beauty 

Would  you  please  give  me  some  infor- 
mation about  Lee  Ann  Meriwether,  who 
appears  on  Today,  on  NBC-TV? 

S.  L.,  Hagerstown,  Md. 

The  lovely  winner  in  the  nation's  top 
beauty — and  talent — contest  has  just 
reached  the  voting  age.  Miss  America  of 
1955,  Lee  Ann  Meriwether  of  San  Fran- 
cisco attended  George  Washington  High 
and  City  College  of  San  Francisco.  At 
college,  Lee  Ann  prepared  for  an  acting 
career.  It  was  the  brilliantly  performed 
monologue  at  the  Atlantic  City  contest, 
"Riders  to  the  Sea,"  which  was  a  major 
factor  in  her  triumph  as  Miss  America. 
Millions  have  since  enjoyed  her  talents. 
.  .  .  Lee  made  her  debut  as  a  dramatic 
actress  on  the  Philco  Television  Play- 
house a  few  months  after  she  was  crowned 
at  Atlantic  City.  The  play,  "Run,  Girl, 
Run,"  was  written  especially  for  her  by 
Sumner  Locke  Elliot.  .  .  .  The  $5,000 
scholarship  that  Miss  America  won  with 
her  title  has  been  profitably  put  to  use 
taking  drama  lessons.  As  up-to-date  as 
Today,  Lee  Ann  stands  five-feet,  eight- 
and-a-half-inches  tall,  weighs  124  pounds, 
and  has  every  intention  of  making  acting 
her  career.  Her  hobbies  follow  suit,  with 
little-theater  work,  dancing  and  swimming. 

Letter  From  A  Winner 

/  wish  to  give  you  my  most  fervent 
thanks  for  choosing  me  as  the  winner  of 
your  recent  "Win  a  Visit  With  a  Star" 
contest.  .  .  .  (Editor's  note:  The  "star" 
in  this  case  being  Lawrence  Welk.)  .  .  . 
(Continued   on    page    23) 


THE     STORY     OF 

TAMPAX 


,  v 


Lee  Ann  Meriwether 


HP^ 


Tampax  not  only  has  a  history  — it 

has  made  history!  Although  only  twency 
years  old,  it  has  revised  and  revolutionized 
the  whole  idea  of  monthly  sanitary  protec- 
tion. Millions  of  women  have  used  billions 
of  Tampax — wouldn't  consider  going  back 
to  the  bulk  and  inconvenience  of  pads. 

Tampax  was  made  by  a  doctor ...  for 

the  welfare  of  all  women.  Tampax  is  simply 
the  purest  surgical  cotton,  compressed  in 
slender,  easily  disposable  applicators. 

More  and  more  women  began  using 

Tampax.  Tampax  continues  to  gain  new 
users  each  year,  because  women  welcome 
the  poise  and  freedom  Tampax  brings.  It's 
both  invisible  and  unfelt  when  in  place  .  .  . 
no  bulges  or  ridges  to  "show." 

Now  Tampax  is  known  all  over  the  world. 

Women  in  over  75  countries  use  Tampax. 
It's  particularly  popular  in  hot,  sticky 
climates,  for  Tampax  cannot  chafe  or 
bind  .  .  .  positively  prevents  odor  from 
forming  at  any  time. 

Drug  and  notion  counters  everywhere 

Carry  Tampax,  in  a  choice  of  3  absorbency 
sizes  (Regular,  Super,  Junior)  to  suit  indi- 
vidual needs.  Tampax  Incorporated,  Palmer, 
Massachusetts. 


Invented  by  a  doctor — 
now  used  by  millions  of  women 


11 


HOME  IS  WHERE  THE  MUSIC  IS 


Tom  Reddy  wanted  to  be  a  newsman.     He  also  wanted  to  make 
his  home  on  the  West  Coast.     As  it  turned  out,  he's  a  man 
about  music — on  the  East  Coast.     Tom  stands  a  rugged 
six-foot-one  and  wears  a  wide  grin  that  hardly  belongs  to  a 
disappointed  man.     Still,  there  is  a  little  "disappointment"  behind 
this  grin.     Tom  has  so  enjoyed  the  turns  of  his  own  show- 
business  fate  that  he's  sorry  none  of  his  five  children  seems 
inclined  to  experience  similar  joys.     But,  he  says  hopefully, 
"The  two  youngest  are  musical."  .  .  .  Weekdays  at  10  A.M.,  Tom 
is  host  on  Cash  Box,  a  prograrh  of  records  that  are  fairly  easy 
to  identify,  and  riddles  that  are  somewhat  more  difficult.     Tom 
helps  the  latter  situation  by  offering  clues  from  time  to  time,  but 
the  jackpot — and  the  suspense — keep  mounting.     On  the  same 
station,  Tom  plays  "the  kind  of  music  I  would  like  to  listen  to"  on 
Music  Party,  heard  weekdays  from  2  to  4  P.M.,  except  when 
baseball  pre-empts  the  time.     The  native  Iowan  also   emcees 
the  "outside  events"  portion  of  Dollar  A  Second,  seen  Fridays 
at  9  P.M.  on  ABC-TV,  and  handles  commercials  on  Disneyland 
on  ABC-TV.  .  .  .  Actually,  music  has  always  been  important  to 
Tom  Reddy.     His  mother  taught  it  and  also  sang,  and  Tom  has 
been  a  professional  pianist,  as  well  as  a  newsman,  emcee  and 
writer.  Although  he'd  thought  to  combine  his  twin  loves,  news 
and  radio,  his  first  job  was  as  a  deejay.     Then,  after  a  brief  stay 
at  Wayne  State  Teachers  College,  where  Tom  married  his 
landlady's  daughter,  he  went  on  to  graduate  from  Notre  Dame. 
He  worked  at  various  local  stations  until,  one  night  at  a  party, 
he  met  Mr.  Fitch,  who  invited  Tom  to  climb  on  The  Fitch 
Bandwagon.     So  the  Reddys  went  to  Hollywood,  from  whence 
the  program  originated.     Tom  also  made  three  films  on  the  Coast 
and  grew  very  fond  of  California.  .  .  .  When  the  Reddys  moved 
East,  Tom  and  Mary  Alice  hunted  around  for  a  place  that 
"would  come  close  to  the  topography  out  there."     They  found  it 
in  Deal,  New  Jersey,  where  they  recently  bought  a  home  of 
which  at  least  part  is  180  years  old.     As  to  the  Reddys,  those 
that  are  telling  their  ages  are  Michael,  18;  Tommy,  16;  Terry,  14; 
David,  5;  and  the  only  daughter,  Regan,  6.  .  .  .  Tom's  long  train 
trip  to  Manhattan  allows  plenty  of  time  for  reading  all  the  news. 
And  Tom  Reddy  is  quite  content  making  good  news — and  music. 


Tom  Reddy  found  a  bit  of 
California  in  New  Jersey — and 
a  lot  of  success  as  a  man 
about  music  at  New  York's  WINS 


Weekdays,  he  serves  music.  Weekends, 
Tom   barbecues,  cooks  a  la  francaise. 


Camping  is  a  favorite  activity  of  the  Reddy  men — Michael, 
Tom,  Tommy,  Terry,  David.  It's  also  fun  just  being  at  home. 


12 


Which  is  your  hair  problem  ? 


Hair  dull... no  shine? 

Even  the  dullest  hair  really  sparkles 
with  new  suave!  Try  it.  See  your  hair 
glitter  with  twinkling  highlights.  And 
oh  how  silky,  how  soft  and  lovely! 
suave  gives  hair  that  "healthy-looking 
glow,"  not  oily  shine  .  .  .  because  it's 
greaseless. 


Hair  too  dry? 

The  instant  you  apply  suave  Hair- 
dressing  with  its  amazing  greaseless 
lanolin,  dryness  is  gone!  suave  puts 
life  back  into  your  hair.  Makes  it  silky 
soft;  bursting  with  highlights,  eager  to 
wave . . .  and  so  manageable,  so  exciting 
to  feel! 

Hair  abused... brittle? 

After  home  permanents  or  too  much 
sun,  your  hair  will  drink  up  suave. 
Apply  liberally  every  day — and  see 
satin-softness,  life  and  sparkle  return. 
You'll  be  amazed  how  pretty,  how 
caressable  your  hair  can  look! 


Unruly  after  shampoo? 

Never  shampoo  your  hair  without 
putting  back  the  beauty-oils  that  sham- 
pooing takes  out.  Use  suave  every  time 
to  restore  beauty  instantly!  Makes 
hair  silky  .  .  .  manageable,  eager  to 
wave.  Keeps  hair  in  place  without 
oily  film. 


Teen  Tangles? 

Your  hair  does  so  much  for  your  popu- 
larity! Don't  be  a  "tangle  mop."  A 
kiss  of  suave  daily  makes  your  hair 
behave  without  a  struggle.  Keeps  it 
perfect!  Gives  hair  that  sparkly 
sophisticated  look.  You'll  love  what  it 
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13 


TWO 
FOR  TALK 

Be  it  whimsical  or 

provocative,  the  conversation 

has  never  lagged  in  the 

ten  years  Tex  and  Jinx  McCrary 

have  shared  WRCA's  microphone 


The  McCrarys  catch  their  breath  at 
a  coffee  break.  Below,  Jinx  simulta- 
neously inspects  jewelry,  talks  on  the 
phone,  and  dictates  to  Shirley  Srandin. 


Tex  and  Jinx  relax  in  Manhasset.  She 
plays  some  tennis;  he's  a  photo  fan. 


T 
V 
R 

14 


It  takes  two  to  make  a  conversation — and  ever  since 
John  Reagan  McCrary  met  Eugenia  Falkenburg,  the 
talk  has  been  flowing  like  sparkling  wine.  Shortly  after 
this  historic  meeting — and  a  courtship  that  ranged  from 
Cairo,  Italy  and  Tripoli  to  a  wedding  in  New  York — the 
redoubtable  pair  sat  down  together  at  a  WRCA  micro- 
phone. .  .  .  This  was  ten  years  ago.  Tex  had  begun  as 
an  editorial  writer,  "until  I  found  out  that  nobody  would 
read  them."  He  switched  to  human  interest.  "At  least 
three  times  a  week,"  Tex  says,  "I  tried  to  write  a  story 
about  a  pretty  girl.  And  that's  how  I  met  Jinx.  She  was  in 
a  musical  with  Al  Jolson  and  I  wrote  her  story."  Jinx 
had  already  soloed  to  fame  as  a  cover  girl,  screen  actress 
and  tennis  star.  Then  the  guy  from  Texas  and  the  girl 
from  Brazil  joined  forces.  .  .  .  The  formula  they  came  up 
with  was  to  make  news  events  come  to  life.  This  requires 
people — and  that's  something  Tex  and  Jinx  have  plenty 
of.  In  the  past  ten  years,  more  than  15,000  guests  have 
told  their  stories  and  shared  their  secrets,  hopes  and 
humor  with  the  McCrarys.  There  have  been  big  people 
and  little  people,  but  always  the  kind  who  make  news 
because  they  are  vital,  or  unusual,  or  creative.   Sometimes 


light  and  humorous,  sometimes  serious  and  inspiring, 
these  interviews  are  conducted  on  The  Tex  And  Jinx 
Show,  heard  weekday  nights  from  10:30  to  12:30  over 
WRCA  Radio.  .  .  .  Tex  and  Jinx  are  also  visible  on  video — 
but  separately.  Jinx  is  seen  on  Jinx's  Diary,  weekdays 
at  2:30  P.M.  on  WRCA-TV.  Tex  faces  the  WABD 
cameras  with  Most  Important  People,  weekdays  at  7: 15 
P.M.  .  .  .  After  their  busy  weekday  schedule — made  even 
busier  by  a  good  deal  of  charity  work — Tex  and  Jinx 
head  for  their  home  in  Manhasset,  where  they  relax  and 
romp  with  their  two  sons:  Paddy,  born  August  2,  1946, 
and  Kevin,  born  August  13,  1948.  Tex's  special  interest 
is  photography,  the  results  of  which  are  copiously  dis- 
played on  the  walls  of  his  den  at  home  and  in  the 
McCrarys'  office  at  the  Dorset  Hotel  in  Manhattan.  Jinx, 
who  was  once  amateur  tennis  champion  of  Brazil,  man- 
ages to  fit  in  a  set  or  two  each  weekend  and  also  join 
Tex  in  sailing  and  swimming.  .  .  .  As  a  cook,  Jinx  swears 
she's  no  Josephine  McCarthy,  but  Tex  rates  her  culinary 
prowess  as  "every  bit  as  good  as  Mother  used  to  do." 
Tex's  favorite  dish  is  under-done  roast  beef  and  Jinx 
just  can't  resist  steak  tartar.  .  .  .  Definitely  a  rare  couple. 


'W8& 


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15 


NEW  DESIGNS  FOR  LIVING 


833 — It's  easy  to  crochet  this  little  cape 
in  lacy  pineapple  pattern.  Sizes  small, 
medium,  large  included  in  pattern.  Use 
3-ply  fingering  yarn  or  mercerized  crochet 
and  knitting  cotton.  25$ 

7057 — Little  fabric  or  sewing  time 
needed  to  make  this  cool  halter.  It  wraps 
and  ties,  has  easy,  pretty  embroidery  trim. 
Sizes  Small  (10,  12)  ;  Medium  (14,  16)  ; 
Large  (18,  20).  Tissue  pattern,  transfer. 
State  size.  25$ 

7009 — Dainty  filet  crochet  and  regular 
crochet  make  this  new  chair-set  for  your 
home!  Chair-back  12  x  17;  arm-rest  6  x 
12  inches  in  No.  30  mercerized  cotton.  25$ 

697 — Three  little  doilies,  so  easy  to  cro- 
chet! Three  designs  (7*4  and  8  inches) 
to  crochet  in  No.  50  mercerized  cotton. 
To  increase  size,  use  No.  30  or  bedspread 
cotton.  25$ 

837 — Make  baby  a  jacket,  bonnet  and 
booties  in  a  jiffy!  Easy  to  crochet  in 
pretty  open  and  closed  shell-stitches.  Use 
white  with  pastel.  Directions  for  crochet 
in  3-ply  baby  yarn.  25$ 

7172 — This  magnificent  tablecloth  of 
pineapple  crochet  is  inspired  by  the 
beauty  of  an  heirloom  design.  Directions 
for  a  70-inch  tablecloth,  using  mercerized 
crochet  and  knitting  cotton;  smaller  in 
No.  30  cotton.  25$ 

7225 — Brighten  household  chores  with 
these  cute  motifs!  Easy  to  embroider  on 
kitchen  towels!  Set  of  seven  different  em- 
broidery transfers  included,  each  design 
about  5x6  inches.  25$ 


7172 


m 

16 


Send  twenty-five  cents  (in  coins)  for  each  pattern  to:  TV  Radio  Mirror,  Needlecraft  Service,  P.  O.  Box  137,  Old  Chelsea  Station, 
New  York  11,  N.  Y.  Add  five  cents  for  each  pattern  for  first-class   mailing.  Send  an  additional  25$  for  Needlecraft  Catalog. 


Beauty  Expert  Discovers  Why 


Older  Women  Look  Younger! 


By  NANCY  ANN  STOKES 

I  WAS  there  last  Tuesday  night,  when  Hollywood's  lead- 
ing beauty  authority,  Mr.  Ern  Weslmore,  revealed  the 
3  things  that  make  a  woman  look  older.  Then  he 
showed  how  to  remove  5,  10  even  15  years  from  your 
appearance  with  nothing  more  than  a  lipstick  and  eye- 
brow pencil.  It  was  so  ridiculously  easy  I  was  amazed. 


You  see,  to  create  a  youthful 
appearance  you  must  6rst  under- 
stand what  makes  a  woman  look 
older.  If,  while  applying  lipstick, 
you  turn  the  corners  of  your  mouth 
downward,  you  sag  the  expression 
of  your  face.  Even  more  distress- 
ing, "bent-down"  lips  make  your 
nose  appear  longer  and  your  chin 
heavily  drooped. 

For  a  youthful  appearance  flat- 
ter the  corners  of  your  lips  with  a 
pleasant  upward  flourish.  Your  face 
will  suddenly  appear  younger.  Your 
nose  more  delicate.  Your  chin  firm 
and  proud.  You'll  give  "lift"  to  your 
features,  freshness  to  your  face. 

Beauty  Secret  Number  Two 

What  could  be  a  more  cherished 
possession  than  the  flashing  eyes 
of  youth?  And  the  secret  to  eyes 
that  shimmer  and  shine  with  a 
magical  twinkle  is  the  way  you 
shape  your  brows. 

Flat  brows  burden  your  face 
with  a  top-heavy  look.  Thick  brows 
cloud  your  eyes  with  the  drowsy 
stare  of  micfdJe  age.  Arch  your 
brows  too  high  and  you're  left 
with  a  gaping,  vacant  expression. 
Then  what  is  the  perfect  shaped 
eyebrow?  Oddly  enough  there  are 
5  perfect  eyebrows  .  .  .  but  only 
one  is  meant  for  you. 

You  see,  there  are  5  basic  shapes 
of  faces.  Either  you  have  an  oval 
shape  face,  a  round  shape  face,  a 
square,  oblong  or  triangle  shape 
face.  And  there's  a  special  way  to 
arch  your  eyebrows  for  your  shape 
face.  In  a  moment  you  11  discover 
just  which  shape  brows  can  re- 
awaken blossoming  youth  in  your 
face.  But  first,  let's  discuss  your 
big  stride  to  youthful  loveliness. 

Your  Face  Never  Grows  Old 

Did  you  know  that  your  face 
never  grows  old?  Yes,  once  you've 
reached  the  age  of  21  all  your 
facial  features  are  set  for  life. 
From  21  years  on  you'll  always 
have  the  same  eyes,  the  same  nose, 
the  same  chin.  Your  features  never 
change  .  .  .  but  your  skin  does! 
Your  face  doesn't  age  .  .  .  it's  your 
skin  that  grows  old.  And  nothing 
telegraphs  age  faster  than  dark 
under-eye    circles    .    .    .    unsightly 


marks  and  blemishes  ...  or  lines 
and  wrinkles  that  weave  a  murky 
"cobweb"  in  your  complexion. 
That's  why  you  must  wipe  away 
these  signs  and  lines  of  age  once 
and  for  all!  You  must  stop  your 
complexion  from  shouting  your 
age  to  the  world! 

Right  now  you  are  probably 
saying  .  .  .  "Well,  you've  told  me 
the  three  things  that'll  make  me 
look  younger.  The  right  shape  lips, 

S roper  eyebrows  and  a  perfect, 
awless  complexion.  But  just  how 
can  I  accomplish  these  things?"  So 
let's  start  at  the  beginning. 

Lips  Meant  for  You 

In  Hollywood  there's  an  old  say- 
ing .  .  .  "Nature  just  gave  you 
bps  .  .  .  but  Ern  Westmore  gives 
Beauty  to  your  lips."  What's  his 
secret?— Mi?  plastic  Hollywood  lip 
outlines.  And  I've  made  special 
arrangements  for  you  to  get  a 
complete  set  of  these  easy-to-use 
lip-outlines  as  a  FREE  GIFT 

Here's  all  you  do.  First,  deter- 
mine your  basic  shape  face  with  a 
quick  glance  at  page  32  of  the 
'TREE  HOLLYWOOD  GLAM- 
OUR GRAPH"  included  with  your 
free  Hollywood  lip  outlines.  Then 
select  the  proper  lip  outline  for 
your  shape  face— place  it  over  your 
lips  .  .  .  and  fill  in  with  lipstick. 
Your  newly  shaped  lips  will  re- 
move years  from  your  appearance 
and  add  vivid  warmth  to  your  face. 

Now  Let's  Give  You 
Beautiful  Eyes 

Here  again,  you  use  another 
Ern  Westmore  beauty-aid  that's 
yours  as  a  free  gift  ...  his  Holly- 
wood eyebrow  outlines.  Simply 
select  the  right  eyebrow  outline 
for  your  shape  face  .  .  .  place  it 
over  your  brow  .  .  .  then  fill  in 
with  your  eyebrow  pencil.  Your 
eyes  will  sparkle  and  gleam  even 
at  the  end  of  a  long,  long  evening 

But  wait!  .  .  .  You're  not  finished 
yet.  To  complete  your  new  and 
thrilling  appearance  you  must  take 
one  more  beauty-step.  You  must 
rid  yourself  of  every  line,  mark, 
wrinJde  and  blemish.  You  must 
make  your  skin  supple  and  smooth 
...  give  yourself  an  appealing 
"peaches-ana-cream"    complexion. 


FREE!  MAKE-UP  KIT! 

7  Essential  Beauty  Aids  Worth  $5.00 


Your  Free  Hollywood 
Beauty  Kit 

5  Hollywood  Eye-  3  Months*  size  of 
brow  outlines  (one  Charles  Antell's 
for  each  shape  "Fink  Blush" 
face) .  Liquid  Rouge. 

1  "Silk  Tone"  Lip 
5    Hollywood    Lip        Pencil. 
outlines     (one    for       1    "Fine-Point" 
each  shape  face).  Eyebrow  Pencil. 

Charles  Antell's  "Morn- til -Nite" 
lipstick  in  the  Beautifully  styled 
"Futura-Goldust"  Case. 

Never  Offered  Before 

Never  before  has  this  complete 
Hollywood  Beauty  Kit  been  avail- 
able. This  is  the  first  time  Ern  West- 
more  has  permitted  the  release  of  his 
exclusive  Hollywood  lip  and  eyebrow 


outlines.  And  if  you  take  advantage 
of  this  last  chance  offer  .  .  .  just 
look  at  what  you  get  ABSOLUTELY 
FREE! 

The  Ern  Westmore  Hollywood 
Glamour  Graph  ...  a  32-page  illus- 
trated beauty  guide  that  shows  at  a 
glance  each  of  the  5  basic  shape 
faces,  how  to  style  your  hair  and 
apply  your  make-up  for  your  par- 
ticular shape  face. 

Remember,  this  complete  Holly- 
wood Beauty  Kit  is  yours  as  a  FREE 
GIFT  just  for  trying  Charles  Antell's 
new  Super  Lanolin  Liquid  Makeup. 
You  may  keep  your  Hollywood 
Beauty  Kit  and  get  your  full  money 
back  if  you  are  not  fully  satisfied 
with  this  great  new  makeup  dis- 
covery. Mail  Coupon  TODAY! 


Ern   Wesfmore,  Dean  of 
Hollywood  Makeup  ArtitU, 

TellsTruth  About 
Movie  Stars 

"Often  people 
ask  me,  how  is 
it  so  many 
ac  tresses  who 
are  "older"  can 
still  play  gla- 
mour-girl parts? 
It's  simple.  It's 
not  how  old  you 
are  .  .  .  but  how 
old  you  look  ! 
These  actresses 
just  don't  hap- 
pen to  stay  young-looking.  ..they've 
got  certain   secrets. 

That's  why  I  invite  every  woman 
over  25-years-old  to  read  this  page. 
Here  are  the  same  beauty-tricks  we 
use  on  the  stars.  Try  them  yourself. 
See  if  the  first  two  tricks  alone  don't 
make  you  look  10  years  younger  in 
just  a  few  minutes." 

Here's  How  .  .  . 

Can  you  imagine  a  make-up  so 
incredible,  it  covers  up  marks, 
blemishes  and  wrinkles  completely 
out  of  sight?  Can  you  imagine  a 
make-up  so  unusual  it  makes  dark 
circles  and  crows  feet  disappear 
instantly!  Can  you  imagine  a 
make-up  so  different  from  any 
you've  ever  tried.  It  removes  the 
shiny  gleam  from  oily  skin 
restores  a  dewy-freshness  to  dry 
skin  .  glides  a  wondrous  smooth- 
ness onto  "crepe-paper"  skin .  . 
actually  conceals  all  your  flaws 
without  masking  your  face  in  a 
harsh,  "made-up"  look.  And  can 
you  imagine  a  make-up  so  revolu- 
tionary it  enlivens  dull-skin  with 
a  bright  luminous  glow  —  makes 
sallow  complexions  blossom  forth 
in  subtle  tones  of  pink  .  pampers 
every  skin  with  a  feathery-light 
texture  .  .  .  and  gives  you  the 
glorious  effect  of  constantly  being 
seen  in  a  delightful  candlelight 
glow.  Yes,  a  magical  make-up  that 
blends  so  naturally  with  your  com- 
plexion you  can't  even  tell  where 
the  make-up  ends  and  skin  begins. 

Lasts  24  Hours  . .  .  and  You 
Don't  Even  Need  Powder 

And  just  imaginel  It  lasts  24 
hours!  You  apply  a  few  drops  in 
the  morning  .  .  .  your  complexion 
remains  so  fresh  and  bright  you 
need  no  more  make-up  .  .  NOT 
EVEN  A  TOUCH-UP  .  .  for  the 
entire  dayl  Because  here  for  the 
first  time  is  a  complete  make-up— 
a  foundation,  powder  and  cover-up 
all  in  one. 

Yes,  now  your  skin  will  be  so 
soft  and  smooth  it'll  make  fine  silk 
look  rough.  And  since  you  need  no 
powder  there's  no  need  to  fret 
about  that  worrisome  shiny-nose 
look.  The  name  of  this  heavenly 
discovery  is  Charles  Antell's  Super 
Lanolin  Liquid  Makeup  .  .  .  and 
here  is  how  you  can  try  it  without 
risking  a  single  penny  .  .  .  and 
receive  a  valuable  set  of  FREE 
GIFTS  at  the  same  time. 

Act  Now  For  Free  Gift 

To  try  SUPER  LANOLIN  LIQ- 
UID MAKEUP  at  our  risk,  send 
no  money  .  .  .  JUST  the  Free-Gift 
coupon.  When  your  makeup  and 
Beauty  Kit  arrive,  take  these  3 
simple  steps  to  beauty 

i.  Apply  make-up  for  a  bright, 
fresh,  Younger-looking  complexion. 

2.  Then,  use  the  Free  Lip  and 
Eyebrow  Outlines  to  create  beau- 
tiful lips  and  expressive  eyes. 

3.  Finish  your  "new  look"  with 
your  Free  Super  Lanolin  Lipstick 
and  Super  Lanolin  Liquid  Rouge 

If  you  can't  look  into  your  mirror 
and  honestly  say  that  you  look  5,  10 
or  15  years  younger  ...  if  even  a 
single  line,  mark  or  blemish  is  still 
visible  ...  if  your  friends  and  loved 
Ones  don't  shower  you  with  com- 
pliments galore  on  your  new  youth- 
ful appearance  .  .  .  simply  return 
the  make-up  for  your  full  money 
back.  But  keep  the  Em  Westmore 
Hollywood  Beauty  Kit  as  a  FREE 
GIFT!  The  sooner  you  order  .  .  . 
the  sooner  you  will  possess  a  new, 
flattering,  youthful  appearance.  So 
ACT  NOW1 

AVAILABLE  AT  MOST 
COSMETIC  COUNTERS 


HOW   MANY  YEARS 

YOUNGER  WOULD  YOU 

LIKE  TO  LOOK? 

You  are  now  looking  at  Mr*. 
Helen  Douglas  .  .  .  42-^eur-old 
housewife  from  Los  Angeles* 
Calif.  By  simply  using  the  won- 
derful beauty-tricks  described  on 
this  page  .  .  .  she  recaptured  her 
youthful  loveliness  in  just  a  few 
minutes! 

Believe  it  or  not*  this  is  the 
same  Mrs.  Douglas  just  a  few 
minutes  before  using  the  3  magic 
beauty  steps. 


How 
15 


To  Look  5,  10,  Even 
Years  Younger  In  Minutes! 


32-year-old  mother 
reca  pt  u  res  "J  une- 
Bride- Loveliness"  in 
just  a  few  minutes 
with  3  simple  changes. 
Mrs.W.Covis,  Toledo, 
Ohio. 


First  wipe  away  all 
lines,  wrinkles,  dark 
under-eye  ci  rcles, 
marks  and  blemishes 
that  shout  age  to  the 
world.  Also  wipe  away 
under  eye- puff iness, 
crinkly  skin  about 
neck  and  throat.  Do  this  with  make- 
up trick  described  in  FREE  booklet! 


How  old  is  this 
woman1  —  31  or  41? 
Well  she's  41  in  years, 
31  in  appea  ra  nee. 
Read  her  secret  on 
this  page.  Mrs.  B. 
Ostler,  Kenosha,  Wis. 


Life  begins  at  50  for 
Mrs.  R.  Morkisko  of 
Phtia.,  Pa.  She  looks 
like  40,  feels  like  20 
after  discovering  3 
Hollywood  make-up 
secrets! 


feet    shape   eyebrows 
for  your   shape   face. 
There   are   5   basic 
,j,    shapes    of    faces    you 
/L^7       r^    know.  And  there  is  a 
y  1^1    properly  shaped  eye- 
brow  for  each   shape 
face.   To  discover  your  basic   shape 
face   see    special   "Glamour    Graph" 
section   vou  eet   FREE! 

Now  give  inviting 
appeal  to  your  face . . . 
a  firmer  appearance 
to  your  chin.  Finish 
your  change-to-youth 
oy  properly  shaping 
your  lips-To  eliminate 
the  2  big  mistakes 
most  women  make  when  applying 
lipstick  ...  see  FREE  GIFT  offer 
below. 

If  Not  Available  At  Your  Favorite  Store 
"Mail  No  Risk  Coupon  Today!  " 

CHARLES  ANTELL 

COSMETIC  DIVISION,  DEPT   M-2 

BALTIMORE  3,  MD. 

Yes,  I  would  like  to  try  your  newly-discovered  SUPER  LANOLIN 
LIQUID  MAKEUP  entirely  at  your  risk!  I  would  also  like  to  receive 
FREE  your  Hollywood  Beauty  Kit.  When  my  Beauty  Kit  and  6-raonths' 
supply  or  makeup  arrive  I  will  pay  postman  $5. 00'  plus  COD.  postage. 
I  understand  that  if  your  makeup  doesn't  do  all  you  promise  I  may  return 
.t-for  my  full  money  back  .  .  .  BUT  t  can  keep  your  FREE  HOLLYWOOD 
KIT  just  for  trying  your  new  liquid  makeup. 

Check  Shade  Desired.  □  Fair  D  Neutral  D  Medium 

D  Light  Brunette        D  Brunette        D  Suntan — For  deeply  tanned  skins 
Your  lipstick,  liquid  rouge,  eyebrow  and  lip  pencils  in  your  FREE 
Hollywood  Beauty  Kit  will  be  carefully  selected  under  the  expert  super- 
vision of  Ern  Westmore  to  match  the  shade  of  your  makeup. 

NAME 


CITY- 


-ZONE- 


-STATE- 


D  SAVE  MORE!  Enclose  $5.00'  with  order  aJid  we  pay  all  postal  charges. 

You  save  as  much  as  $J06    Same  money-back  guarantee  of  course. 

•Pius  io%  Fed«r»i  Ta;*  ©CHARLES  ANTELL  1956 

______  In  Canada  tenu  to:  2  Charl*i  Strwl.  W«t.  Toronto  5.  Canada.  No  tax.  ______ 


17 


THREE 
FOR  THE  SHOW 


Informality  and  information  is  the  duo  offered  by  the 
Ellis    O'Brien,    Phil    Johnson,    Don    MacWilliams    trio. 


Sportsman  MacWilliams  boasts  of  a  like-minded  family 
in  wife  Helen,  offspring  David,  Bobby,  Phil  and  Kathy. 


Weatherman  O'Brien  and  wife  Helen  see  a  future  rain-or- 
shiner  among   Emily,  Jeremy,    Maggie,   Jonathan,   Barbara. 


13 


The  human  element  in  a  headline — be  it  news,  sports  or 
weather — is  always  on-camera  on  Channel  Six  News 
Journal,  seen  weekdays  at  6: 30  P.M.  on  Portland's  Station 
WCSH-TV.  The  tone  is  casual,  the  smile  is  friendly  and 
the  foresight,  experience,  ingenuity  and  hard  work  of  the 
threesome  on  this  news  show  are  abundant.  ...  A  native 
of  near-by  Westbrook,  Phil  Johnson  leads  off  with  the 
day's  news  headlines.  Phil  graduated  from  Tufts  College 
to  an  announcing  post  on  WCSH  Radio.  Since  then,  his 
career  has  alternated  between  Portland  and  Boston,  where 
he  was  an  announcer,  earned  a  master's  degree  in  speech 
and  served  on  the  Boston  University  faculty.  Now  WCSH 
news  director  and  head  of  the  Maine  Network  News  Ser- 
vice, Phil  represented  Maine  at  last  year's  White  House 
Conference  on  Education  and  also  directs  TV  publicity 
for  the  Maine  March  of  Dimes.  He's  happiest  as  a  working 
newsman,  but  rues  the  lack  of  time  for  amateur  acting 
and  directing.  .  .  .  Sportscaster  Don  MacWilliams  is  a 
Portland   suburbanite   married   to   a  former   high-school 


basketball  star  named  Helen.  Don  himself  earned  his 
Portland  High  letter  in  track.  He  joined  WCSH  in  1947 
and  was  named  sports  director  a  year  later.  Don's  eldest 
offspring,  Phil,  13,  sparked  the  1955  Little  League  champs 
in  Maine  and  also  captains  his  school  basketball  team. 
Kathy  is  a  fleet-footed  five-year-old;  Bobby,  at  three,  has 
his  own  junior-size  baseball  mitt;  and  David,  one  year 
old,  is  a  comer.  Don's  hobby  is  early  Maine  sports  his- 
tory, from  which  he  culls  anecdotes  for  his  sportscasts.  .  .  . 
Like  a  flight  of  stairs,  weatherman  Ellis  O'Brien's  family 
is  evenly  spaced  as  to  age  and  size.  Maggie,  six  and  a  half, 
is  the  eldest.  Then  come  Jonathan,  five;  Jeremy,  four; 
Barbara,  two;  and  Emily,  who  still  counts  her  age  in 
months.  Born  in  New  Jersey,  Ellis  took  his  first  fling  at 
weathercasting  when  he  was  an  eighth-grader  and  tried 
some  research.  He'd  visited  Maine  as  a  youngster  and 
had  decided  then  to  return.  He  did,  in  1947,  joining 
WCSH.  Ellis  thinks  Mark  Twain  meant  Maine  when  he 
said:   "If  you  don't  like  the  weather,  wait  five  minutes." 


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19 


IVHAT'S   BnETW  FROM  COAST  TO   COAST 


(Continued  from  page  4) 


Jimmy  represents  the  Dorseys  and  Gary  does  likewise  for  the  Crosbys 
to  make  a  threesome  with  night-club  singer  Libby  Dean  at  The  Harwyn. 


Rock    V    roll,    with    Alan    Freed    as 
emcee,  rocks  the  CBS  Radio  network. 


20 


popular  demand.  This  is  the  film  Henry 
Fonda  did,  a  year  or  so  ago,  which  was 
based  on  the  biography  of  the  real-life 
"sad"  clown,  Emmett  Kelly.  Charlie  Ap- 
plewhite, the  singing  lad,  is  set  to  star  on 
"Exits  and  Entrances,"  on  May  20,  if  Uncle 
Sam  doesn't  ask  for  his  army  entrance  be- 
fore that  date.  Charlie  is  due  for  induction 
any  minute.  The  May  27  program  will  be 
"The  Shunning,"  a  dramatic  play  about 
an  Amish  family.  Polly  Bergen  will  co- 
star. 

The  Arthur  Murray  Show  is  back  on 
television,  Thursday  nights,  over  CBS. 
Kathryn  Murray  heads  up  the  proceed- 
ings, with  more  or  less  the  same  format  the 
show  had  during  its  former  run.  Johnny 
Carson,  who  departed  the  Thursday  night 
half-hour,  is  slated  to  do  a  daytime  TV 
program  for  CBS,  if  time  and  sponsor  can 
be  found. 

Jack  Benny's  May  20th  show  will  be  a 
repeat  showing  of  his  "Four  A.M.  in  the 
Morning,"  which  he  did  on  film  some  time 
ago.  Benny  is  about  to  take  off  for  England 
where  he  will  whip  up  several  programs 
for  his  coming  fall  series. 

This  'n'  That: 

Barry  Kroeger,  narrator  of  CBS  Radio's 
Tremendous  Trifles,  nabbed  the  part  of  the 
High  Lama  in  the  new  Broadway  musical, 
"Shangri-La."  Barry  will  be  able  to  con- 
tinue his  radio  show  by  transcribing  the 
programs  which  will  be  heard  during  the 
out-of-town  run  of  the  musical,  an  adap- 
tation of  "Lost  Horizon." 

Harold  J.  Peary,  the  original  "Great 
Gildersleeve,"  was  sued  for  divorce  by  his 
wife,  in  Los  Angeles.  Mrs.  Peary,  who  acts 
under  the  name  of  Gloria  Holiday,  charged 
mental  cruelty,  and  asked  for  custody  of 
the  couple's  son,  Page,  who  is  eight  years 
old.  The  Pearys  were  married  in  1946. 

Kate  Smith  is  celebrating  her  twenty- 
fifth  anniversary  in  show  business  this 
year,  and  also  celebrating  her  return  to 
television  on  The  Ed  Sullivan  Show.  Kate, 
who  was  signed  for  six  appearances  with 
Ed  Sullivan,  postponed  all  her  perform- 
ances until  her  manager,  Ted  Collins,  was 
out  of  the  hospital  and  well  on  his  way 


to  recovery  from  a  serious  heart  attack. 

Nanette  Fabray  is  still  beaming  over 
her  two  Emmy  awards,  which  she  won  as 
best  comedienne  in  television  and  best 
supporting  actress  in  a  regular  series.  Her 
fans  are  sad  that  she  is  leaving  Caesar's 
Hour  at  the  expiration  of  her  contract  in 
June.  However,  there  are  many  big  things 
in  the  planning  stage  for  the  talented 
Nanette,  and  she's  sure  to  be  on  the  TV 
scene  this  fall.  Incidentally,  Nan  tells  me 
she  is  dating  music  publisher  Marty  Mills, 
but  she  is  not  engaged  to  be  married. 

Carmel  Quinn,  Arthur  Godfrey's  Irish 
thrush,  and  her  husband,  Bill  Fuller,  are 
on  the  stork  delivery  list  for  August.  And 
they're  hoping  for  a  boy.  Carmel  will  leave 
her  Godfrey  chores  in  time  to  fly  home  to 
Ireland  for  a  vacation  with  her  family, 
then  return  to  New  York  in  time  for  the 
birth  of  her  baby. 

Speaking  of  Godfrey,  his  daytime  show 


Comic  Jack  Benny  will  make  merry 
in    England    preparing   fall    shows. 


will  probably  travel  to  different  cities  dur- 
ing the  next  few  months.  For  the  past  sev- 
eral weeks,  his  production  staff  has  been 
setting  up  various  origination  points. 

Jack  Carson's  "Radio  Friends  of  Amer- 
ica" club  now  has  over  twenty  thousand 
members  and  his  secretarial  staff  is  way 
behind  in  sending  out  membership  cards. 
The  idea  for  his  club  came  from  his 
mother.  When  he  first  mentioned  it  on  his 
CBS  Radio  Program,  he  never  dreamed  it 
would  have  such  a  reaction. 

Today's  man,  Dave  Garroway,  found 
himself  willingly  bidding  adieu  to  bach- 
elorhood, for  the  likes  of  lovely  Pamela 
Wilde,  a  TV  film  aide. 

TV  maestro  Ted  Steele  has  quietly  re- 
married, after  a  quiet  divorce  from  his 
wife,  Doris  Brooks.  Ted's  new  bride  is 
Ceil  Loman.  The  ex-Mrs.  Steele  is  doing 
her  own  midnight  radio  show  in  New  York 
over  Station  WABC,  under  the  name  of 
Betty  Brooks. 

Milton  Berle  has  resolved  to  "take  it 
easy"  next  season  and  will  do  only  four 
shows  for  NBC.  It's  no  secret  that  "Uncle 
Miltie"  has  been  very  dejected  over  his 
ratings  this  year.  However,  he  doesn't  have 
to  worry  about  his  income,  since  he  has  a 
long-term  contract  with  NBC  as  a  pro- 
ducer and  TV  consultant. 

Pat  Kirby,  the  pretty  young  singing  lass 
on  Steve  Allen's  Tonight  show,  is  engaged 
and  plans  to  be  married  in  June.  Her 
bridegroom-to-be  is  John  Burgoin,  a  non- 
professional, and  Pat  will  take  her  vows 
in  her  home  town  of  Philadelphia. 

May  9th  is  a  high  spot  on  the  calendar 
for  Edgar  Bergen,  who  begins  his  twen- 
tieth year  on  network  radio  on  that  date. 
The  occasion  will  be  celebrated  with  spe- 
cial doings  on  his  Edgar  Bergen  Hour  on 
CBS  Radio.  And  on  the  17th  of  May,  Young 
Dr.  Malone  begins  its  seventeenth  year  on 
the  same  network. 

When  Tom  Duggan,  the  stormy  but  pop- 
ular Chicago  commentator,  left  his  broad- 
casting chores  at  Station  WBKB,  he  swore 
he  was  going  to  California  to  rest  and 
retire.  But  he  didn't  dally  in  the  sun  very 
long.  Now  he's  a  stellar  personality  on  Sta- 
tion KCOP  in  Hollywood. 


Cool  Cees,  new  Sid  Caesar  take-off, 
wears  ice-cube  specs,   blows  hot  sax. 


The  entire  nation  was  saddened  by  the 
untimely  passing  of  Fred  Allen,  at  the  age 
of  sixty-one.  Fred  was  known  as  "a  co- 
median's comedian,"  and  one  of  the  few 
humorists  who  wrote  his  own  material.  He 
was  most  beloved  and  respected  in  the 
broadcasting  world. 

And  show  business  also  mourns  Harry 
Clark,  the  well-known  stage  and  television 
actor,  who  died  of  a  heart  attack.  Clark 
had  appeared  often  on  such  shows  as 
Studio  One  and  Kraft  Theater,  and  at  the 
time  of  his  death  was  playing  one  of  the 
leads  in  the  Broadway  hit,  "Will  Success 
Spoil  Rock  Hunter?" 

Mulling  The  Mail: 

Mrs.  F.T.,  Washington,  D.C,:  Cole  Porter 
sold  rights  to  "It's  De-Lovely"  for  use 
as  a  commercial  jingle  by  an  automobile 
manufacturer,  so  you'll  hear  it  for  some 
time  to  come.  However,  the  song,  as  origi- 
nally written,  is  one  of  the  big  production 
numbers  in  the  new  Bing  Crosby-Donald 
O'Connor  movie,  "Anything  Goes."  .  .  . 
Mrs.  E.L.,  Nelsonville,  Ohio:  Alice  Faye 
has  steadfastly  refused  to  do  any  television 
and  it  doesn't  seem  likely  that  she'll  change 
her  mind.  She  spends  most  of  her  time  at 
her  home  in  Palm  Springs,  Calif.  .  .  . 
Mrs.  L.P.,  Cisco,  Texas,  and  others  who 
have  asked  about  Lorenzo  Jones:  This 
show  has  been  off  the  air  for  some  time, 
and  there  are  no  plans  for  its  return.  .  .  . 
Mr.  B.J.,  Philadelphia,  Pennsylvania:  Judy 
Johnson's  departure  from  the  Robert  Q. 
Lewis  Show  is  due  to  a  forthcoming  visit 
from  the  stork.  Yes,  you  are  right,  both 
Lois  Hunt  and  Betty  Clooney  were  dated 
by  the  long-legged  bird  while  working  on 
the  show.  .  .  .  Mrs.  F.D.,  Ashland,  Ken- 
tucky: Tennessee  Ernie  Ford  and  Mary 
Ford  are  no  relation  whatsoever.  Dick 
Haymes  and  the  Bob  Haymes  you  heard 
on  radio  are  brothers.  .  .  .  Miss  R.McN., 
Rockland,  Maine:  Renee  Miles  was  off 
Masquerade  Party  because  she  was  in 
Mexico  getting  a  divorce  from  her  hus- 
band, Herb  Wolf,  owner -producer  of  the 
show.  Nancy  Walters  is  the  new  time- 
keeper on  the  show  and  Renee  hopes  to 
(Continued  on  page  24) 


F 

SEE  THIS  MIRACLE  HAPPEN  TO  YOU  IN  20  SECONDS 

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New  Patterns 
for  Yon 


4506 — Four  main  pattern  parts  to  cut  out  and 
stitch.  Its  smooth,  simple  lines  are  so  figure- 
flattering!  Misses'  Sizes  12-20.  Size  16  takes  5% 
yards  35-inch  fabric.  State  size.  35$ 

9280 — Most  flattering  princess  lines — propor- 
tioned for  the  shorter,  fuller  figure!  Half  Sizes 
14%-24y2.  Size  16%  takes  4%  yards  39-inch 
fabric.  State  size.  35$ 

4820 — These    separates    are    wonderful    for    a 
busy  gal's  wardrobe — they  mix  'n'  match  beau- 
tifully, end  weekend  packing  worries!   Misses' 
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Send  thirty-five  cents  (in  coins)  for  each  pattern  to:  TV  Radio  Mirror,  Pattern  Depart- 
ment, P.O.  Box  137,  Old  Chelsea  Station,  New  York  11,  New  York.  Add  five  cents  for 
each    pattern    for    first-class    mailing.    Be    sure    to     specify    pattern    number    and     size. 


information 
booth 

(Continued  from  page   11) 

It  was  a  simply  wonderful  trip  which  my 
husband  and  I  will  never  forget.  We  are 
so  grateful  to  you  for  making  it  pos- 
sible. .  .  .  We  especially  enjoyed  Lawrence 
Welk's  show  and  the  "tender  care"  re- 
ceived from  the  Grant  Advertising  Agency. 
.  .  .  The  weather  ivas  grand — a  wonderful 
contrast  to  mid-winter  Wisconsin — and  so 
ivas  the  flight.  We  also  had  a  reunion  with 
several  dear  friends  now  living  in  the 
Los  Angeles  area.  .  .  .  Thank  you  again. 
Phyllis   and   James    Wyss, 

Chippewa  Falls,  Wis. 

Strutter  Supreme 

/  would  like  to  have  some  information 
about  Eddie  Jackson,  who  appears  with 
Jimmy  Durante  on  Texaco  Star  Theater. 
NBC-TV.  L.  S.,  Bronx,  N.  Y. 

The  perennially  youthful  Eddie  Jack- 
son, seen  on  television  and  in  showplaces 
with  Jimmy  Durante,  has  been  entertaining 
since  he  was  ten  years  old.  Brought  up 
in  Brooklyn,  New  York,  Eddie  used  to 
attend  every  vaudeville  show  around  town. 
Often,  he'd  perform  on  an  amateur  night. 
"Sometimes  I'd  win,"  he  recalls,  "but  not 
often."  .  .  .  One  night  he  went  to  see 
George  Walker  and  Bert  Williams.  Walker 
did  the  strutting.  "He'd  tilt  his  top  hat 
to  one  side,  throw  out  his  chest  and  would 
be  all  over  the  stage,"  Eddie  remembers. 
"I  made  up  my  mind  that  I  was  going  to 
strut  just  like  that."  Eddie's  been  strutting 
"just  like  that"  for  fifty  years  now.  .  .  . 
Jimmy  Durante  and  Eddie  met  in  1916  at 
a  place  called  "Alamo"  in  Coney  Island. 
Jimmy  played  the  piano,  but  the  first  time 
he  "sang"  was  in  1924,  when  he  and  Eddie 
Jackson  opened  the  "Club  Durant"  and 
sang  for  their  supper  till  after  daybreak. 
.  .  .  Lou  Clayton  joined  Jimmy  and  Eddie 
at  the  "Club  Durant"  as  part  of  their  act. 
They  soon  became  the  toast  of  show  busi- 
ness. .  .  .  The  death  of  Lou  Clayton  was 
an  unforgettable  blow  to  Jackson  and 
Durante.  "We  like  to  keep  up  the  same 
pace,"  Eddie  says,  "and  find  we  feel  better 
when   we're   on   stage,   doing   something." 

Calling  All  Fans 

The  following  clubs  invite  new  mem- 
bers. If  you  are  interested,  write  to  address 
given — not  to  TV  Radio  Mirror. 

Janis  Paige  Fan  Club,  c/o  Sharon  Var- 
ner,  1417  Myrtle,  Columbus  11,  Ohio. 

Gisele  MacKenzie  Fan  Club,  c/o  Lona 
Pierce,  Route  2,  Euclid,  Minn. 

Joyce  Randolph  Fan  Club,  c/o  Miss 
Joyce  Alt,  Alta  Vista,  Iowa. 

FOR  YOUR  INFORMATION— If  there's 

something  you  want  to  know  about  radio 
and  television,  write  to  Information  Booth, 
TV  Radio  Mirror,  205  East  42nd  Street, 
New  York  17,  N.  Y.  We'll  answer,  if  we 
can,  provided  your  question  is  of  general 
interest.  Answers  will  appear  in  this 
column — but  be  sure  to  attach  this  box  to 
your  letter,  and  specify  whether  your  ques- 
tion concerns  radio  or  TV. 


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WHAT'S   IXTJETOir  r«*>]ML  COAST 


(Continued  from  page  21) 


Poet   Percy   Dovetonsils   is   one  of 
Ernie    Kovacs'   cast  of  TV  zanies. 


continue  in  television,  on  dramatic  pro- 
grams. .  .  .  Miss  S.R.,  Fort  Wayne,  Indiana: 
Andy  Williams,  one  of  the  singers  on 
Tonight,  did  do  the  crooning  for  Lauren 
Bacall  in  the  old  movie,  "To  Have  or  Have 
Not."  The  song  was  "How  Little  We 
Know,"  and  Andy  was  fifteen  years  old  at 
the  time.  After  auditioning  many  girls  and 
boys  for  the  job,  the  Warner  Bros,  musical 
department  chose  Andy's  voice  because  he 
sounded  most  like  what  they  thought 
Lauren  would,  if  she  could  sing.  .  .  .  Miss 
B.S.,  Omaha,  Nebraska:    Vaughn   Monroe 


Liberace  and  brother  George  in  a 
rare  picture  with  their  dad,  Sam. 


has  no  regular  TV  show.  However  he  is 
seen  and  heard  often  all  over  the  country 
via  his  commercials,  live  and  recorded, 
for  RCA  Victor.  .  .  .  Mrs.  G.M.W.,  Ft 
Worth,  Texas:  Ann  Sothern  will  have  shot 
a  total  of  one  hundred  and  eight  Private 
Secretary  films  when  the  current  season 
ends,  and  there  will  be  enough  shows  to 
carry  through  next  year.  After  that,  Ann 
hopes  to  relinquish  her  role,  since  she 
feels  five  years  is  long  enough  for  any  one 
personality  to  be  in  a  particular  series.  She 
owns  twenty-five  percent  of  the  show,  and 


United   Cerebral   Palsy's   campaign,   which   starts   this   month, 
is  supported  by  such  stars  as  Constance  Bennett  of  ABC  Radio. 


TO    COAST 


Mom  knew  best.  Jack's  Radio  Friends 
of  America  was  Elsa  Carson's  idea. 


has  an  interest  in  the  producing  company. 

What  Ever  Happened  To  .  .  .? 

Lum  and  Abner,  in  radio  for  so  many 
years?  Chester  Lauck  (Lum)  and  Morris 
Goff  (Abner)  planned  a  TV  series  to  be 
filmed  abroad.  However,  after  shooting 
three  pilot  films  in  Hollywood,  the  whole 
project  was  abandoned,  and  at  the  moment 
there  is  nothing  set  in  videoland  for  the 
humorists.  The  three  films  were  recently 
put  together  into  a  short  feature  called 
"Lum  and  Abner  Abroad,"  and  are  cur- 
rently being  released  around  the  country. 

Bette  Ellen,  the  former  "Away-we-go" 
girl  of  the  Jackie  Gleason  show?  Bette, 
who  was  a  top-flight  New  York  model  be- 
fore she  went  into  television,  has  returned 
to  posing.  Also,  she  is  studying  acting 
intently  and  is  hoping  for  a  dramatic  career 
on  the  Broadway  stage  this  coming  fall. 

Buff  Cobb,  who  was  a  regular  on  Mas- 
querade Party  at  one  time  and  also  teamed 
with  her  ex-husband,  Mike  Wallace,  on 
several  shows?  Buff  has  not  appeared  reg- 
ularly on  any  TV  show  since  she  left 
Masquerade  Party.  At  the  moment,  she  is 
in  New  York,  lining  up  a  proposed  TV  film 
series  on  the  literary  works  of  her  late 
famous  uncle,  Irvin  S.  Cobb. 


If  you  have  a  question  about  one  of 
your  favorite  people  or  programs,  or 
wonder  what  has  happened  to  someone 
on  radio  or  television,  drop  me  a  line — 
Miss  Jill  Warren,  TV  Radio  Mirror, 
205  East  42nd  Street,  New  York  City  17, 
New  York,  and  I'll  try  my  best  to  find 
out  for  you  and  put  the  information  in 
the  column.  Unfortunately,  we  don't 
have  space  to  answer  all  questions,  so 
I  try  to  cover  those  personalities  about 
whom  I  receive  the  most  inquiries. 
Sorry,  no  personal  answers,  so  please 
do  not  enclose  stamped  envelopes  or 
postage,   as  they   cannot   be   returned. 


JANE  RUSSELL 


Is  Hollywood's 

"Turrible  Tempered  Mistress" 

really  a  softie? 


read  the  answer  in  the  June  issue  of 


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The  most  complete  gossip  coverage  of  Hollywood  with 
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All   programs   heard   Monday   through   Friday; 
consult  local  papers  for  time  and  station. 


AS  THE  WORLD  TURNS  Lawyer  Chris 
Hughes  is  a  fair-minded  man,  by  nature 
and  profession  equipped  to  understand 
that  there  is  always  something  to  be  said 
on  both  sides  of  an  argument.  He  can  see 
why  his  bitter,  restless  sister  Edith  and  his 
old  friend  and  associate  Jim  Lowell  have 
turned  to  each  other  for  companionship. 
But  can  he  convince  Edith  that,  with  Jim's 
estranged  wife  still  in  the  picture,  there 
is  sure  to  be  trouble  ahead?    CBS-TV. 

AUNT  JENNY  Littleton  is  a  small  Ameri- 
can town  that  seems  like  hundreds  of 
others.  But  seen  through  Aunt  Jenny's 
eyes,  we  know  that  the  placid  housefronts 
hide  every  kind  of  happiness,  heartbreak 
and  suspense.  From  the  lives  around  her 
she  draws  real-life  stories  about  people 
who  might  be  neighbors.    CBS  Radio. 

BACKSTAGE  WIFE  From  the  beginning, 
Broadway  actor  Larry  Noble  has  felt  that 
the  terrible  threat  of  Hope  St.  Clair's  plot 
against  him  is  only  one  aspect  of  the  danger 
he  senses.  What  if  his  wife  Mary  finally 
tires  of  maintaining  her  faith  in  him  and 
in  their  marriage  and  surrenders  to  what 
seems  proof  that  he  no  longer  loves  her? 
Can  they  build  separate  lives?  CBS-Radio. 

THE  BRIGHTER  DAY  Reverend  Richard 
Dennis  is  delighted  when  Max  Canfield 
and  Lydia  Harrick  finally  find  new  hope 
for  the  future  in  each  other.  How  will  he 
react  if  it  is  his  own  restless  daughter, 
Althea,  who  upsets  the  situation?  If  Althea 
really  settles  down  in  New  Hope  with  little 
Spring,  will  anyone — including  Althea — be 
happy  about  it?    CBS-TV  and  CBS  Radio. 

DATE  WITH  LIFE  Nobody  is  in  a  bet- 
ter position  than  a  newspaperman  when  it 
comes  to  finding  how  people  live.  Tom 
Bradley,  editor  and  publisher  of  the  Bay 
City  News,  knows  all  the  inside  facts  be- 
hind the  stories  that  make  the  front  pages, 
but  he  also  tells  many  stories  that,  while 
they  have  no  news  value,  are  significant  in 
terms  of  human  emotions.    NBC-TV. 

THE  DOCTOR'S  WIFE  Sulking  under 
the  invasion  of  new  doctors,  Dr.  Jessup 
manages  to  spread  enough  rumors  to  make 
Crooked  Horn  suspicious  about  the  clinic, 
of  which  Dr.  Dan  Palmer  is  such  an  en- 
thusiastic part.  And  Julie,  unaccustomed 
to  the  lack  of  activity  after  her  useful  life 
back  East,  embarks  on  a  project  of  her  own 
that  at  first  seems  promising  but  leads  to 
T    a  complication  for  the  Palmers.  NBC  Radio. 

R  THE  EDGE  OF  NIGHT  Lieutenant  De- 
tective Mike  Karr  is  a  man  who  really 
knows  what  makes  a  big  city  go — knows 
so  well,  in  fact,  that  he  hates  to  ask  a  girl 

zo 


like  Sara  Lane  to  share  the  kind  of  life  he 
lives.  But  Sara's  resourcefulness  surprises 
Mike  when  his  duties  lead  him  into  pecu- 
liar contact  with  her  uncle,  the  powerful 
Harry  Lane.  What  happens  when  Lieuten- 
ant Victor  Rocco  gets  a  chance  to  show  his 
disapproval  of  Mike's  approach  to  big 
crime?    CBS-TV. 

THE  GUIDING  LIGHT  Dr.  Dick  Grant 
has  tried  to  convince  his  friend,  Dr.  Jim 
Kelly,  that  although  Lila  has  accepted  Jim's 
ring,  she  has  no  intention  of  marrying  him. 
Is  it  faith  that  keeps  Jim  deaf  to  Dick's 
arguments — or  stubbornness?  What  hap- 
pens when  Lila's  serious  illness  forces  her 
to  re-examine  her  motives?  CBS-TV  and 
CBS  Radio. 

HOTEL  FOR  PETS  During  his  long  ca- 
reer as  a  mailman,  Mr.  Jolly  dreamed 
wistfully  of  the  day  when  he  would  retire 
to  open  a  shelter  for  animals.  And  he 
achieved  his  dream,  plus  a  wife  to  help 
him  make  it  even  better.  But  his  simple 
plans  did  not  include  all  the  complications 
of  community  life  in  which  he  and  his 
pets  have  become  involved.    NBC  Radio. 

LOVE  OF  LIFE  Paul  and  Vanessa  Raven 
fear  Hal  Craig's  threats  against  little  Carol 
are  motivated  not  only  by  his  hatred  of 
them  but  also  by  the  mysterious  locket 
Carol  saw.  What  is  the  secret  Carol  isn't 
even  aware  she  knows?  Can  Hal  force 
Van's  sister  Meg  to  endanger  her  own 
family,  or  will  Meg  surprise  him  by  choos- 
ing sides   at  last?     CBS-TV. 

MA  PERKINS Rushville  Center  tries  hard, 
but  it  cannot  help  being  turned  upside 
down  by  the  Hollywood  invasion  spear- 
headed by  Gideon  Harris,  who  arrives  to 
make  a  movie  out  of  Tom  Wells'  book.  Fay 
finds  her  role  as  the  writer's  wife  a  trying 
one,  and  Ma  discovers  that  although  it's 
true  famous  people  are  still  people,  they 
have  to  be  handled  differently.  CBS -Radio. 

OUR  GAL  SUNDAY  Sunday's  child- 
hood friend,  Bill  Hunter,  completely  up- 
sets the  tenor  of  life  at  Black  Swan  Hall 
when  he  almost  convinces  her  that  a  simple 
American  girl  from  Colorado  is  misplaced 
as  the  wife  of  an  English  nobleman.  De- 
spite Sunday's  deep  love  for  Lord  Henry, 
she  feels  the  truth  of  some  of  Bill's  argu- 
ments— as  Lord  Henry's  interest  grows  in 
a  scheming  English  girl.    CBS  Radio. 

PEPPER  YOUNG'S  FAMILY  Linda's 
agitation,  which  has  so  mystified  her  hus- 
band Pepper  and  the  rest  of  the  family, 
intensifies  as  she  learns  that  her  first  hus- 
band, Jeff  Taylor,  believed  dead  by  every- 
one else,  is  on  the  verge  of  re-entering  her 


life.  Linda  knows  well  enough  that  no  good 
ever  came  of  her  keeping  a  secret  from 
Pepper.  But  how  can  she  bring  herself  to 
share  this  with  him?    NBC  Radio. 

THE  RIGHT  TO  HAPPINESS  The  large 
sum  of  money  which  Carolyn  holds  in  trust 
has  attracted  many  new  acquaintances. 
But  in  spite  of  her  watchfulness,  Carolyn 
is  confronted  by  one  who  understands  that 
the  way  into  her  confidence  is  through  her 
son,  Skip.  What  will  happen  to  Skip  if 
Carolyn  continues  to  misplace  her  confi- 
dence?   NBC  Radio. 

THE  ROAD  OF  LIFE  As  the  Jim  Brents 
look  forward  to  even  greater  family  hap- 
piness with  the  new  baby,  they  cannot 
help  feeling  sorry  for  Sibyl,  to  whom  hap- 
piness seems  lost.  Still,  as  she  duels  Randy 
Ogden  in  a  cynical  battle  for  the  upper 
hand,  even  Sibyl  realizes  that  she  once 
again  invites  disaster.  How  will  Audrey 
Walsh  figure  in  Randy's  plans?  CBS  Radio. 

THE    ROMANCE    OF    HELEN    TRENT 

Gil  Whitney's  neglect  of  Helen  drives  her 
into  a  dangerous  situation  as  she  becomes 
increasingly  friendly  with  Morgan  Clark, 
her  fascinating,  mysterious  neighbor.  Is 
Morgan's  sister  Julia  protecting  her  own 
security  or  Helen's  life  when  she  tries  to 
stop  the  friendship?  Can  Gil  ever  forgive 
himself  if  real  harm  comes  to  Helen  be- 
cause  of  his  indecisiveness?    CBS   Radio. 

SEARCH  FOR  TOMORROW  With 
bookkeeper  Harold  Small's  arrival  in  Hen- 
derson, the  Tates  found  a  new  friend — 
but  new  trouble  as  well.  For  Harold  is 
there  because  of  his  resemblance  to  V.  L. 
Swanson,  whose  desire  for  revenge  against 
Joanne  has  survived  his  prison  term.  And 
Arthur's  need  for  money  to  finance  the 
Motor  Haven  extension  gives  V.  L.'s 
friends  the  chance  they  awaited.  But  has 
Harold  been  underestimated?    CBS-TV. 

THE  SECOND  MRS.  BURTON  When 
Lew  Archer  is  shot  by  Joe  Hansen,  the 
whole  Burton  family  is  disrupted.  Stan's 
grief  over  his  brother-in-law's  catastro- 
phe is  further  complicated  by  his  news- 
paper's financial  dependence  on  Lew.  If 
the  necessary  funds  can  no  longer  come 
from  Lew,  will  they  have  to  come  from 
Mother  Burton — thus  once  again  giving 
her  a  chance  to  run  things  and  defeating 
Stan's  fight  for  independence?    CBS  Radio. 

THE  SECRET  STORM  Pauline  Harris 
deceives  neither  Peter  nor  his  children 
when  she  hypocritically  sympathizes  with 
them  over  the  dramatic  re-appearance  of 
Bruce,  Jane  Edwards'  first  husband,  on  the 
very  verge  of  Jane's  marriage  to  Peter.  But 


not  knowing  Pauline's  full  involvement, 
they  do  not  quite  know  how  to  forestall 
the  further  tragedy  she  plans  in  order 
to  prevent  Peter  from  marrying  anyone 
but  herself.    CBS-TV. 

THIS  IS  NORA  DRAKE  Nora  and  David 
Brown  have  come  a  long  way  since  the 
shock  of  David's  mental  seizures  first  led 
them  to  an  investigation  of  his  past  and 
the  uncovering  of  the  thirty-year-old  mur- 
der of  which  he  believed  his  father  un- 
justly accused.  Will  the  trail  end  with  a 
tragic  confession?  Or  will  the  confused 
widow  of  the  murdered  man  surrender 
the  key  she  holds  to  the  secret  of  the 
tragedy,  to  prevent  another?    CBS  Radio. 

VALIANT  LADY  Reporter  Elliot  Norris 
brings  new  joy  into  Helen  Emerson's  life, 
together  with  new  and  perhaps  tragic  com- 
plications. Helen  realizes  to  her  horror 
the  desperate  deception  set  up  by  Elliot's 
ward,  Peggy,  that  aims  to  prevent  him  from 
marrying.  Has  Peggy's  lie  driven  a  final 
wedge  between  Helen  and  her  daughter 
Diane?  And  what  will  happen  if  Roy 
Withers  tries  for  revenge?    CBS-TV. 

WENDY  WARREN  AND  THE  NEWS 

Wendy's  friends  are  disturbed  when,  at  the 
very  outset  of  her  return  to  the  city  as  a 
newspaper  columnist,  she  becomes  in- 
volved with  writer  Paul  Benson  and  his 
sister  Barbara,  both  very  neurotic.  Will 
flamboyant  Katie  Macauley,  finally  turn 
out  to  be  a  good  friend  in  need?  CBS  Radio. 

WHEN  A  GIRL  MARRIES  Joan  and  Har- 
ry Davis  are  so  much  a  part  of  their  town 
that  they  have  come  to  feel  a  certain 
responsibility  for  the  welfare  of  their 
neighbors.  Frequently,  Harry,  a  suc- 
cessful lawyer,  is  called  on  to  deal  with 
their  troubles  from  a  legal  point  of  view, 
but  it  is  as  a  woman  and  a  friend  that 
Joan  is  important.    ABC  Radio. 

WHISPERING  STREETS  There  is  at 
least  one  dramatic  episode  in  almost 
everyone's  life.  Standing  apart  from  these 
people,  yet  close  enough  to  hold  their 
confidence,  Hope  Winslow  is  able  to  see 
these  episodes  as  they  begin,  develop, 
and  end,  and  these  are  the  stories  she 
tells  each  weekday.  NBC  Radio. 

THE  WOMAN  IN  MY  HOUSE  Ever 
since  the  Carter  children  were  old  enough, 
they  have  fallen  in  and  out  of  love,  gotten 
married,  and  founded  families  of  their 
own — except  for  Jeff,  who  happens  to  be 
the  eldest.  Mother  Carter  urged  him  to 
find  himself  a  wife.  She  is  more  than  a 
little  surprised  at  the  way  Jeff  finally 
takes  her  advice — and  at  her  own  result- 
ing emotions.    NBC  Radio. 

YOUNG  DR.  MALONE  Both  Dr.  Jerry 
Malone  and  his  wife  Tracey  understand 
that  part  of  young  Jill's  rebellion  is  a 
natural  result  of  her  age,  just  turned  eight- 
een. But  surely  Jill's  resentment  of  her 
stepmother  and  criticism  of  her  father  seem 
to  go  beyond  what  one  might  reasonably 
expect.  Is  Jill  too  demanding  and  un- 
realistic? If  the  New  York  project  ma- 
terializes, will  it  be  the  worst  or  the  best 
thing  for  Jill?    CBS  Radio. 

YOUNG  WIDDER  BROWN  Although 
Dr.  Anthony  Loring's  wife  is  dead,  she 
still  stands  between  Anthony  and  Ellen. 
Her  father,  famous  criminologist  Jason 
Randall,  holds  Ellen  responsible  for  Mili- 
cent's  death  and  revenges  himself  by  ruin- 
ing Ellen's  life  in  Simpsonville.  If  Ellen 
can  no  longer  operate  her  tea-room,  will 
she  have  to  seek  a  livelihood  elsewhere? 
Does  this  mean  the  end  of  everything  for 
her  and  Anthony?    NBC  Radio. 


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SmampOJ'  j(L 


Cream  or  Lotion 


Yes,  Grace  Kelly  uses  Lustre- 
Creme  Shampoo.  It's  the  favorite 
of  4  out  of  5  top  Hollywood    - 
movie  stars! 

It  never  dries  your  hair!  Lustre- 
Creme  Shampoo  is  blessed  with 
lanolin  .  .  .  foams  into  rich  lather, 
even  in  hardest  water  .  .  .  leave's 
hair  so  easy  to  manage. 

It  beautifies!  For  soft,  bright,  fra- 
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Use  the  favorite  of  Hollywood  movie 
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Never  Dries 


As  she  appears 
in  her  eo-starring  role  in  M-G-M's 

THE  SWAN 

In  CinemaScope  and  Color 


IF  YOU  WERE  A  MILLIONAIRE 


We  all  dream!   Marvin  Miller 
(alias  Michael  Anthony) 
rang  doorbells  to  find  out 
just  what  we  dream  .   .   . 

By  GORDON  BUDGE 

How  would  you  like  to  suddenly  fall 
heir  to  $1,000,000?  That's  the 
premise  on  which  CBS-TV's  suc- 
cessful show,  The  Millionaire,  is  based. 
Each  week,  Marvin  Miller — as  Michael 
Anthony,  employed  by  fictional  billion- 
aire John  Beresford  Tipton — delivers  a 
check  for  $1,000,000  to  some  worthy 
individual.  How  they  react  and  what 
they  do  with  their  $1,000,000  is  the 
subject  of  each  exciting  story. 

By  implication,  TV  Radio  Mirror 
posed  the  same  question  to  ten  televi- 
sion viewers  one  recent  Wednesday 
night.  We  sent  Marvin  Miller — or 
Michael  Anthony — and  a  writer  to  visit 
ten  homes  at  random  in  the  Los  An- 
geles area,  ringing  doorbells  and  wait- 
ing for  surprised  reactions.  Though 
Miller  did  not  have  any  $1,000,000 
checks  to  give  away,  each  of  the 
families  who  gave  him  their  time  was 
rewarded  with  a  $25.00  U.S.  Savings 
Bond. 

Would  you  recognize  The  Million- 
aire's agent  if  he  came  ringing  your 
bell?  Would  you  invite  him  in — or 
shoo  him  away  as  a  possible  salesman? 
...  If  you  did  recognize  him  as  The 
Millionaire's  agent — felt  you  were  with- 
in arms  reach  of  $1,000,000 — then  how 
would  you  react?  This  is  the  way  the 
ten  families  visited  by  Marvin  Miller 
and  TV  Radio  Mirror  did  react: 

Agnes  and  Jerry  Comer,  a  mechanic 
at  North  American  Aviation,  live  with 
their    three    teen-age    children    in    a 


See  Next  Page- 


Happy  in  his  own  home  with  wife  Elizobeth,  Tony  and  little  Melissa, 
Marvin  Miller  wondered  what  others  were  thinking  about,  in  their  house- 
holds. Unlike  Michael  Anthony  of  The  Millionaire,  he  couldn't  offer  any 
"seven-figure"  checks — but  he  did  have  savings  bonds  for  lucky  families. 


29 


~m^m^^T^ 


Little  Miss  Melissa   Miller  doesn't  care  whether  Daddy's  a 
millionaire  or  not,  so  long  as  he  reads  her  bedtime  stories. 


Marvin  talks  "grown-up"  with  his  teen-age  son  Tony,  whose 
dreams  and  plans  for  the  future  count  more  than  money. 


modest  white  farm  house  at  1306  S.  Barrington  in  West 
Los  Angeles.  It  was  almost  nine  o'clock,  Pacific  Time, 
when  Marvin  Miller  (and  TV  Radio  Mirror's  writer  and 
photographer,  standing  out  of  view  in  the  dark)  knocked 
at  their  door.  The  Comers'  fifteen-year-old  daughter  Bar- 
bara answered  the  knock. 

"Good  evening,"  said  Marvin  in  his  well-known  radio 
and  television  voice,  "I'm  Michael  Anthony — does  my  name 
mean  anything  to  you?" 

"No  .  .  ."  said  Barbara,  though  she  looked  a  bit  puzzled 
and  continued  hospitably,  "but  come  on  in." 
.   Marvin  stepped  directly  into  the  front  room.  Mrs.  Agnes 
Comer  was  seated  on  the  couch,  one  eye  on  Disneyland, 


the  other  on  her  darning.  Barbara's  father,  Jerry  Comer, 
relaxing  in  his  work  clothes,  was  reading  the  sports  page 
of  his  evening  paper. 

Barbara's  parents  rose  to  greet  their  unexpected  guest. 
Marvin  continued:  "Well,  then,  does  the  name  The  Million- 
aire mean  anything  to  you?"  Marvin  could  see  that  Mr. 
Comer  did  not  know  what  to  think,  at  first.  But  recogni- 
tion dawned  in  Barbara's  eyes  at  the  word  "millionaire." 
Her  mouth  opened  as  if  to  speak,  but  no  sound  came  out. 
Her  hand  came  up  to  cover  her  open  mouth.  And  then  a 
surprised  "Oh!"  escaped.  It  was  now  exactly  9:00  P.M., 
and  Barbara  dove  for  the  television  set,  flipping  the 
switch  to  CBS-TV.    Credits  for  (Continued  on  page  70) 


Surprise:  Medical  student  Ronald  J.  O'Reilly  and  working 
wife  Barbara  find  "Michael  Anthony"  knocking  at  their  door. 
They  couldn't  begin  to  plan  for  a  million  dollars,  but  they 
had  a  very  practical  use  for  the  $25  bond  Miller  gave  them. 


$1,000,000?  Mrs.  Evelyn  Brown,  secretary  for  the  Veterans 
Administration,  said  the  first  thing  she'd  do — if  she  ever 
got  that  much  money — would  be  to  "collapse"!  But  she  had 
a  definite  plan  for  Marvin's  gift;  her  TV  set  needed  repairs. 


IF  YOU  WERE  A  MILLIONAIRE 


(Continued) 


Nancy  knew  all  about  The  Millionaire,  but  her  mother,  Mrs. 
Clarys  Margadant,  was  skeptical  about  Marvin  Miller's  visit. 
They  gladly  accepted  his  gift — but  the  very  last  words  they 
shouted  through  the  door  were:  "We  still  can't  believe  it." 


With  four  sons  (including  Mark  and  David,  above),  Mrs.  Mary 
Louise  Baiz  knew  exactly  what  she'd  do  with  a  lot  of  money — 
set  up  a  trust  fund  for  them.  She  is  a  supervisor  at  Pacific 
Jewelry  Manufacturers,  and  her  husband  is  a  "tree  remover." 


The  Jungs — Francis  J.,  a  tooling-control  administrator  for 
Douglas  Aircraft,  his  wife  Dorothy  and  their  children — were 
easier  to  convince.  In  fact,  when  Mrs.  Jung  came  to  the  door 
and  saw  Marvin,  she  cried:  "Why,  it's  Michael  Anthony!" 


Welcome:  The  Millionaire  was  on  TV  at  the  very  time  Marvin 
made  this  call.  Agnes  Comer  and  her  husband — a  mechanic 
at  North  American — weren't  sure  what  they'd  do  with  a  mil- 
lion.  Said   daughter   Barbara,    "I'd    buy   a    record    player." 


Marvin  Miller  is  Michael  Anthony  in  The  Millionaire,  CBS-TV,  Wednesdays,  at  9  P.M.  EDT,  as  sponsored  by  the  Colgate-Palmolive  Company. 


31 


Lucky  to  be  WRIGHT 


32 


Martha  feels  like  a  fairy  princess  on 
The  Jack  Paar  Show— but  is  even  happier 
just  being  Mrs.  Mike  Manuche! 
By  FRANCES  KISH 

The  wonderful  things  that  have  happened  to 
Martha  Wright  seem  to  be  at  least  one  part  luck, 
one  part  hard  work  (a  heaping  measure  of 
this),  and  one  part  that  thing  called  "timing"— 
the  combination  of  being  in  the  right  place,  at  the 
right  moment,  with  the  right  amount  of  talent. 

There  have  been  so  many  things!    Her  current 
success,  as  the  effervescent,  charming  TV  vocal- 
ist-actress of  The  Jack  Paar  Show Her  morning 

Martha  Wright  Show  and  late-afternoon  Modern 
Lullaby  on  WCBS  Radio,  in  which  she  combines 
songs  and  platter-spinning,  and  talk  and  inter- 
views  The  way  she  almost  became  Mary  Martin's 

understudy  in  "South  Pacific,"  and— missing  out 
on  that— later,  with  perfect  timing,  got  the  chance 
to  take  over  Mary's  role  for  a  long  Broadway  run, 
with  her  name  in  lights.  .  .  .  The  way  she  got  into 
show  business  in  the  first  place — and  into  the  first 
play,  the  one  that  took  her  from  Seattle,  Washington, 
to  New  York  City  and  big-time  entertainment. 

Even  her  marriage   (Continued  on  page  84) 


The  Jack  Paar  Show  is  seen  on  CBS-TV,  M-F,  from  1  to  1:30 
P.M.  EDT.  The  Martha  Wright  Show,  9:30  A.M.,  and  Modern 
Lullaby,  6:30  P.M.,  are  heard  M-F  on  WCBS  Radio  (N.  Y.). 


Housewife  Martha  is  anything  but  regal,  as  she  romps 
with  husband  Mike  at  home — plays  with  her  poodles,  Susie 
and  Poppy — and  looks  forward  to  another  reunion  with  her 
parents,  Mr.  and  Mrs.  Joseph  Wiederrecht  (pictured  below 
on  a   long  visit,   last  year,  at  her  home  in   Connecticut). 


Mr.  and  Mrs.  Barry  are  living  on 
Cloud  Nine — with  fwo  little  boys  who 
aren't  expected  to  act  like  angels 

By  MARTIN  COHEN 


When  not  too  busy  pursuing  her  lively  young  sons, 
Marcia  Van  Dyke  Barry  likes  to  paint;  she  did  the 
snow  scene  over  the  mantel  (left).  Baby  Jonathan's 
own  favorite  "purr-suit"  is  Marcia's  Siamese  cat. 


Jonathan  and  older  brother  Jeffrey  know  that  Dad  is  all  theirs,  any  time  they  want 
to  play.    "I  can't  think  of  anything,"  says  Jack,  "as  important  to  me  as  my  family." 


Jack  Barry's  home  is  tacked  on  to  a  low  cloud  in 
mid-Manhattan.  Step  out  on  the  terrace  and  it 
seems  you  can  strike  a  match  on  the  underbelly 
of  a  passing  airliner.  On  a  clear  day,  facing  north- 
west, you  can  see  the  ten-mile-distant  George  Wash- 
ington Bridge — or,  by  facing  toward  Norway,  you 
can  see  as  far  as  Brooklyn.  If  you're  in  a  reflective 
mood,  you  can  just  lean  on  the  parapet  and  watch 
the  lights  wrinkle  in  the  East  River.  It's  like  magic, 
like  something  out  of  the  Arabian  Nights — and 
when  you  get  inside  the  penthouse,  it's  like  some- 


thing out  of  this  world — Cloud  Nine  built  for  four. 
Jack  Barry  furnished  his  life  with  a  gal  named 
Marcia  Van  Dyke,  and  Marcia  furnished  his  home 
with  decorative,  dramatic  furniture — including  two 
male,  mobile  units  by  the  names  of  Jeffrey  and 
Jonathan.  And,  although  the  home  is  impressively 
outfitted  in  English  Sheraton,  Marcia  remains  the 
most  decorative  unit  of  all.  She  has  reddish  brown 
hair  and  reddish  brown  eyes,  and  a  figure  that  is  not 
Sheraton  at  all,  but  rather  "contemporary  Holly- 
wood."   Marcia  makes  a  major  contribution  to  the 

Continued 


35 


THE  HOME    TH^VT  J^CK  BUILT 

(Continued) 


-w       »a.  A^ 


You  can't  fool  Jonathan — he  knows  who  that  is,  inside 
the  TV  set!  As  for  the  older  boy,  Jeffrey,  Marcia  says: 
"He'll  walk  right  up  to  the  glass  and  kiss  Jack's  image." 


And  that's  Mommy!  Jack  commissioned  the  artist  who 
was  teaching  Marcia's  class  to  do  this  portrait  head 
as  a  surprise  Christmas  gift  for  the  woman  he  loves. 


Jack  introduces  songbird  Martha  Wright  to  partner  Dan 
Enright,  whose  life  "contract"  with  Barry  was  sealed  with 
nothing   but  a   handshake   of   mutual   trust  and   respect. 


glamour  and  beauty  of  the  penthouse,  but  this  is 
just  the  picture — just  surface — for  the  real  mood 
of  the  home  is  ease  and  warmth.  This  is  a  real 
family,  the  kind  Grandma  and  Grandpa  used  to 
make. 

"With  us,  the  family  isn't  something  you  turn  on 
or  off,"  Jack  says.  "I  can't  think  of  any  ambition, 
any  other  thing  in  my  life,  that  is  as  important  to 
me  as  my  family." 

This  is  an  unexpected  switch,  for  Jack  Barry — 
who,  as  a  very  young  man,  rocked  the  radio  in- 
dustry with  his  creative  genius — was  never  expected 
to  rock  a  cradle.  Jack  had  once  built  a  firm  repu- 
tation as  one  of  the  hardiest,  marriage-resistant 
bachelors  east  of  Rockefeller  Center.  Today,  he  is 
leading  contender  for  the  title  of  "most  domesti- 
cated personality." 

Marcia  tells  you,  "Jack  is  very  warm,  the  kind  of 
a  guy  who  writes  poems  on  birthdays  and  anni- 
versaries. He's  really  a  very  spiritual  person  with 
strong  faith  in  God.  And,  you  know,  he  takes  re- 
sponsibilities seriously.  He'll  knock  himself  out 
for  a  relative  or  friend." 

This  warmth  of  Jack's  has  been  apparent  to  many 
people  for  the  past  ten  years  of  his  network 
service.  He  is  now  in  his  mid-thirties.  He  stands 
close  to  six  feet  tall,  and  his  eyes  and  hair  are 
brown.  He  leads  a  double-life,  as  both  producer 
and  entertainer.  He  is  a  natural  showman — although 
there  was  nothing  in  his  early  life  to  indicate  this. 


36 


Jonathan  looks  a  bit  more  like  Dad,  Jeffrey  seems  to  be  taking  after  Mommy,  who  sings  and  plays  both 
violin  and  piano.  Jack  says  proudly,  "Marcia  is  one  of  the  most  accomplished  persons  I've  ever  known." 


Jack  was  raised  in  Long  Island,  the  oldest  of  three 
children,  whose  father  was  an  immigrant  and  whose 
mother  was  a  self-educated  woman.  His  respect  and 
love  for  his  parents  and  their  origins  has  made  him 
particularly  sensitive  to  intolerance. 

"I  won't  put  up  with  snobbery  or  prejudice,"  he 
says.  "There  is  too  much  of  it  in  this  business — 
but  we  don't  have  it  around  our  office.  I  don't  care 
whether  the  man  is  a  movie  star  or  a  messenger, 
he  gets  equal  respect  and  courtesy." 

As  a  youngster,  Jack  studied  piano.  He  formed 
his  own  dance  band  in  high  school,  which  gave  him 


his  first  taste  of  something  akin  to  the  entertain- 
ment industry.  But  he  went  on  to  Wharton  Busi- 
ness School,  at  the  University  of  Pennsylvania,  and 
graduated  into  his  father's  handkerchief  factory. 
After  a  few  years  of  blowing  his  nose,  he  blew  his 
top  and  decided  he  was  going  to  be  a  radio  an- 
nouncer. He  took  a  summer  course  in  radio  at 
Northwestern  University.  The  head  of  the  school,  a 
well-known  announcer,  called  Jack  into  his  office 
and  said,  "You  better  forget  about  radio.  You'll 
never  amount  to  anything.  You  just  don't  have 
what  it  takes."  (Continued  on  page  93) 


Jack  Barry's  Winky  Dink  And  You  is  seen  over  CBS-TV,  Saturdays,  at  11  A.M.  EDT. 


37 


I_i-A-IDTr  OF1  LETTERS 


Those  who  seek  personal  help  from  Lee  Graham 
find  apt  analysis  and  straightforward  approach. 


Trained  by  experience  as  well  as  in  theory,  Mrs.  Graham  also 
teaches  a  Family  Relations  class  at  New  York's  City  College. 


She  says  simply,  "The  center  of  my  own  life  is 
my  husband."  After  years  of  marriage,  Lee  and 
Lawrence   still   "date"   like   college   sweethearts. 


Lee  Graham  helps  people  find  the  answers  for 
themselves — in  life  and  love,  rather  than  books 

By  HELEN  BOLSTAD 

A  frightened,  unwed  teenager  wrote:   "I'm  pregnant. 
What  should  I  do?"  ...  A  man  worried:  "I  can't  hold  a 
job."  ...  A  wife  complained:  "My  husband  gambles. 
He's  destroying  our  life."  ...  A  pretty  secretary  confessed 
her  secret  sorrow:   "No  man  will  ever  care  for  me.    I'm 
six  feet,  two  inches  tall." 

In  three  thousand  such  letters,  each  week  .  .  .  the  conflicts, 
the  hopes,  the  fears,  the  aspirations  which  make  up 
the  drama  of  human  lives  .  .  .  reach  the  desk  of  Lee  Graham, 
the  human  relations  counselor  whose  radio  program, 
Letter  To  Lee  Graham,  is  broadcast  weekdays  over 
Station  WOR  and  the  Mutual  Broadcasting   System,   and 
whose  local  New  York  television  program,  Conflict,  is  seen 
Sundays  on  Station  WABD. 

She  has  won  their  confidence  through  the  aptness  of 
her  analysis  and  the  straightforwardness   of  her   approach. 
In  person,  Lee  contradicts  most  accepted  notions  of  a 
female   pundit,   for  she   is   neither   aged,   motherly,   nor 
authoritarian.   She  is,  instead,  a  clear-eyed,  very  attractive, 
blond  and  youthful  woman  who  is   (Continued  on  page  86) 


A  Letter  To  Lee  Graham  is  heard  over  WOR-Mutual,  Monday  through  Fri- 
day, from  2:05  to  2:30  P.M.  EDT.  Conflict  is  seen  over  Station  WABD 
(N.Y.),  Sunday,  10:30  to  11  P.M.,  sponsored  by  Red  Bow  Food  Products. 


38 


Story  at  left  tells  only  a  tew  of  the  intimate  problems  which  come  in  Lee's  mail. 


It  takes  hours  of  pondering  .  .  .  with  "time  out"  for  coffee    ...  to  help  each  correspondent  toward  a  wise  solution. 


THE  LINEUP 


The  Lineup,  starring  Warner  Anderson  and  Tom  Tully  (left  to  right,  above),  is 
seen  on  CBS-TV,  Fri.,  10  P.M.  EDT,sponsored  alternately  by  Brown  &  Williamson 
Tobacco  Corp.  for  Viceroy  Cigarettes  and  the  Procter  &  Gamble  Co.  for  Cheer. 


Suspects   line   up   for   scrutiny   by   Tom    Tully,   as 


From  Nob  Hill  to  the  Embarcadero,  from 
Chinatown  to  the  Alameda  back  country, 
San  Francisco  is  a  city  with  a  view.  And 
as  the  television  cameras  for  The  Lineup — 
CBS-TV's  police  documentary  series  set  in 
this  city — travel  up  the  hills  and  through 
the  alleys,  viewers  enjoy  not  only  armchair 
sleuthing  but  an  armchair  travelogue,  as 
well.  .  .  .  San  Francisco  has  the  view;  The 
Lineup  has  the  viewpoint.  It  all  began 
when  producer  Jaime  del  Valle  decided  that 
truth  is  also  more  popular  than  fiction. 
Based  on  the  files  of  the  San  Francisco 
Police  Department,  each  script  is  reviewed 
by  a  three-man  police  board  with  a  com- 
bined law  service  of  ninety-five  years. 
Warner  Anderson,  who  plays  Detective 
Lieutenant  Ben  Guthrie,  and  Tom  Tully, 
who  co-stars  as  Inspector  Matt  Greb,  have 
both  been  acclaimed  by  law  enforcement 
officers  as  "good  cops."  .  .  .  Warner  Ander- 
son portrays  a  detective  who  has  seen  much 
of  the  seamier  side  of  life,  but  who  retains 
a  quality  of  gentleness  and  a  belief  in  the 
goodness  of  man.  Tom  Tully  is  frequently 
hailed  by  cabbies  and  cops  as  "Hi,  Inspec- 
tor." But  he  wants  to  go  on  record  that 
the  snap  and  bark  of  his  authentic  police- 
man's voice  have  nothing  to  do  with  the 
fact  that  he  broke  into  radio  as  the  barking 
dog  on  Renfrew  Of  The  Mounted.  The  only 
deduction  to  be  made,  Tom  grins,  is  that 


40 


Matt  Greb,  and  Warner  Anderson,  as  Ben  Guthrie. 


he's  one  guy  who's  always  been  on  the  right 
side  of  the  law.  .  .  .  Warner  Anderson  spoke 
more  softly  than  his  colleague  at  the  be- 
ginning of  his  career.  After  a  movie  debut 
as  Mabel  Taliaferro's  son  in  "Sunbeam," 
Warner  made  his  first  Broadway  appear- 
ance in  "Maytime,"  with  Peggy  Wood.  On 
radio,  he  was  "the  voice  of  The  Bell  Tele- 
phone System"  and  also  narrated  Court  Of 
Missing  Heirs.  Warner's  camera  credits  in- 
clude most  of  television's  top  dramatic  pro- 
grams and  more  than  fifty  class-"A"  motion 
pictures.  .  .  .  But  the  acting  jackpot  can 
never  compare  with  the  bonanza  Warner 
enjoyed  as  a  youngster.  His  father  was  a 
buyer  for  a  toy  department,  and  manufac- 
turers' salesmen  from  all  over  the  country 
came  calling  with  their  wares.  Naturally, 
Warner  fell  heir  to  the  samples  of  the  latest 
and  best  in  toyland.  .  .  .  Brooklyn-born, 
Warner  spent  only  the  first  three  years  of 
his  life  in  that  borough.  After  that,  the 
family  led  a  roving  existence.  Years  later, 
when  Warner  had  married  the  brunette 
Leeta,  a  former  dancer  with  the  Shubert 
theaters — and  even  after  Michael  had  been 
born — the  Andersons  were  still  prepared  to 
pack  up  at  a  moment's  notice.  Warner 
used  to  laugh:  "We're  a  room-service 
family.  We  like  doing  our  housework  by 
telephone."  .  .  .  By  1951  the  Andersons  de- 
cided to  build  a  permanent  home.  But,  three 


When  the  camera  isn't  focused  on 
their  true-to-life  police  adventures, 
Warner  Anderson  and  Tom  Tully  spotlight 
their  better-than-fiction  families 


San  Francisco  is  the  colorful  location — and  Warner  and  Tom  spent 
weeks  "on  location,"  studying  policemen  at  work,  to  prove  producer 
Jaime  del  Valle's  thesis  that  truth   is  more  popular  than   fiction. 


See  Next  Page  )► 


THE  LINEUP 


&*   -.  i 


7'Ae  Lineup,  starring  Warner  Anderson  and  Tom  Tully  (left  to  right,  above)  is 
seen  on  CBS-TV,Fri.,  10  P.M.  EDT.sponsored  alternately  by  Brown &Williams'on 
Tobacco  Corp.  for  Viceroy  Cigarettes  and  the  Procter  &  Gamble  Co.  for  Cheer. 


Suspects  line   up  for  scrutiny   by  Tom   Tully,  as        Matt  Greb,  and  Warner  Anderson,  as  Ben  Guthrie 


From  Nob  Hill  to  the  Embarcadero,  from 
Chinatown  to  the  Alameda  back  country, 
San  Francisco  is  a  city  with  a  view.  And 
as  the  television  cameras  for  The  Lineup— 
CBS-TV's  police  documentary  series  set  in 
this  city — travel  up  the  hills  and  through 
the  alleys,  viewers  enjoy  not  only  armchair 
sleuthing  but  an  armchair  travelogue,  as 
well.  .  .  .  San  Francisco  has  the  view;  The 
Lineup  has  the  viewpoint.  It  all  began 
when  producer  Jaime  del  Valle  decided  that 
truth  is  also  more  popular  than  fiction. 
Based  on  the  files  of  the  San  Francisco 
Police  Department,  each  script  is  reviewed 
by  a  three-man  police  board  with  a  com- 
bined law  service  of  ninety-five  years. 
Warner  Anderson,  who  plays  Detective 
Lieutenant  Ben  Guthrie,  and  Tom  Tully, 
who  co-stars  as  Inspector  Matt  Greb,  have 
both  been  acclaimed  by  law  enforcement 
officers  as  "good  cops."  .  .  .  Warner  Ander- 
son portrays  a  detective  who  has  seen  much 
of  the  seamier  side  of  life,  but  who  retains 
a  quality  of  gentleness  and  a  belief  in  the 
goodness  of  man.  Tom  Tully  is  frequently 
hailed  by  cabbies  and  cops  as  "Hi,  Inspec- 
tor." But  he  wants  to  go  on  record  that 
the  snap  and  bark  of  his  authentic  police- 
man's voice  have  nothing  to  do  with  the 
fact  that  he  broke  into  radio  as  the  barking 
dog  on  Renjrew  Of  The  Mounted.  The  only 
deduction  to  be  made,  Tom  grins,  is  that 


40 


he's  one  guy  who's  always  been  on  the  right 
side  of  the  law.  .  . .  Warner  Anderson  spoke 
more  softly  than  his  colleague  at  the  be- 
ginning of  his  career.  After  a  movie  debut 
as  Mabel  Taliaferro's  son  in  "Sunbeam," 
Warner  made  his  first  Broadway  appear- 
ance in  "Maytime,"  with  Peggy  Wood.  On 
radio,  he  was  "the  voice  of  The  Bell  Tele- 
phone System"  and  also  narrated  Court  Of 
Missing  Heirs.  Warner's  camera  credits  in- 
clude most  of  television's  top  dramatic  pro- 
grams and  more  than  fifty  class-"A"  motion 
pictures.  .  .  .  But  the  acting  jackpot  can 
never  compare  with  the  bonanza  Warner 
enjoyed  as  a  youngster.  His  father  was  a 
buyer  for  a  toy  department,  and  manufac- 
turers' salesmen  from  all  over  the  country 
came  calling  with  their  wares.  Naturally, 
Warner  fell  heir  to  the  samples  of  the  latest 
and  best  in  toyland.  .  .  .  Brooklyn-born, 
Warner  spent  only  the  first  three  years  of 
his  life  in  that  borough.  After  that,  the 
family  led  a  roving  existence.  Years  later, 
when  Warner  had  married  the  brunette 
Leeta,  a  former  dancer  with  the  Shubert 
theaters— and  even  after  Michael  had  been 
born— the  Andersons  were  still  prepared  to 
Pack  up  at  a  moment's  notice.  Warner 
Used  to  laugh:  "We're  a  room-service 
family.  We  like  doing  our  housework  by 
telephone."  ...  By  1951  the  Andersons  de- 
eded to  build  a  permanent  home.  But,  three 

See  Next  Page  ► 


When  the  camera  isn't  focused  on 
their  true-to-life  police  adventures, 
Warner  Anderson  and  Tom  Tully  spotlight 
their  better-than-fiction  families 


San  Francisco  is  the  colorful  location — and  Warner  and  Tom  spent 
weeks  "on  location,"  studying  policemen  at  work,  to  prove  producer 
Jaime  del  Valle's  thesis  that  truth   is  more  popular  than  fiction. 


41 


Warner  led  a  roving  youth.  As  an  adult,  he  commuted  between 
New  York  and  Hollywood.  Then  he  built  a  home  for  Michael, 
Leeta    and    "Badness" — and    has   never   stopped    remodeling! 


Michael  is  as  mechanically-minded  as  his  father,  and  together 
they  build  model  cars  and  motors.  Leeta  shares  the  passion  for 
remodeling,  likes  plans  for  a  pool  and  a  workroom  for  Warner. 


Altai  uikfl  on 
THE  LINEUP 

(Continued) 

weeks  after  the  dust  had  cleared,  the 
question  arose:  "You  know  what  we 
ought  to  have,  dear?"  The  Ander- 
sons have  been  remodeling  ever 
since.  .  .  .  Warner  is  a  handy  man  to 
have  around  when  building  changes 
are  contemplated,  for,  in  rare  periods 
when  he  was  "at  liberty"  as  an 
actor,  he  worked  as  a  consulting 
engineer.  He  and  his  son  Michael, 
now  fifteen,  usually  keep  four  or 
five  motors  in  various  stages  of  con- 
struction. Warner  likes  to  make 
things  he  needs,  such  as  faucets.  He 
turns  them  out  on  his  lathe  as  sim- 
ply as  he  turns  a  line  of  dialogue  on 
Lineup.  .  .  .  The  Andersons'  furnish- 
ings are  a  tasteful  mixture  of  styles, 
with  a  couple  of  pieces  each  of  Em- 
pire, Regency  and  Sheraton.  Seated 
in  any  of  these  periods,  Warner  An- 
derson reads  non-fiction  avidly.  Cur- 
rently, he  is  going  rapidly  through 
the  bibliography  on  Africa.  ...  As 
to  Tom  Tully,  this  six-footer's  fa- 
vorite reading  is  an  inscription  on 
a  photograph  reading  "Our  Matt 
Greb."  He  came  by  this  literary 
treasure  when  he  had  been  nomi- 
nated for  an  Oscar  as  the  best  sup- 
porting movie  actor  in  1954 — for  his 
portrayal  of  Captain  De  Vries  in 
"The  Caine  Mutiny."  .  .  .  There  was 
much  jubilation  among  the  San 
Francisco    police    when    Tom    was 


nominated.  "It's  like  one  of  our  boys 
is  up  for  that  award,"  is  the  way  one 
top  official  put  it.  ...  A  group  of 
Bay  area  police  inspectors  escorted 
Tom  to  a  surprise  party.  "Happy 
Oscar!"  the  guests  greeted  Tom. 
With  that,  he  was  presented  with  the 
picture  of  himself.  But,  instead  of 
his  own  face,  Tom  found  the  features 
of  the  internationally  famous  chef, 
Oscar  of  the  Waldorf.  .  .  .  Few  can 
match  the  wide  acting  experience 
that  Tom  Tully  has  amassed  since 
the  days  in  1936  when  he  earned 
seven-and-a-half  dollars  a  perform- 
ance as  the  barking  voice  of  a  police 
canine  aide  on  Renfrew.  Soon,  his 
roles  contained  more  bite  than  bark 
on  such  police  thrillers  as  Mr.  Dis- 
trict Attorney,  Gang  Busters  and 
Famous  Jury  Trials.  Never  veering 
from  the  right  side  of  the  law,  Tom 
has  been  a  "good  guy" — and  a  good 
actor — in  more  than  3,000  network 
radio  broadcasts.  .  .  .  Born  forty-six 
years  ago  in  Durango,  Colorado,  Tom 
served  briefly  in  the  Navy  and  in 
civilian  jobs  before  enlisting  in  show 
business.  By  1941,  he'd  established 
himself  as  a  Broadway  favorite. 
Then,  he  set  out  to  win  the  movie 
critics'  plaudits  that  eventually  led 
to  his  Oscar  nomination.  .  .  .  The 
Colorado  native  and  his  wife,  the 
former  Ida  Johnson  of  Salt  Lake 
City,  Utah,  live  in  a  California-style 
home  and,  though  both  inlanders, 
they  love  the  Pacific  life.  Together 
with  their  daughter  Nina,  Tom  and 
Ida  enjoy  jam  sessions  around  the 
piano  and  work  as  a  team  to  fill  pic- 
nic baskets.  Unlike  his  colleague 
Anderson,  who  handily  constructs 
motors,  Tom  Tully  drives  a  store- 
.  bought  sports  car.  .  .  .  Case  closed! 


The  Tullys — Tom,  Ida  and  daughter  Nina — prefer  the  music  of  a  piano  to 
that  of  saws.  But  Tom  launched  his  career  by  doing  vocal  effects  for  a  canine. 


Family  picnics  are  a  favorite  form  of  fun.  Tom  and  Ida  love 
the   Pacific  with   that  special  fondness  of  born   inlanders. 


Jaunts  in   their  sports   car   can   lead   the  Tullys   anywhere 
as  all  California's  highways  beckon  to  Ida,  Tom  and  Nina. 


43 


AUNT  JENNY'S 


Actor  Stephen  Pluta  kisses  his  actress  bride — and 
Agnes  beams  because  Nancy  married  into  show  busi- 
ness, too!  "They  went  to  the  Neighborhood  Playhouse 
School  together,"   Aunt  Jenny,   begins  the  story  .   .   . 


Double-ring  ceremony — inscribed:  "Lord  bless  these 
rings  that  they  who  shall  wear  them  may  keep  true 
faith  to  each  other  .  .  .  and  ever  live  in  love  .   .   ." 


It's  Agnes  Young's  own  daughter, 
Nancy  Wells,  whose  real-life 
wedding  was  "romance  come  true" 

By  ALICE  FRANCIS 

For  many  years  Agnes  Young,  as  "Aunt  Jenny," 
has  started  her  CBS  Radio  program  with  the  words: 
Listen  now  to  Aunt  Jenny's  real-life  stories. 
Listeners  have  long  recognized  these  words  as  their 
passport  to  an  interesting  and  exciting  daily  interlude, 
letting  them  share — through  the  magic  of  radio — in 
the  drama  that  happens  in  everyday  lives,  in 
everyday  homes  all  around  them.   Over  the  years, 
Aunt  Jenny  has  introduced  stories  of  love  and  marriage, 
of  home  and  children — of  goodness  and  kindness 
winning  out  against  evil  and  strife  .  .  .  sometimes,  of 
happiness  gained  only  after  tragic  beginnings — 
tender  stories  of  hope,  and  of  fulfillment .  .  .  sentimental 
stories,  often,  of  young   (Continued  on  page  94) 

Aunt  Jenny  is  heard  on  CBS  Radio,  M-F,  2:45  P.M.  EDT,  as  spon- 
sored daily  by  Lever  Brothers  Company  (for  Spry,  Breeze,  Silver 
Dust)  and  co-sponsored  twice  weekly  by  the  Campbell  Soup  Co. 


i 


( 


1 


\  4 


* 


"It  was  a  beautiful  wedding,"  Agnes  Young  sighs  contentedly,  as  she  and  her  husband,  J. 
Norman  (Jimmy)  Wells,  watch  their  daughter  and  her  brand-new  bridegroom  cut  the  cake. 


Two  pet  hobbies:  When  not  play-acting,  Bonnie 
enjoys  taking  care  of  her  canine  pal,  Topper — 
and  adding  to  her  cherished  collection  of  dolls. 


Two  talented  youngsters — but  Malcolm  Brodrick 
and  Bonnie  play  like  children  everywhere,  while 
their  parents  just  sip  and  talk,  as  grownups  do. 


46 


Two   lovely   mothers:   Bonnie-Kim   with   Flora   Campbell,   as   Helen 
Emerson,  in  Valiant  Lady  (above) — and  Marguerite  Sawyer  (right). 


ITS   ALWAYS 
PLAYTIME 

Bonnie  Sawyer  cant  get  enough  of  being  Kim  in 
TV's  Valiant  Lady — it's  all  just  too  much  fun! 

By  MARY  TEMPLE 

One  view  of  Bonnie  Sawyer  is  a  wide-eyed  little  Alice-in- 
Wonderland  sort  of  girl,  with  lovely,  long  blond  hair 
and  a  sparkling  smile  ...  a  girl  who  loves  to  play  with  her  dolls 
and  her  dog,  Topper  .  .  .  who  romps  with  the  kids  in  the 
neighborhood  .  .  .  who  skates  and  sleds  in  winter  and  swims 
in  summer,  and  has  the  wonderful  life  an  eleven-year-old 
should.  .  .  .  The  other  Bonnie — the  part  of  her  that  is  Kim 
Emerson  of  CBS-TV's  dramatic  serial,  Valiant  Lady — is  a  serious 
actress,  a  seasoned  performer  of  nine  years'  experience  .  .  . 
beginning  with  her  debut,  at  fifteen  months  of  age,  in  a 
church  entertainment  where  she  sang  "Strolling  Through  the 
Park"  and  "Dearie,"  and  brought  down  the  house  .  .  .  and 
followed  by  her  really  professional  debut  when  she  was  two 
years  old — after  a  doting  grandmother  had  sent  a  photograph  to 
a  baby  contest,  and  Bonnie  had  won  over  all  the  other  cute 
and  pretty  darlings.  Modeling  assignments  followed,  and 
then  commercial  films  .  .  .  and,  after  a  while,  Bonnie  was  on 
her  way  to  becoming  a  full-fledged  actress  on  television 
(and  in  one  recent  stage  musical,  a  New  York  City  Center 
Light  Opera  production  of  "Show  Boat"). 
The  wide-eyed-little-girl  Bonnie  is  a  (Continued  on  page 96) 

Bonnie  is  Kim  Emerson  in  Valiant  Lady,  CBS-TV,  M-F,  12  noon  EDT,  as  spon- 
sored byGeneral  Mills,  The  Toni  Company,  Wesson  Oil, Scott  Paper  Company. 


fhi  very  heart  of  HOPE 


Ladles  in  his  TV  life:  Above,  "script  girl"  Eleanor  Sider 
works  with  Bob  and  director  Jim  Jordan,  Jr.,  at  rehearsal. 
Below,  production  assistant  Onnie  Whizen  checks  in  maestro 
Les  Brown  (left),  singer  Margaret  Whiting,  comedian  Jerry 
Colonna — arriving  for  a  typical  Hope  armed-forces  benefit. 


Here's  why  Bob,  like  all  good  news, 
travels  fast — and  is  even  more 
welcome  to  those  who  know  him  best 

By  BUD  GOODE 


With  Bob  Hope  at  lunch,  the  NBC-TV 
Burbank  Color  Studio  rehearsal  stage  was 
placid  as  a  summer's  day  beside  a  blue 
lagoon.    The  dancers  lolled  across  the  crowded 
stage,  and  the  piano  player  dreamed  an  easy  tune. 
Script  secretary  Eleanor  Sider,  notes  in  one 
hand,  stop-watch  in  the  other,  hummed  to  the 
music.     Production  assistant  Onnie  Whizen 
leaned  across  the  piano,  chatting  with  the  set 
designer.    And,  finally,  production  secretary  Jan 
King  waited  patiently  for  Bob  to  come  through 
the  door  to  make  last-minute  changes  in  the  script. 

When  gum-chewing  Hope  entered,  the  stage 
erupted  with  action.    He  rolled  through  the  door 
like  a  man  going  downhill  on  a  brakeless 
bicycle,  saying,  "Everybody,  hello,  all  right,  let's 
get  this  show  on  the  road."    (For  the  five 
years  that  production  assistant  Onnie  Whizen 
has  been  with  Bob,  she  has  always  tried  to  return 
his  hello.   But,  by  the  time  she  catches  her 
breath,  rehearsal  is  already  under  way.)    The 
instant  Bob  arrived,  the  piano  played,  dancers 
danced,  and  writers  wrote.    After  five  minutes, 
production  secretary  Jan  King  had  blue-penciled 
two  one-hundred -dollar  gags  and  replaced  them 
with  more  timely  afternoon  headline  news  which 
Bob  brought  through  the  door  with  him. 

As  he  rolled  across  the  stage,  sports  coat  flying, 
the  stage's  three  phones  jangled  violently, 
demanding  his  attention — in  some  uncanny  way, 
the  outside  world  knew  that  Hope  had  returned 
to  the  rehearsal  hall.   Bob  likes  long  phone 
extensions  because  they  let  him  move  about. 
Now,  talking  on  one  phone,  he  tap-danced 
his  way  to  center  stage.  By  the  time  he  completed 
the  first  three  calls,  his  sports  coat  and  cash- 
mere sweater  were  discarded,  and  Hope  was  down 
to  his  long-sleeved  sports  shirt.  He  likes  casual 
clothes — their  loose  comfort  make  it  easier 
for  him  to  move  around. 

After  the  first  ten  minutes,  script  secretary 
Eleanor  Sider  had  paid  out  (Continued  on  page  72) 

The  Bob  Hope  Show  is  seen  frequently,  over  NBC-TV,  in  The 
Chevy  Show  time  spot  (every  third  Tues.,  from  8  to  9  P.M. 
EDT),  as  sponsored  by  the  Chevrolet  Dealers  of  America. 


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Behind  every  successful  man,  there  is  the  one  woman — in  this  case,  Dolores,  seen  here  with 
Bob  and  the  four  little  Hopes  (Tony  and  Kelly,  left;  Linda  and  Nora,  right).  But  they're  both 
deeply  grateful  to  the  great  gals  on  his  staff  who  do  so  much  to  make  his  busy  schedule  possible. 


Actress:    Eva    Marie   Saint    is    co-star 
in  Paramount's  "That  Certain  Feeling." 


Personal    secretary:    Marjorie    Hughes 
bears  witness  to  Bob's  thoughtfulness. 


Production    secretary:    Jan    King    tells 
tales   of  his   open-handed    generosity. 


49 


v-  ■■*, 


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' 


IT  SHOULDN'T   HARDLY   HAPPEN    TO 


But  I'm  the  luckiest  star  in 
movies— to  have  been  with 
Gobel  when  he  made  like  Gable 

By   MITZI   GAYNOR 

I    cried  the  day  our  last  scene  was  okayed  and 
sent  to  the  laboratory,  and  my  tears  were 
authentic  (not  a  drop  of  glycerine  to  the 
gallon)   because  "The  Birds  and  the  Bees"  was 
one  of  the  fun  pictures  of  my  experience  to 
date  in  Hollywood.    When  I  was  signed  by 
Paramount  for  "TB  &  TB,"  and  learned  that  a 
male  cast  consisting  of  George  Gobel,  David 
Niven,  Reginald  Gardiner  and  Fred  Clark 
had  been  set  to  hijinx  the  works,  I  was  so  excited 
and  grateful  that  I  went  around  helping  Boy 
Scouts  to  start  fires  by  (Continued  on  page  82) 


This  is  the   Paramount  Picture:   David   Niven   plays  a   sea- 
going card-sharp  out  to  unload  the  well-loaded  Mr.  Gobel. 


, 

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Guess  I  don't  need  to  tell  Gobel's  TV  audiences 
what  a  gay  troubadour  Lonesome  George  can  be! 


The  George  Gobel  Show,  on  NBC-TV,  3  Sat.  out  of  4, 
at  10  P.M.  EDT,  is  sponsored  alternately  by  Armour 
and  Co.  (Dial  Soap)  and  Pet  Milk  Co.  (all  products). 


As  for  me,   I    play   Niven's  daughter,   entrusted   with   the 
task   of   leading   that    little    lamb    to    financial    slaughter. 


■ 


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; 


SMALL-TOWN  GIRL 


' 


Unlike  Althea  in  The  Brighter  Day, 

Jayne  Heller  would  rather  be 

a  homebody  than  a  "femme  fatale" 

By  GREGORY  MERWIN 


They  call  her  "Punkie" — but  that  doesn't 
make  sense,  for  Jayne  Heller  looks  as  much 
like  a  pumpkin  as  a  football  looks  like  the 
Venus  de  Milo.  .  .  .  "Punkie"  is  a  high-cheek- 
boned  beauty,  tall  and  svelte — but  even  that  is 
misleading,  too,  for  Jayne  knows  how  to  put  up 
strawberry  preserves,  bake  an  old-fashioned 
rhubarb  pie,  sew  a  dress,  knit  a  sock  and  pickle 
beets. 

"Punkie" — or  Jayne  Heller — plays  a  leading 
role  in  The  Brighter  Day  on  CBS-TV  and  Radio. 
For  those  who  follow  the  serial  with  ears  alone, 
it  is  to  be  recorded  that  she  is  an  ash  blonde 
with  large,  almond-shaped,  blue  eyes.  She  is 
five-feet-seven,  and  weighs  a  very  nicely  dis- 
tributed 120  pounds.  .  .  .  The  total  effect  is  that 
of  a  sophisticated  femme  fatale,  and,  in  the 
role  of  Althea,  in  The  Brighter  Day,  she  plays 
a  girl  who  doesn't  fit  into  small-town  life.  But 
Jayne  has  spent  most  of  her  life  in  the  environ- 
ment of  a  small  town. 

"That's  the  thing  with  casting,"  she  says. 
"Take  the  first  part  I  ever  got  in  an  adult-type 
drama.  That  was  my  freshman  year  in  high 
school,  and  I  was  between  thirteen  and  four- 
teen. I  was  given  the  part  of  a  femme  fatale. 
A  senior  kissed  me,  and  I  just  about  sank 
through  the  stage  floor.  It  was  my  first  boy- 
kiss.  But  I  was  always  cast  as  a  femme  fatale. 
I  was  at  least  twenty  before  someone  let  me 
play  a  plain,  simple  girl — and  it  was  such  a 
relief."  She  further  explains,  "The  face  of  an 
actress  is  so  important.  All  the  talent  in  the 
world  won't  get  you  a  part  if  your  face  doesn't 
fit — and,  of  course,  it  doesn't  have  anything  to 
do  with  your  real  personality.  Some  directors 
look  at  me  and  say,  'Ah,  she's  got  that  mysteri- 
ous, exotic,  worldly  look.'  Well,  I'm  about  as 
mysterious  and  exotic  as  tapioca  pudding." 

Jayne  is  married  and  is  a  very  domesticated 
housewife.  Her  husband,  Lester  Heller,  goes  off 
to  his  writing  job  in  an  advertising  agency  each 
morning,  full  of  cooked  cereal.  He  comes  back 
to   a  home  tidied  by  Jayne   alone,  to  cookies 

Continued        k. 


Husband  Lester  Heller  is  a  native  New  Yorker,  and  very  hep  at 
helping  Jayne  learn  her  scripts.  But  he's  forever  being  surprised 
by  his   Illinois  bride's  talent  for   "old-fashioned"    home  cooking! 


Long  before  The  Brighter  Day,  Jayne  modeled  the  latest  in 
dress  fashions — but  still  prefers  to  sew  her  own.  Bridegroom 
Les  has  now  learned  the  mysteries  of  measuring  off  hemlines. 


."^ 


— u 


W\ 


54 


SMALL-TOWN  GIRL 


{Continued) 

baked  by  Jayne,  to  socks  darned  by  Jayne,  to  color- 
ful drapes  and  chair  covers  sewed  by  Jayne.  When 
he  gets  home,  there  is  everything  by  Jayne — but  no 
Jayne.    She  gets  home  an  hour  later. 

"Still,  we  have  most  of  our  evenings  together,"  she 
sighs,  "and  that's  a  real  break  in  this  business.  Lester 
keeps  regular  office  hours,  so — when  I'm  in  a  show 
and  working  nights — we  hardly  see  each  other.  If  an 
actress  is  working  and  still  has  evenings  with  her 
husband,  she  considers  herself  pretty  lucky." 

Married  seven  years,  Les  and  Jayne  met  at  the 
University  of  Illinois.  Lester  is  a  native  New  Yorker. 
Jayne  was  born  Jayne  Alice  Groves  in  Decatur, 
Illinois,  and  lived  there  until  she  was  eight,  when 
the  family  moved  to  Bloomington  in  the  same  state. 
She  was  one  of  two  children,  five  years  younger  than 
her  brother.  (He  is  married,  has  two  children  and 
still  lives  in  Bloomington,  as  do  her  parents.) 

"Dad  is  quiet  and  witty,  dry  witty,"  says  Jayne. 
"Incidentally,  it  was  Daddy  who  started  calling  me 
'Punkie'  when  I  was  toddling,  and  the  name  stuck. 
Physically,  I  guess  I  take  after  him.  He's  tall  and  thin. 
But  Mother  gets  credit  for  getting  me  interested  in 
dramatics.  She  started  me  doing  readings  at  church 
when  I  was  just  two  and  a  half." 

They  lived  in  a  barn-red  frame  house  with  lots  of 
ground.  Her  father  loves  to  garden.  He  has  fruit 
trees,  and  he  grows  vegetables  through  summer  and 
fall.  And,  through  summer  and  fall,  Mrs.  Groves 
and  daughter  were  busy  canning:  "First,  there  were 
peas  and  beans  and  carrots,  and  then  tomatoes  and 
cucumbers  and  corn — and,  of  course,  the  fruits  to 
can  in  the  fall.  At  the  very  end  of  the  season,  we 
would  just  clean  up  the  garden  and  can  soup  mixes." 

Until  she  was  fourteen,  Jayne  had  never  been  sick 
a  day.  And  then  she  fell  seriously  ill.  She  was  in  bed 
four  months,  barely  stirring,  and  had  to  learn  to  walk 
all  over  again.  She  recovered  with  a  burning  desire 
to  be  a  doctor.  About  acting,  she  recalls,  "It  was 
always  great  fun  for  me.  Year  around,  from  the  time 
I  could  say  my  first  words,  I  was  in  plays  and  recitals. 
I  loved  it.  But  I  never  thought  about  acting  as  a 
career.   That  was  silly,  impractical." 

But  she  began  to  get  hints  from  her  stomach  that 
she  wasn't  made  of  the  necessary  stuff  to  be  a  medic, 
especially  when  she  watched  her  brother  chopping  up 
worms  and  turtles.  Then  there  was  a  trip  her  science 
class  made  to  the  Chicago  Museum  of  Science  and 
Industry:  "Well,  you  know  they  have  models  of 
human  bodies  made  out  of  glass  and  plastic  so  that 
you  can  see  how  the  heart  and  other  organs  work. 
That  wasn't  bad.  But  they  also  have  a  real  body  cut 
up,  segmented  and  preserved.  That  bothered  me. 
Especially  when  we  left  the  museum  and  went  right 
out  to  eat.   I  never  again  thought  of  being  a  doctor." 

She  was  an  excellent  student  in  high  school.  She 
collected  a  state  prize  in  French  reading,  and  her 
grades  were  so  high  that  she  won  a  scholarship  to 
the  University  of  Illinois.  She  had  decided,  after 
reading  about  Madame  Curie,  that  she  would  study 
chemistry  and  go  into  laboratory  research:    "It  was 

Jayne  Heller  is  Althea  in  The  Brighter  Day,  M-F— CBS-TV,  4 
P.M.,  sponsored  by  Procter  &  Gamble  for  Cheer,  Gleem,  Crisco 
—CBS  Radio,  2:15  PM.,  under  multiple  sponsorship.  (All  EDT) 


Les  and  Jayne  attended  college  together,  went  abroad 
for  further  study  together,  are  now  enjoying  homemak- 
ing  together.     He  makes  hi-fi  cabinets — she,  curtains. 


all  cockeyed,  you  know.  Here  I'd  loved  French  and 
dramatics  and  English,  but  I  couldn't  major  in  any 
of  those  things.  It  had  to  be  something  serious.  So  I 
signed  up  for  a  chem  major,  and  they  gave  me  an 
aptitude  test — and  where  did  I  wind  up  but  in  a 
section  with  chemical  engineers?  There  were  forty 
boys  and  one  other  girl.  Everyone  of  them  was  a 
chem  bug.  You  could  see  that  they  had  played  with 
chemistry  sets  from  nursery  days." 

But  Jayne  was  determined  to  be  "serious,"  and  she 
was  determined  that  she  wouldn't  waste  time  in 
dramatics:  "I  watched  other  girls  go  over  to  the 
University  Theater  to  try  out  for  the  first  play  of  the 
semester,  and  I  was  eating  my  heart  out.  Finally,  I 
couldn't  help  myself.  I  went  over  to  the  theater  at 
the  last  moment,  read,  and  got  a  small  part." 

In  the  next  show,  she  had  the  lead.  She  held  onto 
her  test  tubes — but,  by  the  middle  of  her  sophomore 
year,  was  beginning  to  wonder  whether  she  was 
really  cut  out  to  be  a  chemical  engineer.  She  went 
over  to  the  Admissions  Office  to  check  on  her  apti- 
tude test  again.  She  learned  that,  while  she  had 
scored  high  in  science,  she  had  done  better  in  lan- 
guages and  English.   She  switched. 

It  was   in  this   year   of    (Continued  on  page  91) 


Wi# 


Ted  Brown's  redheaded  Rhoda  speaks  in  strange  accents, 

has  even  stranger  ideas  about  home  decor — but  oh,  my! 


56 


By  MARIE  HALLER 


Weekday,  the  title  of  NBC  Radio's  great  daytime 
network  service,  is  a  fairly  apt  description  of 
Ted  and  Rhoda  Brown's  busy  schedule  starting 
at  the  crack  of  dawn.    But  The  Ted  Brown  Show 
Featuring  The  Redhead — the  name  of  their  local 
program  over  New  York's  Station  WMGM — is  even 
more  descriptive  of  this  unusual  couple.     Particularly 
the  latter  half,  which  is  Ted's  own  way  of  describing 
his  better  half.  Rhoda  is  attractive,  petite,  perky — 
and  redheaded.     Says  Ted,  succinctly,  "Some  people 
have  talent  ...  I  married  it." 

Don't  let  the  element  of  understatement  confuse  you. 
The  affectionate  grin  and  tone  of  voice  are  sufficient 
assurance  that  here's  one  husband  who  adores 
his  wife.  .  .  .  And  when  Rhoda  (Continued  on  page  77) 


The  Browns'  home  voices  a  warm  welcome  from  rooftop  to 
basement — where  they  have  their  own  studio,  so  Rhoda  can 
be  near  her  children  (and  kitchen!)  even  while  "working." 


It's  near  town  but  has  a  "country"  yard  where  Ricky  can 
play  with  his  parents  and  pets.  Meanwhile — thanks  to  that 
studio — teen-age  Tony  can  help  Ted  pick  out  discs  to  spin. 


Howdy  Doody  knows  Ted  very  well — but  as  "Bison  Bill" 
(left),  who  picks  up  the  reins  when  "Buffalo  Bob"  Smith 
himself  takes  a  vacation  away  from  his  beloved  Doodyville. 

Ted  and  Rhoda  are  heard  on  Weekday,  NBC  Radio,  M-F,  at  10:45 
A.M.  The  Ted  Brown  Show  Featuring  The  Redhead  is  heard  on 
Station  WMGM  (New  York),  Mon.  thru  Sat.,  from  7  to  10  A.M. 
Howdy  Doody  is  seen  over  NBC-TV,  M-F,  5:30  P.M.    All  EDT 


57 


_^ 


Knowing  so  well  what  frustration  can 

mean,  Jack  Bailey  would  like  to 

crown  every  woman  "Queen  For  A  Day' 

By  ELSA  MOLINA 


Weekdays  in  Hollywood,  at  lunchtime  in  Frank 
Sennes'  Moulin  Rouge  Restaurant,  one  thousand 
women  gather  to  laugh  with  Jack  Bailey  and 
possibly  shed  a  tear  with  his  current  Queen  For  A  Day. 
It  can  be  said,  in  all  honesty,  that  each  of  the  thousand 
ladies  there  brought  with  her  a  heart  full  of  wishes — 
and  it  is  the  purpose  of  "Queen"  to  bring  these 
wishes  to  life.   At  1:00  P.M.,  when  Jack  Bailey  walks 
into  this  atmosphere  of  bright  eyes  and  full  hearts, 
the  ladies  first  applaud,  then  they  smile — and,  before 
Jack  has  said  a  word,  the  house  is  full  of  laughter. 
Jack  Bailey  can't  help  being  funny. 

But  every  woman  who  has  been  on  stage,  in  front  of 
the  cameras  with  Jack,  would  agree  that  he  is  more 
than  just  a  television  emcee  or  a  comedian — he  is  a 
man  with  heart.   Jeanne  Cagney  of  Queen  For  A  Day 
describes  Jack  as  being  "eight  layers  deep,"  and 
explains,  "He  has  a  compassionate  understanding.    Yet 
he  doesn't  avoid  the  Queen's  problems.  Together  they 
may  joke  about  them,  and  the  jokes  offer  a  release 
of  tension.    It  is  this  facility  of  Jack's  which  makes  an 
unbearable  situation  bearable.  (Continued  on  page  90) 

Queen  For  A  Day  is  seen  on  NBC-TV  at  4:30  P.M.,  and  heard  on 
Mutual  at  11:30  A.M.— both  Mon.  through  Fri.,  under  multiple 
sponsorship.  Jack  Bailey  emcees  Truth  Or  Consequences,  seen  on 
NBC-TV,  Fri.,  at  8  P.M.,  as  sponsored  by  Old  Gold  Cigarettes— 
and  heard  on  NBC  Radio,  Wed.,  at  8  P.M.  (All  times  given  EDT) 


Carol  is  Jack's  own  royal  consort.  They  shared  a  piano 
bench  the  first  time  they  met — at  a  party  almost  twenty 
years  ago — and  it's  been  a  harmonious  duet  ever  since. 


I 


i 


Everyone  knows  a  good  laugh  is  a  tonic,  and  contestants  on 
Truth  Or  Consequences  gladly  join  in  any  stunt  to  help  Jack 
prove  there's  enough  laughter  to  share  with  the  whole  world. 


"Regal"  is  the  word  for  the  Baileys'  dining  room — though 
ndt  for  Jack's  far  less  formal  studio!  Not  too  surprisingly, 
the  ebullient  emcee  has  a  special  gift  for  painting  clowns. 


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4  I.  Ma  consoles  the  troubled  Fay,  who  feels  her  husband  is 
growing  away  from  her — even  as  she  expects  a  child. 
Though  sympathetic,  Evey  and  Willy  delight  in  Tom's  fame. 


2.  Fay  fears  her  husband  Tom  is  changing,  as  Hollywood 
comes  to  town  in  the  nattily-attired  person  of  actor  Gideon 
Harris.  But  Ma  must  smile  as  Willy  thrills  to  the  glamour. 


A  mother's  role  is  that  of  confidante,  friend  and  wise 
comforter.  Yet  she  must  always  temper  her  mother's 
protective  instinct  with  the  recognition  that  her  chil- 
dren's destinies  are  in  their  own  hands.  Ma  Perkins  knows 
well  how  to  comfort  and  advise — and  how,  as  each  is 
needed  in  its  turn,  to  restrain  or  encourage.  .  .  .  Yet,  to 
an  outsider,  there  seems  little  need  these  days  of  the  wis- 
dom Ma  has  gathered  through  the  years.  Ma  Perkins  and 
her  family  appear  to  be  riding  on  the  crest  of  happiness 
and  success.  But  there  is  an  undercurrent  of  deep  trouble. 
.  .  .  Ma  watches  with  anxiety  as  history  seems  about  to 


repeat  itself  in  the  life  of  Fay,  her  beloved  younger  daugh- 
ter. Fay's  first  marriage  had  ended  in  failure — and  now, 
even  as  she  expects  a  baby,  Fay  and  her  husband,  Tom 
Wells,  seem  to  be  pulling  away  from  each  other.  .  .  .  Not 
even  Fay's  older  sister  Evey  and  her  husband,  Willy  Fitz, 
can  understand  Fay's  attitude.  They,  too,  are  caught  up 
in  the  excitement  of  Tom's  newly-found  fame  as  a  writer. 
They,  too,  bathe  vicariously  in  the  same  limelight  as  Tom 
and  his  new  Hollywood  associates.  Tom's  sensitivity  to 
people,  his  writer's  delight  in  new  situations,  is  fer- 
menting inside  him.  He  is  fearful  of  the  changes  success 

See  Next  Page > 


61 


- 


(Continued) 


3.  Ma's  anxiety  grows  as  she  overhears  Fay's  pleas 
against  the  Hollywood  crowd  that  has  come  to  Rush- 
ville Center.  But  Tom  refuses  to  give  up  his  new  success. 

4.  Gideon  seems,  to  Fay,  a  typical  moviedom  wastrel. 
Much  married,  he  is  tormented  by  constant  arguments, 
with    his    current   wife,    Claire.     Drink    is    his    answer. 


5.  Separated  from  his  wife  Claire,  Gideon 
finds  new  hope  in  the  obvious  admiration  of 
Elaine  Reynolds,  who  sees  only  good  in  him. 


may  make  in  him — and  afraid  of  losing  Fay.  But,  to  Fay, 
he  seems  consumed  by  ambition,  intoxicated  with  glam- 
our. .  .  .  Fay's  whole  world  is  changing.  She  longs  for  the 
quiet,  secure  world  she  once  knew  in  Rushville  Center. 
Now  that  Tom's  novel  is  being  made  into  a  movie — right 
in  Rushville  Center — the  quiet  town  seems,  to  Fay,  to  be 
taking  on  the  facade  of  Hollywood.  Tom  seems  to  be  living 
a  life  apart  from  her,  and  to  be  growing  more  distant  with 
each  day.  His  life  is  one  in  which  Fay  refuses  to  partici- 
pate. It  is  peopled  by  those  she  cannot  abide,  yet  whom 
her  own  husband  defends.  ...  To  Tom,  Gideon  Harris — 


Pictured  here,  as  heard  on  the  air,  are: 

Ma  Perkin9 Virginia  Payne 

Fay  Wells Joan  Tompkins 

Tom  Wells John  Larkin 

Willy  Fitz Murray  Forbes 

Evey  Fitz Kay  Campbell 

Gideon  Harris Staats  Cotsworth 

Claire    Halle ti Cathleen    Cordell 

Ma  Perkins  is  heard  over  CBS  Radio,  Monday  through  Friday,  at 
1:15  P.M.  EDT,  as  sponsored  by  the  Procter  &  Gamble  Company. 


6.  As  Fay  sees  Tom's  success  taking  him  further  away  from  her  each  day,  she 
needs  her  mother's  wisdom  as  never  before.  But,  though  Ma  Perkins  knows  she 
must  take  a  stand,  she  fears  the  solution  will  alienate  someone  dear  to  her. 


the  actor  in  his  movie — is  a  fine  artist.  He  is  fascinated 
by  Gideon's  potentialities,  even  while  repelled  by  his 
shortcomings.  But,  to  Fay,  Gideon  is  the  typical  Holly- 
wood wastrel  and  weakling.  Married  innumerable  times — 
and  now  separated  from  his  current  wife,  the  famous 
actress,  Claire  Hallett — Gideon  at  first  charms  the  Per- 
kins family.  But  it  soon  becomes  obvious  that  he  is  so 
demoralized  and  tormented  that  his  only  escape  is  in 
drink  and  more  drink.  Gideon's  only  contact  with  his  wife 
is  in  bitter  arguments.  ...  Is  this  a  man  with  whom  you 
should  be  associated?  Fay  pleads  with  Tom.  She  cannot 
bear  to  hear  her  husband  defending  this  man  and  insist- 
ing that  he  will  continue  to  work  with  him  despite  her 
wishes.  Is  this  the  price  of  fame?  Fay  is  unwilling  to  pay 
so  dearly.  .  .  .  Even  lovely  Elaine  Reynolds,  who  comes 


from  a  highly  respected  family,  sees  only  the  good  in 
Gideon.  Elaine's  faith  in  what  she  feels  is  basically  a 
wonderful  person — combined  with  the  strength  her  affec- 
tion provides  him — has  resulted  in  a  noticeable  improve- 
ment in  Gideon's  spirit  and  in  his  work.  .  .  .  Can  the 
worlds  of  Elaine  and  Gideon  be  bridged?  To  Ma  Perkins, 
it  seems  that  this  is  a  love  that  can  never  succeed.  Yet 
she  is  reluctefnt  to  interfere  in  the  lives  of  Elaine  and 
Gideon.  .  .  .  Meanwhile,  Ma  observes  the  lives  of  Fay  and 
Tom,  once  so  close,  now  being  wrenched  apart.  As  never 
before,  Fay  has  need  of  her  mother,  of  her  comfort,  her 
wisdom  and  her  advice.  The  happiness  of  those  dear  to 
Ma  is  at  stake,  and  their  future  may  well  rest  with  her. 
The  best  for  all  concerned — the  human  answer  .  .  .  though 
it  may  alienate  someone  close  .  .  .  lies  with  Ma  Perkins. 


63 


THE 


ROAD  OF  LIFE 


llll 


I'm  getting  tired  of  being  a 
bachelor,"  says  Douglass  Parkhirst 
—in  the  midst  of  Leap  Year! 

By  GREGG  MARTIN 


There  aren't  too  many  men,  these  days,  like 
actor -playwright  Douglass   Parkhirst — the   very 
same  Douglass  Parkhirst  who  plays  Hugh 
Overton  in  The  Road  Of  Life.   Doug  is  a  genuine, 
eligible,  satisfaction-guaranteed-or-your-money- 
back  bachelor.  At  this  dark  moment  in  the  history  of 
vital  statistics,  there  is  about  five-eighths  of  a 
man  available  for  every  single  woman — which  means 
that  whole  males  are  being  snapped  up  like 
mink  in  a  bargain  basement.    But  single  women 
can  take  heart,  for  Doug  Parkhirst  is  proof  that 
quality  has  replaced  quantity.  (Continued  on  page  79) 

Douglass  Parkhirst  is  Hugh  Overton  in  The  Road  Of  Life,  on  CBS 
Radio,  M-F,  1  P.M.,  under  multiple  sponsorship.  He  is  heard  as 
Paul  Benson  in  Wendy  Warren  And  The  News,  CBS  Radio,  M-F, 
12  noon,  and  Joe  Hendson  in  The  Second  Mrs.  Burton,  CBS  Ra- 
dio, M-F,  2  P.M. — both  under  multiple  sponsorship.  (All  EDT) 


Doug  likes  to  read — he's  getting  tired  of  going  out,  too!         He's  a  great  home  guy,   refmished  his  furniture  himself. 


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No  danger  of  Doug's  being  lonely,  with  such  friends  (left  to  right)  as  Harry  Basch,  Leesa  Iroy, 
Ellen  Berry,  Anne  Seymour,  Page  Johnson  and  Ralph  Burgess.  They  play  bingo  for  prizes  which  they 
donate  themselves — "something  you  want  to  get  rid  of,"  but  gaily  done  up  in  the  fanciest  wrappings. 

Sherry  gets  annoyed  when  Doug  works  on  a  play  of  his  own.         But  she's  no  "catty"   critic,   when   he's  studying  a   script. 


Curt  and  Edith  Massey  wanted  their  boys  to  grow  up  in  full  awareness  of  the  earth  and  its  creatures, 
so  they  bought  a  ranch.   And  then  the  adventures  began,  for  14-year-old  Stephen  and  9-year-old  David. 


By  FREDDA  BALLING 


Tms  incident  happened  several  years  ago,  and,  like 
many  events  that  change  lives,  it  seemed  trivial  at  the 
time.  Curt  Massey  stepped  out  onto  the  patio  of  his 
Beverly  Hills  home  one  morning  and  said  to  his  elder 
son,  Stephen,  "I  think  we're  going  to  have  a  mite  of  rain 
today.  I  really  do."  Stephen  hooted.  "In  California?  In 
June?  Oh,  Dad!  You're  kidding,  of  course."  Curt  smil- 
ingly shook  his  head.  "Nope.  Can't  you  smell  it?" 
Stephen  sniffed  earnestly  before  rolling  his  eyes  heaven- 


ward in  a  pantomime  intended  to  indicate:  This  parent  of 
mine  is  not  only  gone,  he's  nowhere.  "Okay.  Wait  and 
see,"  said  Curt.  "The  air  never  smells  the  way  it  does 
this  morning  unless  there's  a  storm  brewing.  It's  one  of 
the  things  you  learn  when  you  grow  up  in  the  country. 
Another  clue:  Look  at  the  smoke  coming  from  the  neigh- 
bor's fireplace.  It's  tumbling  earthward  like  a  falls.  If  we 
were  going  to  have  good  weather,  that  smoke  would  be 
floating  off  into  the  sky  like  feathers."  It  sounded  good — 


66 


Curt  Massey  believes  a  family  grows 
as  all  things  grow    .    .    .    rooted  in 
the  soil    .    .    .    and  reaching  for  the  sky 

MINIMIMI 


No  Indian  scout  felt  a  greater  thrill  than  Davey  with 
his  first  bow  and  arrow.  He  has  his  own  pony,  too — and 
his  own  room  in  which  to  store  the  treasures  of  Nature. 


In  Steve's  room,  the  boys  show  Dad  a  bank  with  which 
they're  "learning  to  earn."  As  a  matter  of  fact,  Davey 
is  almost  a   captain   of   industry — in   the   snake   trade! 

See   Next   Page  ^ 


The  boys  also  learn  that  safety  comes  first,  in 
outdoor  life.  Fire  prevention  is  a  must,  and  the 
Masseys  have  their  own  fire  engine  for  ranch  use. 


For  Steve,  there's  a  new  deer  rifle — he  and  Curt 
are  mighty  hunters,  in  season.  But,  in  any  time  of 
year,  there's  always  music  where  the  Masseys  are. 


Heaven  on  JECaortli 

(Continued) 


Curt  brings  music  to  the  air,  too,  in  such  programs 
as  his  recent  one  over  CBS  Radio,  with  singer  Marion 
Morgan    and    producer-director    Steve    Hatos    (below) 


but  Stephen  rested  a  patronizing  hand  on  his  parent's 
shoulder  and  said,  grinning,  "You  just  stick  to'  singing, 
Dad.   In  that  department,  you've  got  it  made." 

For  once,  a  member  of  the  beleaguered  generation 
experienced  a  triumph.  Around  noon,  the  leaden 
heavens  opened  and  emptied  a  totally  improbable 
deluge  upon  Beverly  Hills  and  vicinity,  and  newspapers 
hastened  to  set  up  that  well-worn  line  of  type,  "Very 
unusual." 

Stephen  was  tremendously  impressed,  and  the  rela- 
tionship between  Steve  and  his  father  is  so  mutually 
comfortable  that  the  boy  felt  no  embarrassment  in 
demanding,  "How  did  you  know,  Dad?  I  mean,  you 
really  dig  this  weather  deal — but  how?" 

"It  isn't  a  savvy  you  get  from  books,"  Curt  admitted. 
"Anticipating  weather,  even  in  this  fairly  weatherless 
climate,  comes  from  having  lived  akin  to  nature  for  a 
long  time.  It's  a  knack  resulting  from  the  study  of  the 
sky,  a  sense  of  the  temper  of  the  wind,  the  smell  of 
moisture  in  the  air  .  .  .  things  like  that.  It  isn't  easy 
to  explain.  .  .  ." 

Somehow  the  entire  incident,  minor  as  it  was,  set 
Curt  Massey  to  thinking  about  the  intangibles  he 
wanted  for  his  two  small  sons. 

The  nature  of  his  thoughts  would  have  come  as  no 
surprise  to  his  fans  who  follow  the  Massey  program 
five  days  each  week,  year  in  and  year  out.  Those  fans 
know  that  Curt  was  born  in  Midland,  Texas,  and  grew 
up  in  Roswell,  New  Mexico;  that  he  learned  to  ride 
a  horse  as  casually  as  a  city  child  learns  to  cross  a 
street  on  a  signal  light;  that  he  was  raising  calves  when 
pavement  youngsters  were  forgetting  to  feed  the 
puppy;  and  that — as  ranch  children  do — he  learned 
true  values.  Not  only  the  value  of  money,  but  the 
value  of  effort  ("elbow-grease,"  they  call  it  in  localities 
where,  if  one  is  to  live,  it  must  be  heavily  applied) ; 
the  value  of  precaution;  the  value  of  owning  the  earth 
and  being  owned  by  it.  And  all  these  lessons  were 
acquired  and  assimilated  by  the  time  Curt's  contem- 
poraries in  urban  districts  had  reached  the  argument- 
over-taking-the-family-car-that-night  age. 

Quite  suddenly,  Curt's  memories  of  his  own  boy- 
hood began  to  explain  the  vague  restlessness  by  which 
he  had  sometimes  been  troubled.  Although  he  and 
Edith  often  congratulated  themselves  upon  the  luck 
that  was  making  it  possible  for  them  to  give  the  boys 
the  full  advantages  available  in  the  times  in  which  we 
live,  Curt  had  sometimes  suffered  a  fragile,  filamented 
doubt.  It  was  an  uneasiness  as  impossible  to  catch  hold 
of,  but  as  definite,  as  one  of  the  clinging,  giant  cobwebs 
through  which  he  broke  unseeingly  when  prowling 
mountain  trails. 

Now  he  understood  his  trouble:  He  wanted  his  boys 
to  grow  up,  as  much  as  possible,  in  full  awareness  of 
the  earth  and  its  creatures.  He  wanted  them  to  see  a 
calf  born,  and  perhaps  to  help  a  sick  and  aging  beast 
to  die,  so  as  to  learn  tenderness  and  respect  for  animal 
life.  They  must  come  to  be  wary  when  dealing  with 
the  elements,  and  to  understand  alike  the  calm  of  a 
magnificent  sunset  and  the  fury  of  a  torrential  rain. 
They  should  acquire  a  strong  regard  for  the  rights  and 
the  property  of  others,  so  that  they  might  never  be 
"city  hunters,"  leaving  country  gates  open  and  thus 
setting  livestock  free  to  injure  {Continued  on  page  88) 


You  can't  see 


what's  happening 
underneath  your 

make-up! 


But  you  can  be  sure 
invisible  skin  bacteria 
won't  spoil  your  complexion  — 
if  you  wash  with  Dial  Soap! 

v_/rdinary  good  soaps  wash  away  dirt  and 
make-up.  But  they  leave  thousands  of  skin 
bacteria.  You  can't  see  or  feel  them.  But 
when  you  put  on  fresh  make-up,  these  bac- 
teria are  free  to  spread  surface  blemishes 
underneath. 

However,  daily  washing  with  Dial  Soap 
not  only  removes  dirt  and  make-up — but 
clears  away  up  to  95%  of  blemish-spread- 
ing bacteria!  And  Dial  keeps  on  working — 
underneath  make-up!  So  your  complexion 
is  protected  all  day  long! 

What's  Dial's  secret?  It's  AT-7— the 
most  effective  bacteria  remover  known! 
No  other  leading  soap  has  it.  So  before 
you  make-up — wash  up  with  mild,  gentle 
Dial  Soap.  You'll  love  it! 


Dial  Soap  protects 
your  complexion- 
even  under  make-up! 


deodorant 


dud 


P.  S.  Dial  Shampoo  gives  you  that  diamond  sparkle  look! 


69 


If  You  Were  a  Millionaire 


(Continued  from  page  30) 
The  Millionaire  were  just  rolling  on  the 
screen.  When  Marvin  Miller  appeared, 
portraying  Michael  Anthony,  the  Comers 
looked  first  at  Marvin,  then  to  the  screen 
— and  back  again,  to  make  sure  their  eyes 
weren't  deceiving  them. 

Said  Mrs.  Comer,  in  disbelief,  "You 
didn't  bring  us  a  million  dollars — did  you?" 

"What  would  you  do  if  I  did?" 

Mrs.  Comer  replied,  "I'd  collapse  in  a 
pile,  that's  what." 

"And  you,  Mr.  Comer?"  asked  Marvin. 

"I  didn't  place  you  at  first,"  he  said.  "But, 
if  you  gave  us  a  check  for  a  million  dol- 
lars, I'd  just  pass  out  .  .  .  and  I'm  not 
sure  I'm  not  going  to,  anyway." 

"How  about  you,  Barbara?" 

Without  a  second's  hesitation,  teen-age 
Barbara  replied:  "I'd  buy  a  pile  of  records 
and  a  record  player!" 

"Though  I  didn't  bring  you  a  check  for 
$1,000,000,  Mr.  Comer,"  said  Marvin,  "I 
do  have  a  certificate  in  your  name  for  a 
twenty-five-dollar  United  States  Savings 
Bond  which  you  can  exchange  at  the  Hol- 
lywood branch  of  the  California  Bank. 
Thanks  for  your  time  and  trouble." 

"It's  been  no  trouble,"  said  Mr.  Comer. 
"It's  been  a  real  thrill  having  you  in  our 
home." 

Ten  days  later,  TV  Radio  Mirror  called 
Mr.  Comer  to  ask  him  if  he  had  turned  in 
the  certificate,  and  to  follow  up  on  his 
reaction  to  Marvin  Miller's  visit.  Mr. 
Comer  said  then,  "I  have  not  yet  turned 
in  the  certificate,  but  have  no  reason  to 
doubt  its  validity.  Our  two  boys  were 
broken-hearted  that  they  missed  seeing 
Mr.  Anthony — I  mean  Mr.  Miller. 

"What  am  I  going  to  do  with  the  bond? 
Well,  naturally,  there  are  a  lot  of  good 
uses  for  it,  but  I  think  we'll  just  put  it 
in  with  the  others  we  have." 

After  leaving  the  Comers,  Miller  got  into 
his  car  and  drove  a  half-mile  across  town 
to  10520  Blythe  Ave,  the  home  of  South- 
ern Pacific  passenger  agent  Gene  Beatty 
and  his  wife,  Hazel.  When  Miller  rang 
the  bell,  Mr.  Beatty  opened  the  small  win- 
dow in  the  door  to  examine  his  9:30  P.M. 
visitors.  Following  Marvin's  introduction, 
Mr.  Beatty  was  still  skeptical.  "Yes,  you 
look  like  Michael  Anthony,  all  right  .  .  . 
and  we  do  watch  your  counterpart  on  TV 
.   .  .  but  I  just  don't  know." 


He  opened  the  door  a  trifle,  and  Marvin 
could  see  Mrs.  Beatty,  feet  on  a  hassock, 
peering  at  him  over  her  newspaper.  It 
took  Marvin  five  minutes  of  solid  sales- 
manship to  get  Mr.  Beatty  to  let  him  in. 
Mr.  Beatty  was  never  fully  convinced; 
Mrs.  Beatty  was  so  sure  it  was  a  gag  that 
she  never  got  out  of  her  chair.  Only 
when  Marvin  offered  the  $25  certificate  to 
Mrs.  Beatty  did  she  get  up  to  read  the 
fine  print  closely  and  sign  her  name.  She 
explained  their  skepticism  by  saying,  "You 
know,  we've  lived  in  this  house  since  1928, 
and  no  one  has  ever  given  us  anything. 
It  just  so  happens  that,  last  week,  I  won  a 
free  turkey  at  the  market — so  you  can  un- 
derstand that  a  $25  Savings  Bond  on  top 
of  that  is  almost  too  much  good  fortune  to 
expect!" 

Ten  days  later,  when  TV  Radio  Mirror 
followed  up  the  visit,  Mrs.  Beatty  said, 
"We'll  have  to  admit  our  first  reaction  was 
disbelief.  The  one  thing  that  made  me 
think  it  might  be  true  was  Mr.  Miller's 
voice.  I  recognized  it,  having  listened  to 
him  so  many  years  on  radio.  Because  I 
hadn't  gotten  out  of  my  chair,  I  remember 
Mr.  Miller's  saying  to  Gene,  'Well,  your 
wife  is  certainly  taking  this  calmly.'  He 
didn't  know  that  I  had  had  twelve  women 
in  for  lunch  that  day,  and  at  that  moment, 
I  would  have  taken  anything  calmly!" 

Mrs.  Beatty  continued,  "Gene  went  into 
the  California  Bank  a  week  later  and 
picked  up  the  bond.  Going  to  do  with  it? 
We'll  keep  it  with  our  others — I  hope  the 
rest  of  the  people  had  as  much  fun  as  we 
did." 

The  third  house,  at  10537  Cushdon,  be- 
longed to  Mr.  Francis  J.  Jung  and  his  wife, 
Dorothy.  The  name  Michael  Anthony  didn't 
mean  anything  to  Mr.  Jung,  but  he  admit- 
ted that  Marvin's  face  was  familiar.  When 
asked  if  The  Millionaire  meant  anything 
to  him,  recognition  dawned  and  Mr.  Jung 
said,  "Oh,  that's  where  I've  seen  you."  By 
this  time,  the  entire  family  had  gathered 
at  the  front  door,  and  Mrs.  Jung  recog- 
nized Marvin  at  once. 

Ten  days  later,  Mrs.  Jung  said,  "The 
children  carried  the  news  all  over  school 
the  next  day.  Most  of  our  neighbors'  re- 
action was,  'Oh,  gee,  if  something  like 
that  would  just  happen  to  us.'  Yes,  we're 
buying  Savings  Bonds,  too,  and  we  will 
add  this  to  our  account." 


70 


I  yielded  to 
Temptation! 

Countless  people  have  learned  to  profit 
from  the  mistakes  of  others  by  listening 
to  radio's  "My  True  Story."    This  radio 
program  presents  stories  right  from 
the  files  of  True  Story  Magazine.    Be- 
cause these  stories  deal  frankly  with  the 
mistakes  of  real-life  people,  they  help 
you  to  see  ways  to  avoid  such  heart- 
breaking errors. 

TUNE  IN  EVERY  MORNING  TO 

MY  TRUE  STORY 

American  Broadcasting  Stations 

How  much  cruelty  is  a  wife  compelled  to  take?    Don't  miss 
"TEMPTED  WIFE"  in  June  TRUE  STORY  magazine,  at  newsstands  now. 


The  fourth  house,  10585  Esther,  belonged 
to  Ray  Orcutt,  a  jewelry  manufacturer 
Mr.  Orcutt  recognized  Miller,  as  soon  as 
Marvin  asked  him  if  he  were  familiar  with 
the  show,  The  Millionaire.  "Yes,  I  know 
your  show.  It's  good  entertainment.  It's 
a  funny  thing — about  the  only  other  thing 
I've  ever  won  in  all  my  life  is  a  half- 
dozen  aluminum  snow  shafts  back  in 
Ohio." 

A  black  cat  ran  across  Marvin's  path 
as  he  approached  the  fifth  house,  that  oi 
Mrs.  Clarys  Margadant,  at  2609  Manning 
Marvin  said,  "I  hope  this  doesn't  meai 
these  people  don't  have  a  TV  set."  Mrs 
Margadant's  daughter,  Nancy,  answerec 
the  door  and  Marvin  asked,  "Do  you  re- 
cognize me?" 

"I  think  so,"  said  Nancy  and  called  he? 
mother,  saying,  "He  says  he's  the  one  whc 
gives  away  the  million  dollars,  but  1 
think  he's  kidding." 

Mrs.  Margadant  came  to  the  door  and 
invited  Marvin  in,  saying,  "Well,  give  me 
the  million — or,  better  still,  you  could  bring 
a  new  TV  set.    Ours  is  broken." 

The  Margadants  were  somewhat  skep- 
tical that  the  visit  was  for  real — as  Marvin 
drove  off,  they  shouted  out  the  door,  "We 
still  can't  believe  it." 

On  TV  Radio  Mirror's  follow-up  call. 
Mrs.  Margadant  said,  "Whenever  the  show 
comes  on,  Nancy  calls  me  and  we  wait  for 
Michael  Anthony  to  appear.  Now,  of 
course,  we  recognize  him  immediately!  I'll 
admit  I  was  a  little  dubious  at  first  but, 
after  thinking  about  it,  I  feel  we  were  very 
fortunate.  The  bond?  We'll  put  it  in 
one  of  the  children's  names." 

Mr.  and  Mrs.  William  S.  Hart,  of  1945 
Sawtelle  Boulevard,  and  Mrs.  Evelyn  E 
Brown,  of  1314  S.  Barrington,  had  similar 
reactions  when  asked  what  they  would 
do  if  they  were  actually  given  a  million 
dollars.  Said  Mrs.  Brown,  pointing  to  the 
ground,  "I  would  fall  down  right  here  in 
a  little  collapsed  heap."  And  Mr.  Hart 
replied,  "I'd  faint  and,  even  if  the  Savings 
Bond  is  for  real,  I'll  faint." 

Tom  Soga,  of  1950  Sawtelle  Boluevard. 
thought  the  bond  was  a  joke.  "We  have 
so  many  salesmen  out  this  way,  you  know," 
he  explained,  "I  thought  this  was  a  new 
sales  approach.  But  if  it  isn't,"  he  said,  as 
he  signed  the  certificate,  "we'll  use  the 
money  on  the  youngsters."  The  Sogas 
have  five  children. 

Marvin  Miller's  ninth  stop  was  at  Mrs 
Mary  Louise  Baiz's  home,  11703  Ohio 
Street.  Mrs.  Baiz  is  a  packing  supervisor 
at  the  Pacific  Jewelry  Company  in  West 
Los  Angeles.  She  said  that  if  she  did  get 
a  million  dollars,  she  would  set  up  a  trust 
fund  for  her  four  children. 

The  tenth  and  final  stop  took  Miller  to 
1318  South  Barrington,  the  apartment  of 
Ronald  J.  O'Reilly  and  his  pretty  young 
wife,  Barbara.  Ronald  is  a  medical  stu- 
dent at  the  University  of  California  at  Los 
Angeles  and  Barbara  works  as  a  secre- 
tary in  one  of  the  Hollywood  studios.  Of 
all  the  families  visited,  the  O'Reillys  were 
the  only  ones  without  a  TV  set.  As  Bar- 
bara said,  "Medical  students  don't  have 
time  for  TV!" 

In  the  follow-up  call,  Barbara  explained 
Ronald's  original  doubt  when  Marvin  rang 
their  bell.  "We  thought  you  were  a  TV 
salesman,  and  we  don't  have  time  for  TV, 
and  we  don't  have  any  money  for  salesmen. 
Besides  that,  it  had  been  such  an  un- 
lucky day — our  car  had  stalled  in  the  mid- 
dle of  Wilshire  Boulevard.  Ron  got  out 
to  putter  around  and  almost  got  hit  by  an- 
other car.  I  yelled  at  him  to  be  careful 
and  people  were  honking  at  us — so,  by 
the  time  we  got  home,  we  were  hardly 
speaking  to  one  another,  let  alone  to  un- 


expected     strangers    at    our    front    door! 

"The  next  day  at  the  office,  I  told  every- 
one about  the  Savings  Bond  and  the  pro- 
gram. I  went  to  the  bank  at  noon  to  pick 
up  the  bond.  The  girl  recognized  the  cer- 
tificate right  away  and  said,  'How  did 
you  get  this  and  can  I  get  one?'  Though  we 
still  don't  have  a  TV  set  (the  money  will 
go  to  help  pay  for  Ron's  microscope),  I'm 
sure  The  Millionaire  has  thousands  more 
viewers  by  now,  because  we've  told  every- 
body about  our  good  fortune.  Everyone 
I  know  is  watching  it  now,  and  they  all 
say  they  hope  you  will  come  to  their 
house  soon!" 

This  half-believing,  half-hoping  atti- 
tude that  Marvin  Miller  and  TV  Radio 
Mirror  found  in  nearly  all  of  the  ten 
visits,  that  Wednesday  night,  is  typical 
of  the  cross-country  audience  reaction  to 
The  Millionaire.  As  producer  Don  Fedder- 
son  says,  "It  is  this  daydream,  this  belief 
that  it  could  be  true,  that  is  responsible 
for  the  success  of  The  Millionaire." 

"Even  the  men  in  the  crew,"  Marvin  adds, 
"who  are  fully  aware  that  the  show  is 
fictional,  can't  resist  asking:  'How  about 
putting  me  on  the  list  for  that  $1,000,000?' 
And,  of  course,  I'm  forever  being  stopped 
on  the  street  by  strangers  with  a  rather 
wild  look  in  their  eyes,  who  say,  'Have 
you  got  my  $1,000,000?'  Then  there's  the 
mail  we  get  which  reads:  'I  know  this  is 
just  a  story  but  the  reactions  are  so  real!'  " 

In  addition,  Marvin  Miller's  long  acting 
career  and  experience  in  radio,  stage  and 
motion  pictures  helps  to  make  his  weekly 
appearance  as  Michael  Anthony  believable. 

Miller's  acting  career  began  in  St.  Louis, 
where  he  was  born  and  raised.  His  father 
was  a  painter,  his  mother  a  housewife  with 
an  interest  in  music.  As  a  child,  Marvin 
wanted  to  be  a  writer,  spent  most  of  his 
early  school  life  reading  and,  in  his  spare 
time,  acting.  Once  he  played  ten  different 


roles  behind  a  sheet.  "Though  the  voices 
didn't  come  out  as  I  expected,"  he  says,  "no 
one  knew  that  only  one  person  was  play- 
ing all  the  parts." 

When  he  was  twelve  years  old,  he 
worked  as  an  office  boy  for  the  general 
manager  of  a  St.  Louis  newspaper.  He 
didn't  mind  the  low  pay,  $10.00  a  week,  be- 
cause the  job  was  mostly  more  reading — 
which  he  enjoyed.  He  slowly  moved  up 
in  the  writing  world,  first  to  morgue  clerk 
— $12.50  a  week;  then  to  front  desk  clerk, 
at  $15.00;  and,  finally,  to  head  man  in  the 
supply  room — $20.00  a  week! 

Marvin  began  his  radio  career  while 
a  freshman  at  Washington  University.  An- 
noyed by  the  way  radio  announcers  mis- 
pronounced foreign  words,  he  applied  for 
a  job  at  one  of  the  local  stations.  "I  was 
just  eighteen,"  he  recalls,  "and  the  man- 
ager told  me  I  had  a  lot  to  learn  before 
I  could  become  an  announcer.  In  fact, 
he  suggested  I  ought  to  stay  with  writing. 
But,  the  next  week,  I  went  back  with  a 
show  idea  in  which  I  played  all  seven 
characters.  This  presented  such  a  great 
savings  to  the  station  that  I  was  hired  at 
five  dollars  per  show.  By  the  end  of  the 
season,  I  had  played  forty-two  separate 
characters — doing  my  own  sound  effects — 
and  started  announcing." 

Marvin  continued  his  college  training 
while  working  at  KMOX,  CBS  Radio's  St. 
Louis  station,  and  received  his  Bachelor 
of  Arts  degree  in  1934.  In  1939,  he  mar- 
ried Elizabeth  Dawson,  a  pretty  bru- 
nette who  has  since  gained  national  recog- 
nition as  a  painter  and  writer. 

They  left  St.  Louis  and  moved  to 
Chicago  in  1940,  where  Marvin  became  a 
top  actor  and  announcer.  He  was  fea- 
tured on  dozens  of  network  shows,  in- 
cluding Ma  Perkins,  The  First  Nighter,  and 
Chicago  Theatre  Of  The  Air.  Their  son 
Tony  was  born  in  July,  1941.    Before  leav- 


ing Chicago,  Marvin  was  appearing  on   a 
many    as    forty-five    broadcasts    a    w< 
on  his  departure,  the  "trade"   publication, 
Variety,   dubbed   him   "Chicago's   one-man 
radio  industry." 

When  the  Millers  came  to  Hollywood 
in  1944,  he  was  immediately  signed  as 
Red  Skelton's  announcer,  and  for  Holly- 
wood Star  Playhouse.  He  kept  up  acting 
activities  in  radio,  too,  playing  regular 
roles  on  the  Burns  and  Allen  shows,  Fib- 
ber McGee  And  Molly,  and  Lux  Radio 
Theater.  Today,  Marvin  still  plays  two 
characters  on  One  Man's  Family,  in  ad- 
dition to  his  many  other  radio  and  TV 
jobs. 

When  Marvin  is  not  working  on  The 
Millionaire,  or  on  one  of  his  many  other 
TV,  radio,  and  motion-picture  acting 
chores,  he  spends  his  time  at  home  read- 
ing children's  stories  to  his  three-year- 
old  daughter,  Melissa,  and  perhaps  helping 
fifteen-year-old  Tony  with  his  homework. 
Other  spare  moments  he  devotes  to  travel 
with  his  wife  Elizabeth.  They  love  San 
Francisco  for  its  good  food,  fund  of  culture 
— and  the  story  material  Marvin  uses  on  his 
own  radio  show,  Behind  The  Story,  which 
he  and  his  wife  write.  In  other  free  mo- 
ments, Marvin  and  Elizabeth  enjoy  their 
classical  records  collection — one  wall  of  the 
den  from  floor  to  ceiling  is  filled  with  rec- 
ords. His  newest  hobby  is  collecting 
Chinese  antique  furniture.  He  says,  "We 
have  only  a  few  really  priceless  originals 
.  .  .  you  have  to  be  a  millionaire  to  furnish 
your   home    with   real    Chinese    antiques." 

When  asked  if  there  is  any  one  price- 
less treasure  he  would  never  part  with, 
Marvin  says  thoughtfully,  "Yes.  I've 
learned  from  my  work  on  The  Millionaire 
that  money  is  not  important  ...  it  can't 
buy  happiness  .  .  .  and  my  most  priceless 
treasure  is  something  you  can  never  buy 
— my  family." 


~\/\JbndisrfaL  TiswJazid  of  shampoo 


I" "m. 


^Wticurtfi 


<>mjCL  WklL/ 


% 


You'll  say  Cuticura  Shampoo  is  a  girl's  best  friend  when  you 
see  how  gloriously  your  hair  twinkles  .  .  .  how  enchantingly 
smooth  it  is  .  .  .  how  easy  to  manage. 

Better  than   soap  shampoo—  better  than   soapless 
shampoo —combines  the   best  features    of   both! 

Cuticura  Shampoo  is  that  "cosmetic  ideal"  research  chemists 
have  long  been  striving  for— a  perfectly  balanced  combination 
formula  that  cleanses,  glamorizes  and  conditions  better  than 
either  a  soap  or  a  soapless  shampoo  alone  can  possibly  do. 

It  protects  the  natural  oils— needs 
no  special  rinse  — lathers  richly  in 
hard  or  soft,  hot  or  cold  water. 

Unbreakable  squeeze   bottle 
S-t-r-e-t-C-h-e-S  your  shampoo! 

You  get  up  to  50%  more  shampoos! 
At  leading  drug  counters.  6  oz.  79y\ 


JEWELS  BY  CARTIER  FURS   BY   REVILLON    FRERES  COMPLEXION    BY  CUTICURA 


71 


(Continued  from  page  48) 
two  packs  of  chewing  gum  (she's  re- 
sponsible for  keeping  Bob  supplied) — and 
unconsciously  had  started  chewing  herself. 
.  .  .  Thirty  minutes  after  his  return  from 
lunch,  Hope  had  sent  out  to  Wil  Wright's 
Ice  Cream  Parlor  for  a  quart  of  ice  cream 
(rich  and  high-caloried,  his  favorite  form 
of  energy).  .  .  .  Rehearsal  is  immediately 
followed  by  the  frantic  activity  of  the 
show.  Only  after  the  show  is  over  does 
Onnie  Whizen  at  last  find  a  spare  moment 
to  tell  Bob,  "I'm  sorry  I  haven't  had  a 
chance  to  say  hello." 

Bob  is  indefatigable.  With  the  show 
and  most  of  the  crew  lying  limply  about 
like  bundles  of  damp  laundry,  Hope  still 
looks  as  though  he's  just  stepped  out  of 
the  shower  at  Lakeside  Golf  Club.  Phys- 
ically he  is  a  powerhouse,  and  work  is  the 
coal  that  keeps  the  six-foot,  180-pound 
dynamo  spinning.  If  his  face  has  any  lines 
at  all,  they  only  come  from  squinting 
into  the  sun  at  Lakeside  as  he  watches 
his  golf  ball  sail  down  a  400-foot  fairway. 
He's  justifiably  proud  of  his  looks — at  53, 
he  can  still  play  a  credible  leading  man. 

Bob's  schedule  is  full  enough  to  keep 
three  men  busy:  In  TV,  he  does  an  hour 
show  virtually  every  three  weeks — ap- 
proximately equal  to  ten  Broadway  shows 
each  year.  In  the  past  twelve  months,  he 
has  completed  three  motion  pictures,  "The 
Seven  Little  Foys,"  "That  Certain  Feeling," 
and  "Not  for  Money."  Between  movies,  he 
does  countless  personal  appearances  and 
benefits.  He's  often  said,  "It's  a  shame  we 
don't  have  a  forty-hour  day."  And  when 
the  question  is  asked — "What  are  your 
retirement  plans?" — Bob's  reply  is  in- 
evitably,  "Retirement?    What's   that?" 

But  last  year  .  .  .  after  his  long  time 
sidekick  and  gag  man,  Barney  Dean,  died 
suddenly  and  his  agent,  Charlie  Yates, 
suffered  a  heart  attack  during  a  golf  game 
.  .  .  Bob  ran  off  to  his  doctor.  Following  a 
complete  examination  (as  he  tells  it), 
"The  doctor  kicked  me  out  of  his  office 
because  I  was  healthier  than  he  was" — 
and  Bob  was  back  on  the  run.  In  February 
and  March,  his  shows  originated  from 
Naples,  Casablanca,  London,  Paris,  and 
Tel  Aviv. 

But  more  important  than  his  love  for  his 
work  is  Bob's  love  for  people:   He  would 


The  Very  Heart  of  Hope 

like  to  see  5,000  new  laughing  faces  in  his 
audience  every  night — and  he's  willing 
to  go  to  Australia,  Greenland,  London, 
Paris  and  Moscow  to  find  them. 

Perhaps  this  is  over-simplifying  the  per- 
sonality of  a  complex  man.  It  is  generally 
said  that,  in  back  of  every  successful  man, 
there  is  a  woman:  In  Bob's  case — in  addi- 
tion to  his  loving  and  devoted  wife, 
Delores — there  are  six  women  who  help 
make  Bob  run:  Production  assistant  Onnie 
Whizen,  script  secretary  Eleanor  Sider, 
production  secretary  Jan  King,  and  per- 
sonal secretaries  Marjorie  Hughes,  Berna- 
dette  Kenney  and  Lois  Dickson.  Besides 
being  able  to  describe  the  manifold  activi- 
ties Hope  is  constantly  engaged  in,  these 
half-dozen  "helpmates"  are  in  a  position 
to  give  an  inside  peek  into  Hope's  back- 
stage personality — a  profile  of  the  real  Bob 
Hope. 

Onnie  Whizen  has  been  with  the  Hope 
TV  organization  for  five  years.  She  works 
closely  with  producer  Jack  Hope  (Bob's 
brother)  and  associate  producer  Gino 
Conti,  as  well  as  with  the  set  designer, 
writers  and  casting  director.  Onnie  has 
flown  all  over  the  country  with  Bob, 
anticipates  every  emergency  and  is  in  the 
position  of  knowing  almost  everything  Bob 
thinks. 

"It  is  Bob's  habit,"  says  Onnie,  "to  sit 
in  the  very  first  seat  of  the  airplanes  we 
travel  in.  I  often  wondered  why.  One  week 
we  went  to  San  Diego  to  do  a  benefit  for 
the  Navy  and  Bob  decided  to  drive  down, 
sending  the  crew  ahead  of  him  by  plane. 
I  sat  in  Bob's  usual  front  seat,  and  I  think 
I  discovered  why  he  plants  himself  there 
— he  can  see  the  propellers  and  will  know 
instantly  if  anything  goes  wrong  with  the 
plane.  An  engine  stopped  once,  you  know, 
and  Bob  kept  everyone  from  getting  hys- 
terical by  cracking  jokes. 

"It's  not  that  he  worries  over  us,  but 
Bob  has  a  protective  attitude  toward  his 
crew.  Some  people  might  think  that,  when 
he  slumps  down  in  that  front  seat,  he's 
sleeping.  Maybe  he  is — but  it's  the  kind 
of  sleep  that  keeps  him  tuned,  aware  and 
alert  to  everything  going  on  in  the  plane. 
Once  our  piano  player,  sitting  at  the  back 
of  the  plane,  suddenly  was  taken  ill.  Bob 
was  the  first  at  his  side." 

"Of    course,    Bob's    attitude    toward    us 


72 


Bob  Hope  loves  cookies  baked  by  Jan  King's  mother,  Mrs.  Ruth  Kruidenier, 
who  says  simply:  "People  like  him  instinctively — because  he  likes   people." 


is  returned,"  says  Bernadette  Kenney. 
"Everyone  in  the  crew  would  give  up  an 
arm  for  him.  They  look  out  for  him  in  all 
sorts  of  little  ways.  For  example,  we  did 
a  show  in  New  York,  about  two-and-a- 
half  years  ago,  and  the  unit  manager, 
Walter  Bermeister,  was  especially  nice  to 
us.  Bob  never  forgets.  One  day  recently, 
on  the  West  Coast,  Walter  popped  in  on  us 
unexpectedly  and  was  taken  up  to  Bob  by 
one  of  the  girls.  Knowing  Bob  would  be 
embarrassed  if  he  had  forgotten  the  unit 
manager's  name,  she  tipped  him  off  by 
saying,  'Bob,  you  remember  Mr.  Bermeister 
.  .  .'  But  Bob  beat  her  to  the  fine,  clapped 
the  manager  on  the  back,  and  said, 
'Walter,  how  are  you?' " 

Bob  has  a  fantastic  memory.  Eleanor 
Sider,  who  has  been  with  him  for  three 
years,  says,  "Bob  is  an  amazing  study.  He 
may  be  doing  a  picture,  a  benefit  and  a  TV 
show  at  the  same  time — but  he  never  gets 
his  lines  confused  and  is  always  'up'  on 
them.  But,  if  he  didn't  forget  once  in  a 
while,  he  wouldn't  be  human,"  Eleanor 
continues.  "During  one  afternoon  rehears- 
al, I  happened  to  hear  that  he  was  to  guest 
on  the  Durante  show  that  night.  The  crew 
went  back  to  his  Valley  home  to  continue 
work — when  suddenly,  at  6:30  P.M.,  I 
remembered  that  casual  conversation.  'My 
gosh,'  Bob  said,  'I  forgot!'  He  raced  to 
near-by  NBC,  and  arrived  just  in  time. 
The  funny  thing  is  that  the  Durante  com- 
pany had  forgotten,  too!  It  just  shows  we 
all  make  mistakes — we're  only  human." 

"Being  human  is  one  of  Bob's  outstand- 
ing characteristics,"  says  Lois  Dickson,  his 
"state-side"  secretary  for  nine  years.  "One 
incident  which  illustrates  his  feeling  for 
others — and,  at  the  same  time,  points  up 
his  memory — is  the  story  of  Reverend 
Butterworth,  an  English  minister  visiting 
the  States  after  the  war.  He  was  in- 
troduced to  Bob  during  a  two-minute 
break  in  the  show,  Reverend  Butterworth 
told  Bob  he  was  here  to  raise  funds  for 
Clubland,  which  had  been  blitzed  during 
the  war  and  was  a  community  project 
like  our  Boy's  Town.  He  asked  Bob  if  he 
would  do  a  benefit  for  them  the  next  time 
he  came  to  England.  Bob  said  yes,  and 
walked  back  into  the  scene.  In  England, 
two  years  later — without  a  reminder — 
Bob  told  his  secretary  to  call  Reverend 
Butterworth.  He  did  the  benefit  for  Club- 
land, and  has  done  one  every  trip  to 
England  since." 

Bob's  generosity  has  earned  him  the 
title  of  "Benefit  King  of  America."  Prob- 
ably no  other  performer  has  played  so 
many  benefits  or  for  a  greater  number  of 
causes.  His  work  has  won  him  titles  and 
national  recognition:  He's  on  the  board  of 
directors  for  the  Cancer  fund  and  is  the 
permanent  national  chairman  for  United 
Cerebral  Palsy.  Name  the  charity — he's 
played  benefits  for  it. 

Bob's  generosity  is  not  confined  to 
charities.  He's  generous  to  a  fault  with 
his  crew.  Jan  King,  who's  been  with  Bob 
for  three  years,  says,  "When  Bob  came 
back  from  Greenland,  he  bought  the  girls 
solid  gold  medallions  shaped  like  the  map 
of  Greenland,  with  a  ruby  set  at  Thule 
Airbase.  Mine  was  inscribed  'To  Jan  King, 
Happy  1955,  Bob  Hope.'  I  don't  know  what 
the  gold  is  worth,  or  what  the  medallions 
cost,  but  I  do  know  you  cannot  put  a  price 
on  the  thoughtfulness." 

It  is  Bob's  thoughtfulness  which  has 
always  been  his  most  important  feature  in 
the  mind  of  Majorie  Hughes,  his  personal 
secretary  for  the  past  fifteen  years.  "Wher- 
ever Mr.  Hope  goes,"  she  says,  "he 
remembers  the  personal  likes  of  the  girls 
in  his  office.  He's  brought  us  sweaters 
from  Australia,  purses  from  Madrid,  and 


perfume  from  Paris.  We  never  get  over 
the  fact  that  he  even  keeps  our  favorite 
colors  in  mind." 

Bob's  crew  is  forever  trying  to  think  up 
new  ways  to  show  their  appreciation  for 
his  kindness.  At  the  end  of  the  season,  two 
years  ago,  Eleanor  Sider  remembers  a 
combination  season's-end  and  birthday 
gift  they  presented  to  Bob — a  large  ce- 
ramic plate  with  his  caricature  and  a  TV 
camera,  signed  by  them  all.  She  says  it  is 
difficult  to  find  anything  for  Bob,  because 
he  has  everything.  The  night  before  the 
regular  show  (called  the  preview),  in  the 
spot  to  be  taken  up  by  guest-star  Jack 
Benny,  Eleanor  presented  the  plate.  Bob 
was  both  surprised  and  pleased,  but  he 
said  sincerely,  "I  don't  deserve  it — you 
people  make  the  show." 

This  humble  attitude  is  also  part  of  the 
invisible  Hope  personality — he  blames  his 
success  on  his  writers.  His  writers  say  he 
makes  it  easy  for  them  to  work  by  cre- 
ating an  informal,  easygoing  atmosphere. 
Hope  never  criticizes,  he  doesn't  find 
fault.  "His  enthusiasm,"  says  Eleanor 
Sider,  "is  contagious.  His  ad  libs  are 
funnier  than  the  show. 

"He's  informal,  easygoing.  We  work  in 
a  regular  democracy.  On  my  first  show,  I 
couldn't  bring  myself  to  address  him  as 
'Mr.  Hope.'  He's  not  that  way.  It  was 
so  frustrating  —  until  I  realized  that 
everybody  was  using  the  familiar,  'Hey, 
Bob 

People  have  always  been  on  a  first- 
name  basis  with  Hope.  When  they  come 
up  for  autographs,  it's  always,  "Sign  mine, 
Bob."  When  he  and  President  Eisenhower 
play  golf  together  at  the  Burning  Hills 
course,  he  addresses  Eisenhower  as  "Prez." 
This  does  not  mean  that  Hope  ignores 
social  amenities — on  the  contrary,  this  top 
comedian  is  definitely  a  gentleman,  too. 
Jan  King  tells  the  story  of  how  her  mother, 
Mrs.  Ruth  Kruidenier,  recovering  from 
a  broken  hip,  was  visiting  the  set.  After 
introducing  her,  Jan  put  her  in  the  back- 
ground. Later,  when  the  crew  moved  to 
another  room,  Bob  saw  that  Jan's  mother 
wasn't  following.  He  went  back,  said, 
"Come  on,  Ruthie,  you're  part  of  us  now," 
and  helped  her  walk  slowly  down  the  hall. 

Jan's  mother  was  so  grateful  for  the 
attention,  she  baked  a  weekly  batch  of 
nut  cookies  for  Jan  to  take  to  the  set.  The 
cookies  became  accepted  routine  until  the 
day  Mrs.  Kruidenier  returned  to  her  home 
in  the  Midwest.  That  week,  when  Jan 
walked  in  without  the  cookies,  Bob  fell 
apart.  "Where  are  the  nut  things?"  he 
demanded.  "I'll  have  to  write  your  mother 
about  this!"  And  he  did. 

Wherever  the  peripatetic  Mr.  Hope  goes, 
he  carries  a  pack  of  postcards  next  to  his 
heart.  More  than  any  other  one  thing, 
these  postcards  are  a  paper  symbol  of 
the  Bob  Hope  heart  which — usually  un- 
revealed — lies  hidden  under  his  humor. 
Sent  to  his  many  friends,  they  show  his 
thoughtfulness  and  his  humor.  They  are 
a  smile  and  a  handclasp  from  three  thou- 
sand miles  away. 

To  Eleanor  Sider,  from  Australia,  he 
postcards:  "They  have  kangaroos  here 
timing  the  show  —  help!"  To  Marjorie 
Hughes,  from  Paris,  he  quips:  "This  is 
where  the  birds  and  bees  follow  the  people 
and  take  notes."  To  Onnie  Whizen,  from 
London  after  the  last  three  shows,  he 
writes:  "Make  my  reservations  at  the 
Mayo  Clinic!"  And,  from  Casablanca,  he 
remembers  Jan  King's  mother  with: 
"Ruthie,  I  miss  your  cookies.  I'm  getting 
thin!" 

Whether  he's  on  the  Burbank  NBC-TV 
rehearsal  stage  ...  or  twelve  thousand 
miles  away  in  Tel  Aviv  ...  or  in  a  plane 
a  mile  over  Thule  Airbase  in  Greenland 
...  to  the  many  that  he  loves  and  cares 
for,  Bob  Hope  always  is  as  close  as  the 
postcards    he    carries    next    to    his    heart. 


a  package  of  hair  beauty  for  you 

When  you  see  this  distinctive  package  on  a  cosmetic  counter,  you  will  recog- 
nize the  most  popular  temporary  color  hair  rinse  in  the  country..  .NOREEN! 

There  are  good  reasons  for  NOREEN'S  popularity.  A  NOREEN  rinse  leaves 
hair  lustrous  and  well-groomed,  easier  to  handle,  touched  with  just  the  right 
amount  of  color.  The  added  sheen  and  extra  color  flatter  the  face  beneath, 
give  it  a  years-younger  look. 

NOREEN'S  fourteen  shades  fall  into  three  main  groups.The  glamorizing  shades 

accentuate   the    depth  of  natural  color  in  hair,   bring  out  exciting 

highlights  and   give  extra  color  to  drab  or  faded   hair.  The 

blending-in  shades  Veil   strands  of  unwanted   gray   or 

discolored  streaks  and,  at  the  same  time,  augment 

the  natural  hair  color.  The  beautifying  shades 

for  all-gray  or  white  hair  take  out  discolora- 

tions  and  add   cool  tones  from  lightest 

to  deepest  gray. 

Use  NOREEN  regularly  ...  espe- 
cially  on    gala   occasions.    It    is 
safe  . . .  fast . . .  easy  to  apply. 
And    the  color   stays  fresh 
and    true    until   you    sham- 
poo it  out. 


•  At  cosmetic  counters  everywhere 
4  rinses  30^  plus  tax.  8  rinses  60(z!  plus  tax. 
Noreen  color  applicator  40?!. 
Also  professionally  applied  in  beauty  salons. 


NOREEN   DISTRIBUTORS 
DENVER    •   TORONTO    •  HAVANA   •  PARIS  »  2UR1CH 


74 


I 


nside  Radio 

All  Times  Listed  Are  Eastern  Daylight  Time. 


Monday  through  Friday 


NBC 


MBS 


ABC 


CBS 


Moi 

8:30 
8:45 

■ling    Progra 

ins 

Local  Program 

9:00 
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3:00 

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3:05  Matinee  With 

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World  Of  Nordine 
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5:50  Wismer,  Sports 
5:55  Cecil  Brown 

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5:55  Wall  Street  Final 

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7:00 

Alex  Dreier,  Man 
On  The  Go 

Fulton  Lewis,  Jr. 

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7:15 

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Hall 
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10:00 

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10:20  Franchot  Tone 

10:30 

Parade  Of  Bands 

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Tuesday 


Evening    Programs 


6:00 
6:30 
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NBC 
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MBS 
Local   Program 

ABC 
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CBS 
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7:00 
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Alex   Dreier, 
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7:55  News 

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8:00 
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Dragnet 
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Combs 
10:20  Franchot  Tone 
Take  Thirty 

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10:05  Campaign  '5( 

May  15   &  29,   Politics   And   Primaries 


Wednesday 


Evening    Programs 


6:00 
6:30 
6:45 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 

9:15 
9:30 
9:45 


10:00 
10:15 

10:30 


Three  Star  Extra 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One  Man's  Family 


Truth   Or 

Consequences 
Air  Time 
8:55   News 


You  Bet  Your  Life 
— Groucho  Marx 

Duet  In  Rhythm 


Pauline  Frederick 
10:05  Chet  Huntley 
News,  Wilson 
10:20   This    IS 

Moscow 
Today  &  Tomorrow 


Local    Program 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 
Gabriel    Heatter 
Special  Edition 


Gangbusters 
Public  Prosecutor 


News,  Lyle  Van 
9:05  World  Of  Sports 
Success  Story,  U.S.A. 
Family  Theater 


Virgil  Pinkley 
Soundstage 

Sounding   Board 


Bill  Stern,  Sports 


Jackson  &  The  New! 
Lowell  Thomas 


Ed  Morgan  News 
Quincy  Howe 


Events  Of  The  Day 
7:55  News 


The  World  And  You 
8:25  News 
High  Moment 


Sound  Mirror 

9:25   News 
Offbeat 

9:55  News 


Vandercook,  News 
10:05  Pabst  Fights 


News,  LeSeuer 


Bing  Crosby 
Edward    R.    Murrow 


My  Son,  Jeep 
Johnny  Dollar 
FBI  In  Peace  And 
War 


News,  Collingwood 
9:05  Jack  Carson 

Amos   V  Andy 
Music  Hall 


The  World  Tonight 
10:05  Newsmakers 
Presidential   Report 


Thursday 

Evening 

Programs 

Bill  Stern,  Sports 

Jackson  &  The  News 
Lowell  Thomas 

6:00 
6:30 
6:45 

Three  Star  Extra 

Lot 

al  Program 

7:00 
7:15 

7:30 
7:45 

Alex  Dreier, 
Man  On  The  Go 

News  Of  The  World 
One  Man's  Family 

Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
Gabriel  Heatter 
Eddie  Fisher 

Ed  Morgan,  News 
Quincy  Howe 

Events  Of  The  Day 
7:55  News 

News  Analysis, 
LeSeuer 

Bing  Crosby 
Edward  R.  Murrow 

8:00 
8:15 
8:30 

People  Are  Funny 
The  Goon  Show 

Official  Detective 
Crime  Fighter 

The  World  And  You 

8:25  News 

Dean  James  A.  Pike 

My  Son,  Jeep 
Johnny   Dollar 
21st  Precinct 

9:00 

9:15 
9:30 
9:45 

News 

9:05  American 

Adventure 
Conversation 

News,  Lyle  Van 
9:05  World  Of  Sports 
Book  Hunter 
State  Of  The  Nation 

Sound  Mirror 

9:25  News 
Offbeat 
9:55   News 

News,  Herman 
9:05  Jack  Carson 

Amos   V  Andy 
Music  Hall 

10:01 
10:15 
10:3( 

Pauline  Frederick 
10:05  Chet  Huntley 
Dorsey  Brothers 

Jane    Pickens   Show 

Virgil  Pinkley 
Soundstage 
Music  For  You 

Vandercook,  News 
10:05  George  H. 

Combs 
10:20  Franchot  Tone 
Platterbrains 

The  World  Tonight 
10:05  Dance  Music 

6:00 
6:30 
6:45 


7:00 
7:15 


7:30 
7:45 


8:00 
8:15 
8:30 


9:00 
9:15 


9:30 
9:45 


10:00 


10:15 
10:30 


Friday 


Three  Star  Extra 


Alex  Dreier, 
Man  On  The  Go 


News  Of  The  World 
One    Man's    Family 


National    Radio    Fan 
Club 


NBC    Job    Clinic 
9:05  Radio  Fan  Club 
(con.) 


9:55   News 


Cavalcade  Of  Sports 
10:25  Sports  Digest 


Evening    Programs 

Local  Program 


Fulton  Lewis,  Jr. 
America's  Business 
7:20  Dinner  Date 
7:25  Men  Of  Action 
Gabriel  Heatter 
Special   Edition 


Counter-Spy 
City  Editor 


News,  Lyle  Van 
9:05  World  Of  Sports 
American  Travel 

Guide 
Double  Date 


Virgil   Pinkley 

Soundstage 
Music 


Bill  Stern,  Sports 


Ed  Morgan,  News 
Quincy  Howe 


Events  Of  The  Day 
7:55  News 


The  World  And  You 
8:25  News 
YourBetterTomorrow 


Sound  Mirror 


Listen 
9:55  News 


Vandercook,  News 
10:05  G.  H.  Combs 
10:20  Franchot  Tone 
Vincent  Lopez 


Jackson  &  The  New 
Lowell  Thomas 


News  Analysis, 
LeSeuer 


Bing  Crosby 
Edward    R.    Murro 


My  Son,  Jeep 
Johnny  Dollar 
CBS  Radio  Worksho 


News,  Collingwood 
9:05  Jack  Carson 


Amos  V  Andy 
Music  Hall 


The  World  Tonight 
10:05  Capitol 
Cloakroom 


I 


nside  Radio 


Saturday 


NBC 


MBS 


ABC 


CBS 


i»rning    Programs 

0 

5 


World   News 
Roundup 

Local  Program 

8:55  News 

News 

Monitor 

No  School  Today 

News  Of  America 
Farm  News 

Garden  Gate 

Monitor 

Good  News 

No  School 

Today  (con.) 
News 
10:35  Moppets  & 

Melody 
10:55  News 

News,  Jackson 
10:05  Galen  Drake 
Show 

Monitor 

News 

11:05   Magic  of 
Music 

Musical     Wheel     Of 

Chance 
11:55  Les  Paul  & 

Mary  Ford 

News 

11:05  Franchot  Tone 
Presenting  Con- 
stance Bennett 
News 

11:35  All   League 
Clubhouse 

News,  Calmer 
11:05  Robert  Q. 
Lewis  Show 

leriioon    Programs 


National  Farm  & 
Home    Hour 

Monitor 

Here's  Hollywood 
12:05  Teenagers,  USA 

News 

12:05  World  Tourist 
101   Ranch  Boys 
News 

12:35   American 
Farmer 

News,  Jackson 
12:05  Romance 

Gunsmoke 
12:55  Tremendous 
Trifles 

Monitor 

Fifth    Army    Band 
1:25  Men's  Corner 

News 

1:05   Navy  Hour 

Shake  The  Maracas 
l:55  News 

News,  Jackson 
1:05  City  Hospital 

Kathy  Godfrey 

Monitor 

Lucky  Pierre 

Festival 

News,  Townsend 
2:05   Adventures   in 
Science 

Monitor 

Country  Jamboree 
Sport  Parade 

Festival  (con.) 

News,  Bancroft 
3:05  Richard  Hayes 

Show 
Treasury  Show 

Monitor 

Standby  Sports,  with 
Harry  Wismer 

Festival  (con.) 

News,  Cochran 
4:05  Treasury  Show 

(con.) 
Make  Way  For  Youth 

Monitor 

Standby  Sports  with 
Harry  Wismer 
(con.) 

5:55  Les  Paul  & 
Mary  Ford 

News 

5:05  Pop  Concert 

News 

5:35  Dinner  At  The 
Green  Room 

News,   Cochran 
5:05  New  Orleans 

Jazz   Band    Ball 
Saturday  At  The 

Chase 

|ening    Programs 


p 

1 

Monitor 

John  T.  Fiynn 

News 

6:05  Pan-American 

News,  Cioffi 
6:05  Music  By 

f 

Union 

Antonini 

6:25  Features 

i 

Report  From 
Washington 

Sports  Kaleidoscope 

Young  Ideas 

L 

Sports,  Neal 

Bob  Edge,  Sports 
Afield 

1 

Monitor 

Pop  The  Question 

News 

7:05  At  Ease 

7:25  Features 

News,  LeSeuer 
7:05  Juke  Box  Jury 

g 

The  Big  Surprise 

Word  Of  Life 

c 

Monitor 

True  or  False 

News 

News,  Jackson 

p 

8:05  Dance  Party 

8:05  Country  Style 

Quaker  City  Capers 

News 

8:35  Dance  Party 

b 



(con.) 

8:55  Sports 

P 

Monitor 

1  Ask  You 

News 

Rock  'n'  Roll 

9:05  Dance  Party 

(con.) 
National  Juke  Box 

Dance  Party 

Grand  Ole  Opry 

Lombardoland,  U.S. A 

Basin  Street  Jazz 

Monitor 

Oklahoma  City 
Symphony 

News 

10:05  Hotel  Edison 

News 

Orch. 

News 

Orchestra 

10:35  Lawrence  Welk 

Sunday 


NBC 


Morning    Programs 


8:30    Monitor 
8:45 


MBS 


9:00 
9:15 


9:30 
9:45 


10:00 
10:15 


10:30 
10:45 


11:00 
11:15 
11:30 
1 1  -.45 


World  News  Roundup 
Monitor 


Art  Of  Living 


National   Radio 
Pulpit 

Monitor 


Monitor 


11:35  New  World 


Wings  Of  Healing 
Back  To  God 


Radio  Bible  Class 
Voice  Of  Prophecy 


Frank  And  Ernest 

Christian  Science 

Monitor 
Northwestern 

Reviewing  Stand 


ABC 


Light  &  Life  Hour 


News 
9:05GreatComposers 

Voice  of  Prophecy 


News 

10:05  Message  Of 

Israel 
News 
10:35  College  Choir 


News 

11:05    Marines    On 
Review 

News 

11:35  Christian  In 
Action 


CBS 


Renfro  Valley 
8:55  Galen  Drake 


World  News  Roundup 
The  Music  Room 

Church    Of   The   Air 


News,  Trout 
10:05  E.  Power 

Biggs 
The  Leading  Question 


News 

11:05    Invitation   To 
Learning 

Salt  Lake  Tabernacle 
Choir 


Aftt 

12:00 

12:15 
12:30 

12:45 

-moon    Progi 

Monitor 

The  Eternal  Light 

■ams 

As  I  See  It 

News,  Bill  Cunning- 
ham 
Christian  Science 

Management  Show 

As  We  See   It 
Herald  Of  Truth 

News,  Robert  Trout 
12:05  Washington 

Week 
World  Affairs 
Guy  Lombardo  Time 

1:00 

1:15 
1:30 
1:45 

Monitor 

Les  Paul  &  Mary  Ford 
1:05  Front  Page 

Exclusive 
Men's  Corner 
Lutheran   Hour 

Dr.  Wm.  Ward  Ayer 

News 

1:35   Pilgrimage 

Woolworth    Hour- 
Percy   Faith, 
Donald  Woods 

2:00 
2:15 
2:30 
2:45 

Monitor 

The  Catholic  Hour 

Music    From   Britain 

Dr.  Oral  Roberts 
Wings  Of  Healing 

Symphonette 

Kirsten    Flagstad— 
Opera   From    Oslo 

3:00 
3:15 
3:30 
3:45 

Monitor 

Dr.  James   McGinlay 
Billy  Graham 

Kirsten  Flagstad 
(con.) 

4:00 
4:15 
4:30 
4:45 

Monitor 

Wismer,    World    Of 

Sports 
4:55   Here's 

Hollywood 

Old-Fashioned 
Revival  Hour 

News 

4:05   Music   On   A 
Sunday  Afternoon 

5:00 

5:15 

5:30 
5:45 

Monitor 
5:05  Drama 

Wismer,    World    of 
Sports  (con.) 

Bosman's  Bandstand 
5:55  Tomorrow's 
World 

Freedom  Sings 

Concert 
5:25  Van  Voorhis, 

News 
Greatest  Story  Ever 

Told 

News 

5:05  Indictment 

Fort  Laramie 

Evening    Programs 


6:00 

Meet  The  Press 

Walter  Winchell 

Monday  Morning 
Headlines 

News 

6:05  Burgess 

6:15 

Tomorrow's 
Headlines 

Paul  Harvey,  News 

Meredith 

6:30 

Monitor 

On  The   Line,   Bob 
Considine 

News 

6:35  Evening  Comes 

Gunsmoke 

6:45 

Les  Paul  &  Mary  Ford 
6:50  Sports 

7:00 

Monitor 

By  The  People 

News 

7:05  Showtime 
Revue 

News  Analysis 
7:05  Bergen- 
McCarthy  Show 

7:15 

George  E.  Sokolsky 

7:30 

Pan-American 

News 

7:45 

Panorama 

Travel  Talk 

8:00 

Monitor 

Hawaii  Calls 

America's  Town 
Meeting 

News 

8:05  Our  Miss 

8:15 

Brooks 

8:30 
8:45 

Bopsoir  Paris 

Two  For  The  Money 

9:00 

Monitor 

Wm.  Hillman,  News 

Overseas  Assignment 

News 

9:05    Music    Hall, 

9:15 

Dick  Joseph, 
World  Traveler 

Lifetime  Living 

Mitch  Miller 

9:30 

Martian  Forum 

News,  Van  Voorhis 

9:45 

Keep  Healthy 

9:35  Sammy  Kaye 
9:55   News 

9:55  Jim  McKay 

10:00 

Billy  Graham 

News,  E.  D.  Canham  News 

10:15 

Richard   Hayes           10:05  Face  The  Na- 
Sings                           tion 

10:30 

American  Forum 

Global    Frontiers 

Revival  Time 

Church  Of  The  Air 

See    Xcxt   Page- 


75 


TV  program  highlights 

NEW  YORK  CITY  AND  SUBURBS  AND  NEW  HAVEN,  CHANNEL  8,  MAY  8— JUNE  4 


Baseball  on  TV 


D — Doubleheader 


R — Road  game 


DATE 


CH. 


8,  Tue. 

2:00 

11 

9,  Wed. 

2:00 

11 

10,  Thur. 

2:00 

11 

11,  Fri. 

8:15 

11 

8:30 

9 

12,  Sat. 

2:00 

2,9 

2:00 

8,11 

13,  Sun. 

2:00 

9 

2:00 

8,11 

14,  Mon. 

8:00 

11 

15,  Tue. 

1:30 

11 

8:00 

11 

8:00 

9 

16,  Wed. 

1:30 

11 

8:00 

9 

17,  Thur. 

8:00 

11 

18,  Fri. 

1:30 

11 

8:00 

9 

9:00 

11 

19,  Sat. 

2:00 

8,9 

2:00 

11 

2:30 

2 

Cleve.  vs.  Yanks 
Cleve.  vs.  Yanks 
Cleve.  vs.  Yanks 
Bait.  vs.  Yanks 
Giants  vs.  Dodgers 
Giants  vs.  Dodgers 
Bait.  vs.  Yanks 
Giants  vs.  Dodgers 
Bait.  vs.  Yanks — D 
Yanks  vs.  Cleve. — R 
Chi.  vs.  Giants 
Yanks  vs.  Cleve. — R 
St.  L.  vs.  Dodgers 
Chi.  vs.  Giants 
St.  L.  vs.  Dodgers 
Mil.  vs.  Giants 
Mil.  vs.  Giants 
Cine.  vs.  Dodgers 
Yanks  vs.  Chi. — R 
Cine.  vs.  Dodgers 
Mil.  vs.  Giants 
Yanks  vs.   Chi. — R 


DATE 

TIME 

20,  Sun. 

2:00 

2:00 

9:15 

21,  Mon. 

1:30 

22,  Tue. 

1:30 

8:00 

23,  Wed. 

1:30 

1:30 

24,  Thu. 

8:00 

25,  Fri. 

8:00 

26,  Sat. 

2:00 

8:00 

27,  Sun. 

2:00 

28,  Mon. 

8:15 

29,  Tue. 

2:00 

30,  Wed. 

1:30 

31,  Thu. 

2:00 

JUNE 

1,  Fri. 

3:00 

8:15 

2,  Sat. 

2:00 

3,  Sun. 

2:00 

4,  Mon. 

10:00 

8,9  Chi. vs.  Dodgers— D 
11  St.  L.  vs.  Giants — D 
11  Yanks  vs.  Det.— R 
11  St.  L.  vs.  Giants 
11  Cine.  vs.  Giants 
9  Mil.  vs.  Dodgers 
9  Mil.  vs.  Dodgers 
11  Cine.  vs.  Giants 
9  Dodgersvs.Phil.— R 
11  Dodgers  vs.  Giants 
2,  8, 11  Dodgers  vs.  Giants 
11  Yanks  vs.  Bait.— R 
8, 11  Dodgers  vs.  Giants 
11  Boston  vs.  Yanks 
11  Boston  vs.  Yanks 
11  Wash.  vs.  Yanks— D 
11  Wash.  vs.  Yanks 

9  Dodgers  vs.  Chi. — R 

11  Cleve.  vs.  Yanks 

2,  11,  8  Det.  vs.  Yanks 

8, 11  Det.  vs.  Yanks 

9  Dodgers  vs.  Mil. — R 


76 


Monday  through  Friday 


7:00  ©  Good  Morning!— Rogers  is  willin' 

©  Today — Garroway  &  Co.  eye-opener 
8:00  0  Captain  Kangaroo— Jumpin'  joy 

O  Tinker's  Workshop— Kiddie  kapers 
8:55  0  George  Skinner  Show— AM  variety 
9:00  ©  Herb  Sheldon-&  Jo  McCarthy 
0  Romper  Room— TV  kindergarten 
10:00  0  Garry  Moore— Just  charmin' 

©  Ding  Dong  School— For  kids  3  to  5 
0  Tune  In  Any  Time  Theater— Feature 
film   repeated  at  noon  and  2   P.M. 
10:30  0  Godfrey  Time— Mob.  thru  Thurs. 
©  Ernie  Kovacs— &  wife  Edie  Adams 
O  Claire  Mann— Charm  &  beauty  hints 
11:00  ©  Home— Arlene  Francis,  femcee 
1 1 :30  0  Strike  It  Rich— Quiz  for  the  needy 
12:00  0  Valiant  Lady— Flora  Campbell  stars 

©  Tennessee  Ernie— Erniebutnotearnest 
12:15  0  {a]  Love  Of  Life— Stars  Jean  McBride 
12:30  0  [U  Search  For  Tomorrow— Serial 

©  Feather  Your  Nest— Quiz,  Bud  Collyer 
12:45  0  [U  Guiding  Light— Daily  story 
1:00  0  Jack  Paar  Show— A  spring  tonic 

©  One  For  Sheldon— Man  with  dimples 
1:30  0  As  The  World  Turns— Drama 
©  Sky's  The  Limit— Hi-flyin'  quiz 
2:00  0  Robert  Q.  Lewis  Show— Qute 
2:30  0  3  Art  Linkletter's  House  Party 
3:00  0  Big  Payoff— Queen  Bess  Meyerson 
©  Matinee  Theater— Superb  teleplays 
0  (T)  Film  Festival— British  cinema 
0  Ted  Steele— Happy-go-lucky  show 
fj)  Dione  Lucas— Knows  what's  cookin' 
3:30  0  Bob  Crosby  Show— Alive  with  jive 

(D  Candid  Camera— Fun  with  Funt 
4:00  0  Brighter  Day— Daily  serial 

©  Date  With  Life— Dramatic  stories 
4:15  0  Secret  Storm— Peter  Hobbs 
4:30  0  The  Edge  Of  Night-John  Larkin 

©  Queen  For  A  Day— Jack  Bailey  quiz 
0  Life  With  Elizabeth— Betty  White 

EVENING 

7:30  ©  QF]  Songs— Gordon  MacRae,  M.;  Dinah 
Shore,  Tu.,  Th.;  Eddie  Fisher,  W.,  F. 

0  Million  Dollar  Movie— May  7-13, 
"Hotel  Reserve,"  James  Mason;  May  14-20, 
"Hitler's  Children,"  Bonita  Granville,  Otto 
Kruger;  May  21-27,  "The  True  and  the  False," 
Signe  Hasso;  May  28-June  3,  "Action  in 
Arabia,"    George    Sanders,    Virginia    Bruce. 

7:45  ©  News  Caravan— Swayze 


10:00  0  Million  Dollar  Movie-See  7:30  P.M. 
11:00  0    ©    0   Q)  News  &  Weather 
11:15  0  The  Late  Show— Feature  films 
11:20  ©  Steve  Allen— Merry  music-maker 
11:30  0  The  Night  Show— Good  films 


Monday  P.M. 


7:30  0  Topper — Haunted  merriment 
(D  Susie— Ann  Sothern  re-runs 

8:00  0  Burns  &  Allen— Georgie  &  Gracie  go 
©  Caesar's     Hour  —  Except     May     28, 
"Bloomer  Girl,"  on  Producers'  Showcase 
0  [I]  Digest  Drama— Gene  Raymond 
(Jl  Public  Defender— Reed  Hadley  stars 

8:30  0  Godfrey's  Talent  Scouts— Variety 
0  GO  Voice  Of  Firestone— Concerts 

9:00  0  [|]  I  Love  Lucy— Looney  with  Lucy 
©  Medic— Man  with  a  scalpel 
0  Boxing— 2  hrs.  from  St.  Nicholas 
0  J.  Arthur  Rank  Films— 2-hr.  features 

9:30  fcj  December  Bride— With  Spring  fever 
©  Robert  Montgomery  Presents 
10:00  0    ©  Studio  One— Hour-long  dramas 
10:30  ©  Doug  Fairbanks  Presents— Stories 


Tuesday 


7:00  ©  Gildersleeve— Whataman  Waterman 
7:30  0  Name  That  Tone— Mu$ical  quiz 

©  Waterfront— Preston  Foster  covers  it 

0  [¥]  Warner  Bros.  Presents— Film 
8:00  0  Phil  Silvers  Show— Hilarious 

©  Martha  Raye,  May  8  &  29;  Milton 

Berle,  May  15  &  June  5;  Bob  Hope,  May  22 

9:00  0  Guy   Lombardo    Diamond  Jubilee 

©  Jane    Wyman's    Fireside    Theater 

0  QF]  Danny    Thomas    Show— Chuckles 
9:30  0  Red  Skelton  Show— Comedy  deluxe 

0  (jf)  Cavalcade  Theater— Dramas 
10:00  0  HD  $64,000  Question— Hal  March 
10:30  0  Do  You  Trust  Your  Wife? 

©  Big  Town— Mark  Stevens,  reporter 


Wednesday 


7:30  0  [§]  Disneyland— Fun  &  fantasy 

8:00  0  Godfrey  &  Friends— Always  gay 
©  Screen  Directors'  Playhouse 

8:30  ©  Father    Knows    Best— Robert    Young 
(0  Badge  714— Re-runs  of  Dragnet 

9:00  0  The  Millionaire— $tories 

©  Kraft  Theater— Hour-long  teleplays 
0  [I]  Masquerade  Party— Lotsa  laffs 
(J)  Confidential  File— Sensational 


9:30  0  I've  Got  A  Secret— More  of  Moore 
0  \a]  Break  The  Bank— Cash  quiz 
10:00  0  U.S.  Steel  Hour-May  9,  Ethel  Mer 
man  in  "Honest  the  Rain" 

©  This  Is  Your  Life— Live  bios 
0  [sj  Wednesday  Night  Fights 
10:30  ©  Midwestern  Hay  ride— Rip-snortin' 


Thursday 


7:30  0  The  Goldbergs— Merry  with  Molly 

8:00  0  Bob  Cummings  Show 

©  You  Bet  Your  Life — Groucho  Marx 
0  Liberace— Valentino  of  the  keyboard 

8:30  0  Climax  —  Suspense      dramas      except 
May  10,  Shower  Of  Stars,  music  &  comedy 
©  Dragnet — Detective  drama 
0  [§]  Stop  The  Music— Bert  Parks,  emcee 

9:00  ©  People's  Choice — Jackie  Cooper 
0  Professional  Wrestling 

9:30  0  Four  Star  Playhouse— Drama 
©  (J\  at  10)  Ford  Theater 
0  {&}  Down  You  Go— Dr.  Bergen  Evans 
10:00  0  Arthur  Murray  Party— Mrs.  femcees 

©  Lux  Video  Theater— Hour  dramas 
10:30  0  Racket  Squad— Handsome  Hadley 


Friday 


7:30  0  My  Friend  Flicka— Friendly  filly 
0  I  Spy— Raymond  Massey  stars 

8:00  0  Mama— Peggy  Wood  perennial 

©  Sherlock  Holmes— Vintage  Dragnet 
0  [¥]  Ozzie  &  Harriet— Wonderful 

8:30  0  Our  Miss  Brooks— Connie's  comic 
©  Life  Of  Riley— Bunglin'  Bill  Bendix 

9:00  ©  Big  Story— Real  stories  of  reporters 
0  Dollar  A  Second— Quiz  for  cash 

9:30  ©  Star  Stage— Half-hour  plays 

0  [U  The  Vise— Mysteries 
10:00  0  The  Line-Up— Police  dramas 

©  Boxing— With  Jimmy,  the  Powerhouse 
0  Ethel  &  Albert— Marital  mayhem 
10:30  0  Person  To  Person— Visit  the  famed 
0  Adventures  Of  The  Falcon 


Saturday 


7:00  0  Music  From  Meadowbrook 
7:30  0  Beat  The  Clock— Couples  compete 
©  The  Big  Surprise— Mike  Wallace 
8:00  0  (U  Honeymooners— Jackie  Gleason 
©  Perry  Como  Show— Hour-long  revue 
8:30  0  [U  Stage  Show— The  Dorseys  &  guests 
9:00  0  Two  For  The  Money— $hriner  quiz 
©  People  Are  Funny— Linkletter 
0  |J]  Lawrence  Welk— Bubbling 
9:30  0  It's  Always  Jan— Except  June  2,  Star 
Jubilee,    "A    Bell    for    Adano,"    9:30-11:00 
10:00  0  Gunsmoke— Western  drama 

©  George  Gobel  Show— Little  King 
0  rj]  Chance  Of  A  Lifetime— Variety 
10:30  ©  Your  Hit  Parade— Top  tunes 


Sunday 


7:00  0  Lassie— Canine  pin-up  queen 

©  It's  A  Great  Life— James  Dunn's  fun 
0  (T|  You  Asked  For  It-Oddities 

7:30  0  (U  Jack  Benny— Alternates  with  Ann 
Sothern's  Private  Secretary 

©  Frontier— Realistic Westerns.Liebman 

Presents  "Maurice  Chevalier  Show,"  May  20 
0  Famous  Film  Festival— English  hits 
8:00  0  [|]  Ed  Sullivan  Show— Extravaganza 
8:30  (D  Foreign  Intrigue— Gerald  Mohr  stars 
9:00  0  G-E-  Theater— Luminous 

©  TV  Playhouse— Hour  teleplays 
0  [I]  Original  Amateur  Hour 
9:30  0  Alfred  Hitchcock  Presents-Drama 
10:00  0  $64,000  Challenge— Quiz 

©  Loretta  Young  Show— Drama 
10:30  0  (H  What's  My  Line?-Job  game 
©  Justice— From  Legal  Aid  files 


Wife  In  a  Million 


(Continued  from  page  57) 
And  when  Rhoda,  with  a  little  bounce  in 
her  chair  and  a  flip  of  her  red  curls, 
quips:  "Don't  be  silly  .  .  .  without  you, 
I'd  probably  be  slinging  hash  in  a  bar- 
gain basement!"  you  know  that  here's  a 
woman  who  returns  her  husband's  devo- 
tion ...  a  woman  who  really  does  wonder 
what  life  without  Ted  could  hold  for  her. 

But  neither  Ted  nor  Rhoda  wastes  val- 
uable time  brooding  over  such  a  morose 
existence.  Instead,  they  throw  themselves 
into  an  unbelievably  active  minute-by- 
minute,  hour-by-hour,  day-by-day  mode 
of  living.  Certainly  they  have  hopes  and 
plans  for  the  future,  but  they  do  not 
waste  today  in  heavily  concentrated  con- 
templation of  what  at  best  can  only  be  an 
uncertain  tomorrow.  Living  for  them 
must  have  freedom — freedom  for  change. 
What  they  do  in  any  hour  of  any  day  will 
help,  in  one  way  or  another,  to  cement 
the  future — and,  if  an  unexpected  change 
during  the  course  of  one  day  alters  the 
course  of  their  future,  that's  all  right  with 
them  .  .  .  just  so  long  as  the  change  brings 
one  or  the  other  personal  satisfaction.  As 
Ted  puts  it,  "Whenever  I  feel  hemmed-in 
or  bogged  down  by  some  particular  piece 
of  work,  Rhoda  always  says,  'Leave  it. 
Take  a  chance  on  either  doing  it  the  way 
you  feel  is  right,  or  doing  something  com- 
pletely different.  What  we  have  or  haven't 
doesn't  make  any  difference  to  me.  I  just 
want  you  to  like  what  you're  doing  and 
feel  you're  getting  somewhere  in  it.  That's 
all  that  really  matters.'  And,  believe  me, 
this  attitude  of  'I'm  with  you,  boy,  take 
a  chance'  has  been  just  the  wifely  back- 
ing I've  needed." 

It's  not  that  Ted  and  Rhoda  ignore  the 
benefits  and  joys  that  money  can  bring 
into  life.  Far  from  it.  In  fact,  if  it  hadn't 
been  for  a  sudden  windfall  of  three  hun- 
dred dollars,  their  marriage  might  have 
been  postponed  for  some  time.  You  see, 
when  they  first  met,  Ted  was  just  starting 
out  in  the  big  city  with  a  small  announc- 
ing job  at  Station  WOR.  Rhoda,  who  has 
an  insatiable  curiosity,  visited  the  studio 
to  see  what  it  was  all  about.  During  her 
tour,  an  emcee  introduced  her  to  Ted — 
who,  after  a  few  words,  handed  her  a 
stick  of  chewing  gum,  an  obvious  effort 
not  to  let  this  human  dynamo  get  away. 
"That's  how  she  got  stuck  with  me,"  he 
grins.  Actually,  it  didn't  happen  quite 
that  fast  with  Rhoda.  She  was  more  cau- 
tious, and  it  took  two  years  of  dating 
before  she  was  really  thinking  in  terms 
of  their  future  together.  But,  even  when 
they  did  get  to  this  point,  there  still  wasn't 
enough  money. 

Then  came  the  windfall.  Though  three 
hundred  dollars  isn't  a  great  deal  of 
money,  by  quiz-show  standards,  they  de- 
cided it  was  a  lucky  omen  and  rushed 
down  to  the  marriage  bureau  for  the  wed- 
ding license.  After  a  civil  ceremony, 
there  was  a  small  luncheon  at  Ruby  Foo's 
(all  they  could  afford) .  A  short  time 
later,  in  deference  to  Ted's  parents' 
wishes,  they  had  a  church  wedding — this 
time  followed  by  a  luncheon  at  the  Hotel 
New  Yorker.  ("Nothing  the  matter  with 
our  appetites!"  quips  the  redhead.) 

Their  first  home  was  a  small  apartment 
on  the  edge  of  New  York's  Greenwich 
Village.  As  Rhoda  describes  it,  it  was  a 
far  cry  from  their  present  home — "two- 
and-a-half  rooms  and  three  rat  holes,"  is 
the  way  she  remembers  it.  With  a  laugh, 
she  continued,  "It  really  wasn't  that  bad, 
but  you'd  certainly  never  call  it  'chic' 
From  there  we  jumped  in  and  out  of  a 
couple  of  other  apartments,  until  finally 
we  decided  the  children,  Tony  and  Ricky, 
should  have  a  house  with  a  yard." 


As  they  looked  for  houses  around  New 
York,  Ted  was  partial  to  a  section  of  the 
city  called  Riverdale  ...  a  section  along 
the  Hudson  River  that  has  happily  re- 
tained its  "country  look."  Used  to  the 
hubbub  of  the  city  proper,  Rhoda  first 
thought  that  moving  to  Riverdale  would 
be  like  moving  into  a  vacuum.  But  it 
didn't  take  her  long  to  discover  her  mis- 
take. And  now,  after  two  years,  she'll 
mentally  tear  you  limb  from  limb  if  you 
so  much  as  dare  even  to  entertain  the 
thoughts   she   once   had. 

The  Browns'  home  is  a  lovely,  large, 
nine-room  Welsh  house,  named  by  its 
flippant  owners,  "Belliacres."  It  was  built 
some  years  ago  by  a  Welshman  whose 
hobby  was  building  organs  .  .  .  which  he 
did  in  the  huge  basement  of  the  house. 
Having  such  a  large  basement  proved 
perfect  for  Ted  and  Rhoda,  since  it  meant 
they  could  install  their  own  broadcasting 
studio  there  and  eliminate  the  daily  pre- 
dawn trips  to  WMGM's  midtown  studios. 
Now  they  happily  roll  out  of  bed  at  6:30 
(Monday  through  Saturday)  and  into 
their  studio  to  be  on  the  air  at  7  (after 
first  receiving  a  "one  minute  to  go"  warn- 
ing phone  call  from  their  New  York  engi- 
neer). From  then  on,  until  10  A.M.,  they 
merrily  spin  records,  indulge  in  ad-lib 
verbal  battles  with  each  other,  pass  along 
useless  (occasionally  even  useful)  infor- 
mation, and  just  generally  throw  life  and 
gaiety  into  the  morning  hours  that  most 
folks  find  dull  and  dreary.  The  "twist" 
that  has  made  The  Ted  Brown  Show  so 
popular  with  New  Yorkers  is  their  obvi- 
ously good-natured  squabbling.  Most 
husband-wife  teams  work  hard  to  prove 
to  their  public  that,  even  over  the  break- 
fast table,  they  bill  and  coo.  Not  so  the 
Browns.  One  minute  they  bill  and 
coo  .  .  .  but,  the  next  minute,  they're 
arguing  and  insulting  each  other  over 
such  hysterically  silly  things  that  many  a 
listener  has  missed  his  train  just  to  hear 
the  outcome. 

Finally,  NBC  Radio  decided  these 
Browns  were  too  good  to  be  confined  to 
a  local  station,  and  incorporated  them 
into  the  big  Monday-through-Friday 
Weekday  series.  Rhoda  is  still  awed  by 
the  fact  that  people  all  across  the  United 
States  can  hear  her  voice  .  .  .  which  is  not 
quite  accurate,  since— despite  Ted's  plead- 
ing to  "let  the  people  hear  what  a  nice 
voice  you  really  have" — Rhoda  has  never 
once  used  her  natural  voice  on  the  air. 
Instead,  she  resorts  to  all  kinds  of  accents 
and  nasal  or  guttural  inflections. 

Another  reason  Rhoda  stands  in  awe  of 
what  has  happened  to  her  is  the  fact  that 
she  never  intended  to  be  a  professional. 
This  was  her  husband's  job.  Hers  was 
the  family  and  home.  And,  strangely 
enough,  it  was  through  her  home  that 
she  landed  on  the  air.  Being  a  closely- 
knit  family,  one  of  the  Browns'  hobbies 
is  to  record  family  hijinks  on  film  and 
sound  tracks.  One  day,  just  for  the  fun 
of  it,  Ted  ran  off  a  section  of  one  of  these 
family  recordings  (with  Rhoda  doing  one 
of  her  accent  ad  libs)  on  his  morning 
show.  The  mail  flew  in  asking  for  more. 
Ted  obliged,  and  finally  coaxed  Rhoda, 
into  tape-recording  some  spots  for  him 
to  use  on  the  show.  Bit  by  bit  she  lost 
her  shyness,  and  bit  by  bit  she  became 
more  important  on  the  program,  until 
eventually  she  was  a  "steady." 

There  is,  however,  one  point  on  which 
she  is  adamant.  Her  career  (she's  apt  to 
put  a  question  mark  after  the  word)  must 
never  interfere  with  her  family  and  its 
need  for  her.  This  is,  in  reality,  the  main 
reason  for  their  having  a  broadcasting 
studio  in  their  home.     Even  though  she's 


HOLDS  IN  ABDOMEN  SCIENTIFICALLY 


The  tummy  requires  more  hold-in  in  some  areas 
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together  firmly.  You'll  feel  so  comfortably  light 
o'n  your  feet. 

HOW    THE     VARIABLE     STRETCH 


V  PANELS  WORK 


Imagine  3  pairs  of  hands 
(see  illustration)  each 
holding  a  V  panel 
stretched  across  the  ab- 
domen. One  pair  of  hands 
pulls  harder  where  there 
is  more  bulge.  A  second 
pair  of  hands  pulls  an- 
other panel  but  less 
firmly.  A  third  pair  of 
hands  now  pulls  on  the 
third  panel  but  just  hard 
enough  to  even  out  what 
the  other  hands  have  re- 
distributed. 

You    now   feel   wonderful!    Back,   abdominal    bulge 
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held-together.  Once  you  slip  into  a  Slimtex  you'll  never 
wear  another  belt.  No  steels,  bones,  or  buckles. 
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J         38  and  up 


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Name 


Address. 
City. 


_Zone State. 


77 


^  1/VprtlX/uxCKt/ — t|oa/f  Set-  Kx^ic 


-Ell 


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wear  "Naturally  Pink"  with 
your  most  innocent  smile — 
and  watch  the  sparks  fly! 


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Jtonds 


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glide  on.,  stay  on 
...and  ONI 


technically  "at  work,"  she's  really  at 
home.  Of  necessity,  she  does  have  a  gov- 
erness to  take  care  of  four-year-old 
Ricky.  But,  during  the  morning  broad- 
casts, she's  away  from  the  mike  at  least 
a  dozen  times  .  .  .  purportedly  to  leave 
Ted  to  get  himself  out  of  a  verbal  mish- 
mash, but  actually  to  tend  to  the  needs 
of  Ricky  and  teen-age  Tony  ...  to  be 
with  them  during  breakfast,  get  them  off 
to  school  (Ricky  to  nursery  school  and 
Tony  to  high  school)  and  do  all  the  things 
a  non-working  mother  does. 

And,  since  the  studio  is  in  their  home, 
the  door  is  always  open  to  the  family, 
including  the  four  delightfully  rambunc- 
tious dogs  who  combine  to  make  up  this 
uninhibited  household.  "Uninhibited"  it 
really  is,  right  on  down  to  some  of  the 
furnishings  which  were  designed  by 
Rhoda.  Take  the  coffee  table  and  two 
small  easy  chairs  which  form  a  grouping 
in  front  of  the  fireplace,  as  an  example. 
Both  the  chairs  and  the  table  (which 
Rhoda  had  cut  down  from  a  somewhat 
baroque  Italian  piece)  swivel.  How  many 
people  do  you  know  who  can  swivel  their 
coffee  table  in  one  direction  while  they 
themselves   spin  in   the   other? 

However,  Rhoda's  designing  ideas  are 
by  no  means  limited  to  the  "just  for  fun" 
things.  Along  the  wall,  facing  the  fire- 
place in  their  outsized  living  room,  is 
a  large  cabinet  of  light  wood  designed  by 
Rhoda  to  house  the  hi-fi  set  they  some 
day  plan  to  build.  Right  now,  though,  it 
holds  two  Spanish  water-jug  lamps  (the 
result  of  Rhoda's  active  imagination), 
while  its  sliding  shelves  house  the  knick- 
knacks  they  don't  know  what  else  to  do 
with. 

The  other  two  facing  walls  of  the  liv- 
ing room  have  large  picture  windows. 
Rhoda  has  draped  these  windows  with 
rose-beige,  pinch-pleated  silk  traverse 
curtains  that  also  swing  around  the  third 
wall,  stopping  at  the  fireplace.  When  the 
curtains  are  drawn,  the  unbroken  line 
gives  warmth,  flow  and  spaciousness  to 
the  room.  The  thirteen-foot,  modified 
S-shaped,  chocolate  brown  sofa  adds  to 
the  flow,  as  does  the  fact  that  the  living 
room,  center  hall  and  dining  room  are  all 
in  tones  of  rose-beige  and  brown,  with 
turquoise  as  color  relief.  It's  Rhoda's  be- 
lief that  a  house  should  show  hospitality 
immediately,  to  all  who  enter,  and  she 
does  it  with  harmonious  design  and  color. 

Her  dining-room  walls  are  covered 
with  a  brown  antiqued  silk  on  which  (at 
one  end  of  the  room)  a  Gothic  scene  has 
been  handpainted  in  turquoise,  "  'sea  foam' 
according  to  decorators,"  she  laughs. 
Her  two-walled  traverse  silk  drapes  har- 
monize with  the  "sea  foam"  of  the  wall- 
covering painting,  as  do  her  table  and 
chairs. 

When  she  comes  to  her  kitchen,  Rhoda 
positively  bursts  with  pride  .  .  .  and  right- 
fully so.  With  her  own  imagination  and 
knowledge  of  what  a  good  working 
kitchen  should  be  like,  she  has  com- 
pletely redesigned  the  old  room.  A  gray 
and  pink  kitchen,  it  is  now  complete  with 
a  six-burner  stove,  wall  oven  and  grill 
which  eliminate  "deep-knee  bending  or 
belly-whopping,"  an  electric  washer, 
miles  of  working  space  .  .  .  and  a  small 
counter  with  an  electric  plate — so  that 
when  she's  cooking  a  full  meal  for  a  pack 
of  hungry  adults,  the  baby's  food  can  be 
warmed  up  without  interfering  with  the 
main  cooking. 

"And. believe  me,"  beams  Ted,  "my  red- 
head knows  all  about  cooking.  She's 
probably  the  greatest!  The  pizza  pies 
that  girl  whips  together  .  .  .  the  cherry 
pies  .  .  ."  His  voice  trails  off,  and  one 
look  at  his  face  shows  that  Ted  Brown  is 
off  on  a  gourmet's  reverie. 

From   the   kitchen,   you   descend    to   the 


green  and  white  studio,  which  is  the  only 
finished  room  in  the  basement.  Replete 
with  three  turntables  and  quantities  of 
mysterious  equipment,  it  is  one  of  the 
most  complete  private  studios  one  can 
imagine.  Ted  is  sure  lots  of  people 
thought  he  was  crazy  to  put  so  much 
money  into  the  studio.  "Thought  we'd  be 
better  off  taking  the  daily  half-hour  drive 
to  WMGM's  studio,"  he  grins.  "Maybe 
so.  But,  aside  from  Rhoda's  and  the  fam- 
ily's needs,  what  they  don't  know  is  the 
amount  of  parking-ticket  money  I'm  sav- 
ing. Before  we  built  the  studio,  I  used 
to  have  the  questionable  honor  of  being 
the  only  citizen  with  what  I  called  a 
traffic-court  charge  account.  You  see,  I'd 
drive  down  so  early  in  the  morning  that 
I'd  arrive  at  a  time  when  parking  would 
be  permitted.  But  it  was  almost  impos- 
sible for  me  to  get  out  of  the  studio  in 
time  to  get  the  'death  trap'  (so  named  by 
Rhoda)  rolling  before  the  no-parking 
time  went  into  effect.  So  .  .  .  once  a 
month,  like  clockwork,  I'd  present  myself, 
tickets  and  check  to  the  traffic  court.  Be- 
sides being  an  expense  I  felt  we  could  do 
without,  it  was  a  constant  source  of 
worry  .  .  .  and  I  couldn't  be  happier  to 
be  rid  of  both." 

After  they  get  off  the  air  with  the 
morning  show,  Ted  and  Rhoda  tape- 
record  their  spots  for  NBC's  Weekday. 
When  this  is  finished,  Rhoda  is  usually 
free  to  be  a  housewife,  while  Ted  pre- 
pares for  the  next  day's  shows  or  pops 
in  at  one  of  his  "town"  studios.  In  addi- 
tion to  his  two  regular  shows,  every 
couple  of  months,  when  "Buffalo  Bob" 
Smith  takes  a  vacation  from  The  Howdy 
Doody  Show,  Ted  must  go  to  town  regu- 
larly to  rehearse  for  his  role  of  "Bison 
Bill."  But,  when  they're  both  home  for 
the  day,  Rhoda  is  careful  not  to  infringe 
upon  Ted's  time  any  more  than  she  would 
were  she  married  to  a  man  who  regularly 
went  to  an  office.  They  each  have  their 
own  cars,  so  there  is  no  problem  there  .  .  . 
if  Rhoda  wants  to  go  marketing  when  Ted 
is  home,  she  can  depart  without  worry- 
ing about  his  being  stuck. 

Whether  or  not  it  was  Rhoda's  market- 
ing sprees  that  gave  Ted   the  inspiration 
for  his  redhead's  last  birthday  present  is 
a  moot  question.    However  that  may  be 
he  decided  what  she  needed  was  a  station 
wagon   .   .   .  and  he  located  a  fire-engine 
red    one    in    Boston.     Just   the    thing,    he 
thought.     What  a   surprise!     The   evening 
before    her    birthday,    they    happened    tc 
watch  a  TV  show   and,  during  the   com- 
mercial, there  on  the  screen  appeared  the 
self-same    model    Ted    would    be    giving 
Rhoda  the  next  day.     Unable   to   contair 
himself,  he  praised  the  car.    To  his  horror 
his    unpredictable    redhead    tore    into    th< 
subject    with    vengeance — drivers    of    sta- 
tion   wagons    in    New    York    looked    a; 
though    they    were    delivering    for    druj 
stores  .  .  .  they  were  ridiculous,  ludicrous 
et  cetera,  et  cetera.    Ted  gulped.    Did  she 
really    feel    that    way?       (In    the    Browi 
household,    it's    often    hard    to    tell.)      O 
course,  she   felt   that  way   .   .   .   et  cetera 
et    cetera.      Then    suddenly    she    stopped 
There  was  something  about  her  husban< 
that    brought   to    mind    a    drowning    man 
After  quite  some  prodding  she  got  him  t< 
confess   ...  to  her  great  chagrin.     Wha 
had    she    done?      But   when    Ted    put    oi 
his  final  pitch:    "And  it's  fire-engine  red! 
she   burst   out   laughing    (Ted    claims   sh 
absolutely  roared  ...  he  remembers  trem 
bling    for    the    safety    of    their    ceiling) 
"With  my  hair?"  she  demanded.    The  up 
shot?     Rhoda  has  a  powder-blue  conver 
tible,  and  they  both  think  the  other  on 
was    too    funny    for    words.      And,    quit 
contrary  to  the   anti-bill-and-coo   "twist 
which    made    them    a    network    sensatior 
they  still  love  each  other  very  much. 


Turning  Point  On  the  Road  Of  Life 


(Continued  jrom  -page  64) 
He  is  neither  flippant  nor  facetious.  He  is 
serious,  kindly,  charming,  and  a  touch  on 
the  romantic  side.  For  gals,  he  is  a  special 
kind  of  guy:  "With  Doug,"  says  a  pretty 
friend,  "you  always  have  a  good  time.  Doug 
takes  wonderful  care  of  you.  Makes  you 
feel  as  if  you  were  on  a  velvet  carpet.  And 
he's  a  wonderful  talker.  And,  best  of 
all,  when  he's  talking,  he  looks  directly  at 
you." 

He  looks  at  you  with  blue  eyes.  Doug  is 
blond  and  stands  a  slim  five-ten.  Although 
he  does  a  lot  of  work  in  television  and  the 
theater,  you  may  know  him  best  for  the 
three  running  parts  he  carries  on  radio 
serials:  In  The  Road  Of  Life,  he  has  been 
featured  as  Hugh  Overton  for  six  years. 
I  In  The  Second  Mrs.  Burton,  he  plays  Joe 
Hendson.  In  Wendy  Warren  And  The 
News,  he  is  Paul  Benson. 

As  an  actor,  Doug's  life  centers  about 
New  York,  but  he  loves  small  towns.  He 
has  compromised  by  living  in  Greenwich 
Village  in  Manhattan.  In  the  Village,  some 
streets  are  so  crooked  and  narrow  that 
heavy  traffic  keeps  out.  Shops  are  small 
and  the  store-fronts  old.  In  warm  weather, 
people  sit  out  on  doorsteps  to  talk.  Doug's 
quarters  are  on  such  a  street.  He  lives  in 
a  small  apartment  building  with  a  sand- 
blasted, yellow  facade.  His  apartment  is 
three  floors  up,  and  he  shares  it  with 
Sherry,  a  Siamese  cat. 

"I  got  Sherry  about  six  years  ago,"  says 
Doug.  "About  the  same  time,  I  got  this 
apartment.  I  got  her  as  a  kitten  and 
named  her  Scheherazade  because  I  thought 
she  was  the  inscrutable,  exotic  Oriental 
type — but  I  was  wrong.  She  seems  to  be 
an  ordinary  intellectual  with  a  practical 
turn.  For  example,  if  we're  watching  tele- 
vision and  I  go  to  bed  after  Steve  Allen's 
show,  everything  is  all  right.  But,  if  I  de- 
cide to  to  stay  up  and  watch  a  late  movie, 
she  gets  annoyed.  Once  she  turned  off  the 
light." 

She  also  gets  annoyed  when  Doug  is 
working  on  a  play.  The  click  of  the  type- 
writer bothers  her,  so  she  climbs  up  on 
the  table  and  bats  at  the  paper.  After 
thirty  minutes  or  so  of  being  annoyed,  she 
retreats  to  the  bedroom  for  a  nap.  But 
she  isn't  really  being  put  out,  since  every 
one  of  Doug's  rooms  is  furnished  for  the 
comfort  of  man  or  cat. 

The  apartment,  as  a  whole,  is  masculine 
and  heavy.     Doug  has  done  practically  all 
the  work  himself.    One  of  his  great  pleas- 
ures is  working  with  wood,  so  he  bought 
most  of  the  furniture  at  auctions  and  re- 
i  finished  it.     The  living  room  is  set  up  in 
Italian     Renaissance.     Doug     pickled     the 
j  desk  and  chest  and  cabinet  to  match.    The 
i  cabinet,  a  massive  piece,  houses  his  tele- 
|  vision    set    and    phonograph    and    records. 
:  Then  he  took  a  very  heavy,  oval  console 
!  table  and  cut  the  legs  down  to  coffee  table 
j  height.     He  has  painted  the  walls  choco- 
j  late   brown   and   the   ceilings   pale   yellow. 
I  On   one   wall   is   a   painting   of   an   Italian 
fishing  scene  which  Doug  bought  in  Rome, 
!  and  on  another  wall  there  is  a  portrait  of 
!  Sherry  which  Doug  painted.     The  drapes 
are  yellow  with  brown  stripes  (sewing  was 
contributed  by  an  actress  friend) .     There 
is  a  woodburning  fireplace  made  of  white- 
washed bricks,  and  at  the  fireside  is  a  large 
flower   pot   where   Doug   grows    grass   the 
j  year  around, 
i      "Grass   is   the   only   greens   that   Sherry 
i  eats,"    he    explains.      "I    can    grow    a    full 
pot   in   two    or    three   days."      A    sack    of 
I  grass    seed    shares    cabinet    space    along 
i  with  groceries  in  the  kitchen.    It  is  a  good- 
|  sized  kitchen,  and  Doug  knows  how  to  use 
it.     About   twice    a   week   he    may    make 
I  a  meal  for  himself  and  friends. 


Doug's  bedroom  is  small  and,  to  counter 
the  box-like  effect,  he  put  moulding  around 
the  walls,  painted  the  ceiling  gold  and 
hung  matching  drapes.  A  long  hall  con- 
nects the  bed  and  living  rooms.  Halfway 
down  the  hall,  Doug  has  framed  and  nailed 
up  thirty  pictures  of  his  friends  in  one 
huge  block. 

He  gives  his  apartment  a  great  deal  of 
use.  He  entertains  often  and,  when  he 
is  not  at  work  as  an  actor  in  the  studio, 
he  is  at  work  as  a  playwright  in  his  own 
home.  He  has  had  eight  stage  plays  pub- 
lished by  Samuel  French  and  many  tele- 
plays  produced  on  such  shows  as  Ameri- 
can Inventory  and  Lights  Out.  But  it  is 
doubtful  that  any  of  the  characters  Doug 
has  created  as  a  writer  or  as  an  actor 
has  had  more  romantic  and  intriguing 
background   than   Doug   himself. 

"Douglass,"  is  a  family  name,  and  Doug's 
great- grandparents  were  members  of  the 
Black  Douglass  clan.  Doug  got  the  name 
at  birth  in  Philadelphia.  He  was  an  only 
child  and  his  father  was  a  business  man. 
When  Doug  was  three,  his  father  died. 
Doug  went  to  Clarksboro,  New  Jersey,  to 
live  with  his  maternal  grandparents.  His 
mother  commuted  as  often  as  possible 
between  Clarksboro  and  Philadelphia, 
where  she  held  a  clerical  job. 

"My  grandfather  was  probably  the  great- 
est single  influence  in  my  life,"  Doug  says. 
"He  was  a  wise  man  with  a  gentle,  childlike 
trust.  He  was  an  Episcopalian  minister, 
and  I  lived  with  him  in  New  Jersey  for 
ten  years.  I  had  a  wonderful  time  there. 
That's  why  I'm  so  fond  of  small  towns." 

There  was  a  teacher,  Miss  Ann  E.  Miller, 
who  taught  him  throughout  grade  school 
— and  is  credited  with  being  his  first  dra- 
matic coach.  As  early  as  kindergarten, 
Miss  Miller  had  Doug  and  his  friends  im- 
provising playlets.  "She  had  so  much 
warmth  and  understanding,"  Doug  says 
gratefully.  "She  was  one  of  the  reasons 
why   I  enjoyed   my  childhood   there." 

It  was  all  part  of  a  memorable  boyhood 
that  came  to  an  end  when  his  grandmother 
died.  For  a  time,  Doug  lived  again  in 
Philadelphia  with  his  grandfather,  mother 
and  aunt.  Then  his  grandfather  went 
visiting  in  Florida,  stayed  on,  and  was 
married  again.  He  invited  Doug  to  rejoin 
him  and  Doug  did.  "He  had  a  fine  house 
in  St.  Petersburg,"  Doug  recalls.  "He  lived 
to  be  ninety-two  and  until  the  day  he  died, 
he  read  a  chapter  from  the  Greek  testa- 
ment every  morning  and  tended  his  garden 
and  fruit  trees." 

Doug  was  graduated  from  St.  Petersburg 
High  School  and,  by  that  time,  really  had 
the  acting  bug.  But  his  grandfather  and 
mother  objected  strongly  to  acting  as  a 
career.  They  told  Doug  he  could  go  on  to 
college  only  if  he  studied  law.  "At  that 
age,"  he  says  today,  "becoming  an  actor 
was  of  life  or  death  importance  to  me,  and 
I  think  that  explains  what  I  was  about 
to  do — for  it  was  certainly  wrong.  Instead 
of  signing  up  for  a  pre-legal  course  at  the 
University  of  Florida,  I  chose  liberal  arts 
so  that  I  could  study  dramatics.  Well,  by 
Christmas  the  cat  was  out  of  the  bag  and 
my  family  was  furious.  They  made  it  clear 
that  I  had  to  give  up  either  acting  or  col- 
lege— so,  after  my  freshman  year,  I  quit.v 

Doug,  for  the  next  few  years,  held  a 
variety  of  jobs.  He  worked  as  an  office 
boy,  as  a  file  clerk.  He  signed  on  a  steamer 
as  a  "wiper" — that,  he  learned,  meant 
working  in  the  engine  room  at  110  de- 
grees and  wiping  grease  off  the  machinery, 
sleeping  in  a  tight  little  room  with  nine 
other  men,  and  eating  food  that  tasted 
as  if  it  had  been  prepared  in  the  engine 
room.  But,  most  of  the  time,  he  made 
Philadelphia  his  headquarters  and,  so  long 


w 


/uofctToJl)  m  -jjeetT 

Red 


Luscious?  Mmm!  Lively? 
Oh,  my!  A-N-D  .  .  .  lethal!  A 
blazing  new  true  red  with 
seductive  sheen!  sensational 
stay-on!  Tonight — put  him 
in  a  mood  for  love.  Wear 
"Naturally  Red"  and  give 
your  kiss  new  bliss! 


Only  15^,29^  plus  tax 


xonds 


glide  on.,  stay  on 
...andON! 


1-    rf 


79 


as  he  held  a  job  there,  he  spent  his  eve- 
nings working  with  little-theater  groups. 

In  his  dramatic  workshop .  group,  he 
found  a  good  friend  in  Dorothy  Haworth. 
Dorothy  and  her  husband  Bud,  who  is 
chief  of  police  of  Rose  Valley,  Pennsyl- 
vania, have  been  Doug's  closest  friends 
for  many  years.  The  friendship  began 
when  they  invited  him  to  their  home  to 
recuperate  from  a  heavy  cold.  Their 
home  was  near  the  nation's  oldest  reper- 
tory theater,  the  Hedgerow  Theater,  di- 
rected by  Jasper  Deeter.  So  Doug  phoned 
Mr.  Deeter  and  asked  if  he  could  watch 
a  rehearsal. 

"I  sat  out  front  during  a  dress  rehearsal," 
he  recalls.  "I  was  just  about  the  only 
person  in  front  of  the  curtain,  and  I  heard 
this  argument  going  on  backstage  between 
Mr.  Deeter  and  an  actor.  Then  Mr.  Deeter 
poked  his  head  out  and  said  to  me,  'Go  up 
to  Costume  for  an  immediate  fitting.'  And, 
within  a  few  minutes,  I  was  out  on  the 
stage  with  a  script  in  my  hand  and  doing 
the  dress  rehearsal." 

Afterwards,  Doug  prevailed  on  Mr.  Dee- 
ter for  permission  to  stay  on.  For  two 
years  and  three  months,  Doug  lived  at  the 
Hedgerow  Theater.  He  earned  his  room 
and  board  by  ushering,  painting,  building 
scenery,  cleaning  up  and  acting.  He  did 
fifty  parts  in  repertory  and  considers  this 
experience  the  most  valuable  in  his  career. 

"I  wanted  to  go  up  to  New  York  then," 
he  says,  "but  my  family  was  still  opposed. 
It  wasn't  that  they  didn't  believe  in  me. 
They  thought  I  was  throwing  my  life 
away  trying  to  be  an  actor  and  hoped  I'd 
grow  out  of  it." 

He  was  twenty-one,  and  cashed  in  his 
insurance  policy  for  a  hundred  dollars. 
He  came  to  New  York — and  the  hundred 
went  fast.  At  the  end  of  a  month,  he  was 
down  to  exactly  ten  cents  and  still  didn't 
have  a  job.  "I  lived  ten  days  on  that 
dime,"  he  recalls.  "I  had  a  hot  plate  and 
powdered  coffee  in  my  room,  so  I  had 
coffee  for  breakfast  and  lunch.  Luckily,  I 
was  invited  out  to  dinner  most  nights,  and 
that  was  the  way  I  got  my  only  nourish- 
ment." 

The  dime  was  broken  and  spent  on  two 
phone  calls  which  didn't  get  him  a  job, 
anyway.  But,  on  the  tenth  day,  after  five 
weeks  in  New  York,  he  read  for  a  part  in 
the  Broadway  play,  "Let  Freedom  Ring," 
and  won  the  role.  In  the  next  five  years, 
he  was  in  ten  Broadway  shows,  including 
a  year-and-a-half  run  in  "Brother  Rat." 


"At  the  end  of  five  years,"  he  adds,  "I 
was  ushering  at  the  Strand  Theater.  I  was 
in  good  company — another  usher  was  Ten- 
nessee Williams.  But  it  points  up  the  in- 
security of  the  legitimate  theater.  Five 
years  with  ten  shows,  and  I  had  nothing. 
That's  one  of  the  reasons  I  went  into  radio 
and  television  after  the  war." 

Doug  drew  a  high  draft  number  but, 
with  patriotic  impatience,  enlisted  long 
before  his  number  came  up.  He  was  as- 
signed to  Artillery  Observation  and,  after 
six  months'  training,  was  shipped  to  Eng- 
land. He  took  part  in  the  invasion  of 
Africa  and  the  ensuing  action  in  the  Medi- 
terranean theater.  The  job  of  his  unit  was 
to  direct  and  report  on  the  success  of 
artillery  fire.  For  this  work,  you  need  an 
orchestra  seat,  so  Doug  was  usually  ahead 
of  the  infantry.  He  was  a  buck  sergeant, 
and  in  line  for  a  field  commission,  when 
several  USO  actresses  showed  up.  One  of 
them  knew  Doug  and  asked  his  command- 
ing officer  if  Doug  could  be  borrowed.  She 
put  it  this  way:  "He's  had  two  and  a  half 
years  of  combat.  Let  him  work  with  us 
for  a  while." 

Doug  and  his  major  talked  it  over.  The 
Major  didn't  want  to  lose  Doug,  and  found 
that  Doug  didn't  want  to  leave  the  outfit, 
either.  While  their  unit  was  at  rest,  how- 
ever they  decided  it  could  do  no  harm  for 
Doug  to  work  out  with  the  actors  until 
it  was  time  for  the  unit  to  move  out. 

1  he  first  night  of  the  new  show,  half  of 
Doug's  outfit  was  present,  and  all  fifty  came 
backstage  to  congratulate  their'  buddy.  On 
the  second  night,  the  other  half  was  to 
come — but  not  one  showed.  After  the  per- 
formance, Doug  learned  that  his  unit  had 
moved  out  for  the  invasion  of  southern 
France.  He  was  up  all  night,  chasing  from 
one  officer  to  another  to  get  permission  to 
rejoin  his  outfit.  He  was  turned  down, 
and  he  finished  up  his  enlistment  serving 
in  a  liaison  capacity  for  USO  units. 

Back  in  the  states,  he  auditioned  for 
radio  and  got  his  first  role  in  This  Is  Your 
FBI.  In  January  of  1946,  he  played  the  part 
of  a  lawyer  on  The  Road  Of  Life.  It  was  in 
1950  that  he  took  on  the  long-life  role  of 
Hugh  Overton.  Besides  radio  roles,  he  has 
played  in  more  than  four  hundred  TV  dra- 
matic programs.  He  has  even  acted  in 
teleplays  that  came  from  his  own  typewrit- 
er. There  has  been  nothing  dull,  tedious 
or  lonely  about  his  life.  "Popular  opinion 
to    the    contrary,    a    bachelor's    life    is    not 


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necessarily  a  lonely  one.  Mine  isn't.  There 
is  nothing  routine  about  it.  One  day  is  sel- 
dom like  the  next — outside  of  Sunday  and 
Monday." 

Monday  nights,  Doug  works  with  the 
Veterans  Hospital  Radio  Guild,  of  which  he 
is  the  first  vice-president.  Doug  and  other 
members  go  into  veterans  hospitals  to 
work  with  invalided  personnel.  They  help 
veterans  write,  act  and  produce  radio 
shows.  "I've  been  doing  this  four  years," 
he  says,  and  adds:  "You  know,  I  couldn't 
do  this  work  right  after  the  war.  I  figured 
I'd  had  enough  of  it.  But  then  I  heard  of 
a  guy  in  my  outfit  who  had  been  hospital- 
ized for  life,  and  that's  when  I  got  started. 
It's  a  cliche,  but  you  do  get  terrific  satis- 
faction in  knowing  that  you're  doin?  pome- 
thing  for  someone  else." 

ounday  mornings,  .Doug  always  goes  to 
church — sometimes  his  own  church,  some- 
times to  a  church  of  his  friends.  Sunday 
evenings,  he  has  been  working  in  an  "off- 
Broadway"  production.  The  Broadway 
Congregational  Church,  in  place  of  Sunday 
vespers,  produces  one-act  plays  with  a 
moral  or  religious  theme. 

But,  outside  of  Sundays  and  Mondays, 
Doug's  days  and  evenings  are  varied.  He 
is  asked  out  to  dinner  frequently.  He  has 
friends  in,  maybe  one  or  two  nights  a 
week.  And  he's  a  good  cook.  "With  no 
modesty  aforethought,"  he  says,  "I  don't 
think  my  roast  or  steak  is  second  best  to 
anything  I've  had  in  any  restaurant.  I  have 
a  theory  that  most  men  are  good  cooks 
because  they  get  so  much  enjoyment  out 
of  food." 

Doug  and  his  friends,  most  of  whom  are 
actors,  like  cards,  conversation,  charades 
and  bingo.  The  bingo  games  are  rather 
mock  affairs,  for  "prizes"  are  always  some- 
thing you  want  to  get  rid  of.  Friends  bring 
in  items  beautifully  wrapped.  If  you  win 
a  game  of  bingo,  you  choose  a  package. 
Among  Doug's  winnings  have  been  a 
paperback  thriller  and  a  pincushion. 

Doug  has  an  especially  fine  and  warm 
relationship  with  his  friends  and  relatives. 
He  still  spends  weekends  in  Rose  Valley 
with  the  Haworths.  The  Haworth  chil- 
dren, now  in  their  teens,  treat  him  like  e. 
real  relative  and  introduce  him  as  "our 
uncle."  And  Doug  has  always  been  close 
to  his  mother,  who  still  lives  in  Philadel- 
phia. They  keep  in  frequent  touch  by 
telephone,  and  a  couple  times  a  year, 
she  comes  over  to  New  York  for  a  real 
visit.  Doug  always  has  a  party  for  her 
then,  and  so  do  some  of  his  friends. 

"We  have  a  ball,"  Doug  says,  "She  loves 
New  York  and  Chinese  lobster  and  con- 
certs and  the  theater.  By  the  time  she 
goes  home  I'm  ready  to  collapse."  He 
notes,  "We  have  almost  a  brother-sister 
relationship.  Mother  was  married  at  six- 
teen and  I  was  born  a  year  later,  so  there 
is  only  seventeen  years'  difference  in  our 
ages." 

His  activities  aren't  quite  so  strenuous 
when  he  is  squiring  someone  other  than 
his  mother.  For  one  thing,  he  doesn't  care 
for  dancing  or  big,  noisy  night  clubs.  He 
prefers  quiet  places  where  the  entertain- 
ment is  good  but  not  so  continuous  that  he 
can't  do  some  talking. 

"Frankly,  I'm  getting  tired  of  going  out," 
he  says,  "and  I'm  getting  tired  of  being  a 
bachelor.  I'm  serious  about  this — but  I'm 
not  being  driven  into  marriage  by  loneli- 
ness. There's  a  good  side  to  a  bachelor's 
life — the  independence,  the  freedom,  th€ 
unexpected — but  the  good  side  is  wearing 
thin.  I  guess  you  come  to  a  turn  in  your 
life  and  you  know  you're  about  ready  to 
make  a  change.  I  might  be  married  before 
the  end  of  the  year." 

Well,  considering  those  vital  statistics 
at  the  start  of  the  story,  the  humane  thing 
for  Douglas  Parkhurst  to  do  is  to  gel 
married  immediately. 


I  MADE  A  VOW 

By  Danny  Thomas 


In  a  stove-heated, 
cold-water  flat  over 
a  pool-room,  my 
family  lay  sleeping. 
Father,  mother, 
nine  boys  and  a  girl, 
all  under  God's  an- 
esthetic, dreaming 
of  better  days  to 
come. 

It  was  four  A.M., 
February,    1926,    in 

the  neighborhood  of  Canton  Avenue  and 
State  Street  in  Toledo,  Ohio,  and  the 
night's  eerie  symphony  was  under  way. 
A  creaking  cart  clicked  over  a  cobble- 
stone street;  an  alley  cat  cursed  its  rival; 
a  hungry  dog  nuzzled  the  cover  off  a 
garbage  can.  Then,  suddenly — a  pulse- 
stopping  scream] 

The  scream  came  from  inside  our  flat, 
from  the  front  room  where  the  infant  of 
our  family,  a  boy  of  six  months,  lay  in 
his  crib. 

My  dad  was  the  first  into  the  front 
room.  He  switched  on  the  light.  A  rat,  the 
poison-infested  scourge  of  the  slums,  had 
bitten  my  baby  brother's  hand.  In  those 
days  before  the  miracle  drugs,  this  was 
almost  a   death   sentence. 

Quickly  mother  wrapped  her  baby  in 
a  blanket,  and  a  neighbor  drove  them  to 
the  nearest  hospital.  In  a  few  hours, 
infection  had  spread  through  my  broth- 
er's little  body  and  there  was  little  hope 
for  his  life.  Mother  stayed  with  her 
baby,  mopping  his  feverish  brow — and 
with  every  gentle  stroke  she  whispered 
a  prayer.  She  had  faith,  my  mom.  She 
always  prayed  to  God,  through  the 
Blessed  Virgin  Mary,  and  she  was  always 
heard.  Her  faith  was  her  great  strength. 

By  noon  the  next  day,  the  doctors  had 
given  up  all  hope  for  my  baby  brother. 
There  was  nothing  more  medical  science 
could  do.  Mother  fell  to  her  knees  and 
prayed,  "Spare  my  baby,  dear  God,  and 
I  vow  I'll  beg  pennies  for  the  poor,  door 
to  door,  for  a  whole  year."  She  was 
heard  .  .  .  God  spared  her  child.  For 
a  year,  like  a  beggar,  she  trudged  from 
door  to  door,  pleading  for  pennies  for 
the  needy.  She,  who  was  the  poorest  of 
the  poor,  was  begging  for  others.  In  my 
memory  I  can  see  her  lovely  face  and 
hear  her  gentle  voice,  as  she  begged, 
"Please  help  me  to  help  the  poor.  I  made 
a  vow." 

It  took  my  mother  a  year  to  settle  her 
account,  after  her  fashion.  I  am  her  son 
and  I,  too,  have  an  account  to  settle.  I 
don't  know  how  long  it  will  take. 

This  is  how  it  came  about.  In  the 
early  days  of  my  married  life,  which 
were  also  the  early  days  of  my  theatrical 
career,  there  came  a  time  when  things 
looked  very  dark  for  me.  .  .  .  But  I  was 
endowed  with  my  mother's  faith.  And 
so  I  prayed  to  the  patron  of  the  hope- 
less, St.  Jude  Thaddeus,  the  apostle.  I 
vowed  that  if  I  made  good  in  show  busi- 
ness, I  would  build  a  shrine  in  his  honor. 

I  made  good.  Now  it  is  my  turn  to  fol- 
low in  my  mother's  footsteps,  to  beg  for 
others.  Beg  I  must,  and  most  proudly  I 
shall,  that  I  may  build  the  shrine.  The 
shrine  is  to  be  a  hospital  for  under- 
privileged children  ...  to  be  located  in 
Memphis,  Term.  .  .  .  serving  a  large  area 
of  the  South  .  .  .  free  .  .  .  non-sectarian. 

I  am  begging  all  who  re^d  this  to  please 
send  one  dollar  ...  just  one  dollar  .  .  . 
to  St.  Jude  Hospital  .  .  .  Memphis,  Tenn. 

"Please  help  me  to  help  the  poor.  I 
made  a  vow." 


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-¥5£ 


4)  -WITH  PAINLESS 


WHEN 
USED  ON 


ique 

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THEIR  SPREAD   AND   RE-INFECTION 


•      •      •     « 


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work.  And  it  doesn't  stain  the  skin!  Get  a  bottle  today. 


**'■■'' 


81 


It  Shouldn't  Hardly  Happen  To  "The  Birds  and  the  Bees" 


(Continued   from   page   51) 
rubbing    two    little    old    ladies    together. 

Let's  begin  by  saying  that  I  expected 
George  Gobel  to  be  funny.  After  all, 
Jack  (my  husband,  surnamed  Bean)  and  I 
have  watched  George's  TV  show  since  its 
inception.  And,  like  everyone  from  Ban- 
gor to  Baghdad,  we  have  quoted  his  quips, 
to  wit:  "So  .  .  .  there  you  are,"  and  "I'll 
be  a  dirty  bird,"  and  "This  is  your  old 
friend,  Lonesome  George." 

What  I  didn't  expect  was.  .  .  .  Well,  I'll 
take  you  onto  the  set  to  show  you  what 
happened  the  day  I  met  George  Gobel.  No- 
body bothered  to  introduce  us — nobody  on 
a  sound  stage  ever  has  the  slightest  sus- 
picion that  two  people,  both  living  in  the 
Los  Angeles  basin,  may  not  have  met.  Our 
job  that  particular  day  was  wardrobe  test- 
ing. I  was  photogranhed  first,  then  George 
(who  plays  a  squillionaire  in  "The  Birds 
and  the  Bees")  was  picture-tested  in  his 
finery.  And  eventually,  the  authorities 
asked  us  to  form  a  duo  before  the  lens. 

You  know  me:  I  love  people  and  I'm 
full  of  enthusiasm,  so  I  burst  with  conver- 
sation. When  George  and  I  took,  our 
places  side  by  side,  two  strangers  soon  to 
undertake  a  series  of  love  scenes,  I  in- 
haled and  launched  into  a  rapid-fire  an- 
nouncement that  Jack  and  I  were  Gobel 
fans  and  that  I  was  intensely  happy  to  be 
working  in  a  picture  with  him,  and  that 
I  thought  the  script  delightful,  and  I  was 
convinced  our  director,  the  brilliant  Nor- 
man Taurog,  was  tops,  and  .  .  .  well,  you 
know.    I  said  it  all.    In  italics. 

When  I  ran  out  of  breath,  George  pried 
his  glance  from  the  floor,  looked  at  me 
fleetingly,  and  said  in  a  deferential  tone, 
"Thank  you,  ma'am." 

If  this  doesn't  overwhelm  you,  it  is  only 
because  you  don't  understand  the  standard 
procedure  of  most  comedians.  You  see,  a 
comic  must  be  a  psychological  tennis  play- 
er. When  a  word,  an  idea,  a  quip,  a  pun, 
a  weather  report  is  batted  in  the  direction 
of  the  professional  humorist,  he  has  to  re- 
turn the  ball  hotter  than  it  was  served. 

Greorge  is  one  of  the  few  exceptions  I 
have  met,  probably  because  he  is  so  ex- 
tensively gifted  that  being  funny  is  as  nat- 
ural as  breathing  and — as  a  bonus  feature 
— he  has  so  many  talents  he  will  never  be 
able  to  make  full  use  of  them.  He  is  so 
funny,  without  effort,  that  he  can  excuse 
himself  from  a  luncheon  table,  walk  to  the 
cigarette-vending  machine  and  back  again, 
and  his  report  of  his  adventures  during 
that  three-minute  tour  will  keep  his  fellow 
lunchers  in  hysterics  for  thirty  minutes. 
And  every  incident  will  have  happened! 
You  want  an  example?  Well,  in  "TB 
&  TB,"  there  is  a  scene  in  which  George 
and  I  are  walking  along  the  deck  of  an 
ocean  liner.  He  is  declaring  his  honorable 
intentions  toward  me,  and  I  am  in  an 
emotional  jam  because  my  father  (David 
Niven)  is  a  maritime  card-sharp  and  I  am 
the  "shill"  entrusted  with  leading  well- 
loaded  George  to  the  unloading.  As  we 
are  strolling  along,  we  approach  a  com- 
panionway  (a  nautical  stairway)  and 
George,  still  holding  my  hand  as  I  con- 
tinue along  deck,  slowly  mounts  the  stairs 
until  he  is  a  deck  above  me. 

We   rehearsed   the   scene   repeatedly    to 
perfect  the  timing,  then  Mr.  Taurog  de- 
cided not  to  shoot  until  the  next  morning. 
When    the   company   broke,    my    husband 
Jack  and  George  headed  for  the  projection 
T    room  to  see  the  previous  day's  rushes.     I 
V    followed  with  other  members  of  the  cast. 
H        George  was  riding  his  bicycle,  weaving 
along  in  Jack's  general  vicinity,  and  dis- 
cussing the  scene  with  Jack.    George  said 
he  really  didn't  think  the  scene  was  too 

04 


hokey,  did  Jack?  Jack  said  no,  it  was 
logical,  in  a  wonderfully  looney  way,  and 
he  thought  audiences  would  love  it. 

George  went  on  to  say,  "I'm  a  lot  like 
that,  you  know.  When  I'm  concentrating 
on  something  important  to  me,  I'm  likely 
to  do  all  kinds  of  absent-minded  things. 
I  mean,  I  do  forget  where  I'm  going.  .  .  . 
You  know,  a  guy  in  love  is  likely  to  do 
all  sorts  of  .  .  ." 

At  that  point  he  dismounted  the  bicycle, 
still  earnestly  telling  Jack  how  logical  it 
was  for  a  Gobel  to  be  completely  unaware 
of  his  surroundings  in  the  midst  of  mental 
or  emotional  turmoil,  and  trundled  his  bi- 
cycle onto  the  sound  stage  and  across  a 
maze  of  electrical  wires  in  conduit  until 
he  approached  a  congestion  of  arcs  so  thick 
that  a  man  attached  to  a  bicycle  couldn't 
possibly  negotiate  them.    That  stopped  him. 

"Just  a  minute,  Jack,"  he  called.  "I  have 
to  take  my  bicycle  back  to  the  rack  be- 
side the  building."  He  hesitated  solemn- 
ly before  adding,  "But  .  .  .  you  see  what 
I  mean?    So  .  .  .  there  you  are." 

JNot  only  does  George  happen  to  funny 
things,  but  funny  things  happen  right  back 
at  George.  Insurance  companies  know 
that  there  are  some  people  who  are  "acci- 
dent-prone." George  is  what  you  might 
call  "incident-prone."  He  daren't  utter 
the  most  commonplace  and  innocent  re- 
mark without  inducing  an  unlikely  result. 
To  wit:  He  was  lolling  in  his  canvas 
chair  on  the  set,  one  afternoon  while  the 
camera  was  being  reloaded,  and  happened 
to  murmur  idly,  "Hmmm — look  at  all  those 
lights.  Gosh,  I  wonder  how  many  arcs  it 
takes  to  illuminate  a  set  this  size." 

Someone  who  knew  exactly  what's  watt 
happened  to  hear  this  query,  and  quickly 
turned  George  into  a  candidate  for  the 
juicers'  union  by  explaining — for  thirty 
minutes — the  principles  of  electricity,  start- 
ing with  Ben  Franklin's  kite  and  key,  and 
ending  with  the  names,  uses,  and  candle- 
power  of  every  gleam  in  the  loft. 

The  average  person  wouldn't  have  got- 
ten much  out  of  it,  but  George  has  a  fly- 
paper  memory.  At  this  time,  I  wouldn't 
advise  you  to  wonder — in  George's  pres- 
ence^— how  many  lights  there  are  on  a 
sound  stage.  George  knows  .  .  .  and  he'll 
tell  you,  with  the  original  inflections. 

Practically  everyone  knows  that  George 
was  born  in  Chicago  and  got  his  start  on 
the  National  Barn  Dance  program,  where 
he  played  mellow  guitar  and  sang  in  an 
emotional  baritone  such  ditties  as  "I  Ain't 
A-Gonna  Leave  Yew  Enny  More,  Little 
Darlin'."  He  still  knows  one  million  ninety- 
nine  cowboy  and/or  hillbilly  songs,  word 
for  word.  And,  once  he  gets  acquainted, 
he  will  peel  off  into  a  folksy  lyric  just  to 
entertain  himself  and  lucky  passersby. 

This  Gobel  faculty  for  "total  recall,"  plus 
his  fabulous  gift  of  mimicry,  has  worked 
well  for  him  hundreds  of  times.  But  his 
favorite  instance  of  ad-lib  for  cash  took 
place  in  a  Chicago  night  club.  George  and 
his  guitar  were  one-third  of  a  trio.  The 
other  two-thirds  consisted  of  a  bass  and  an 
accordion.  They  were  filling  in  between 
dance  sets,  mostly  honoring  requests.  One 
night,  a  tourist  type — yearning  for  palms 
and  papaya  in  the  midst  of  a  Chicago  bliz- 
zard— flashed  a  twenty-dollar  bill  and  al- 
lowed as  how  it  was  George's  if  the  guitar- 
ist could  render  an  Hawaiian  serenade. 

George's  nearest  approach  to  Hawaii 
had  been  a  slice  of  breakfast  pineapple, 
but  he  stepped  forward  and  sang,  as 
nearly  as  he  remembers: 

"Lua  nuana  manea,  Hawaii! 
Aloha  tapa  pua  koa  Hawaii, 
Waikiki  pali  mahalo  ulua, 
Okolehau  manoa  kani  Hawaii." 


He  reprised  it  about  three  times  in 
hula  tempo,  while  a  satisfied  customer 
sobbed    into    his    cocoanut-milk    highball. 

So — you  aren't  surprised  to  learn  that 
the  Gobel  guy  is  a  very  funny  character? 
Yet  don't  go  away  .  .  .  because  there's 
much  more  to  the  story  than  a  series  of 
chuckles. 

I  learned  early  in  our  collaboration  for 
"The  Birds  and  the  Bees"  that  George  is 
a  sensitive  gentleman.  One  morning  I  was 
a  little  late  (okay,  go  ahead  and  hiss — I'm 
usually  on  time,  nearly)  so,  naturally,  I 
was  leaning  on  the  air  as  I  aimed  myself 
toward  my  dressing  room.  "Goodmorning- 
george,"  I  said  as  I  passed  him,  having 
neither  time  nor  breath  for  further  con- 
versation. 

From  that  instant  on,  there  was  some- 
thing happening  on  the  set  to  keep  us  busy 
until  late  that  afternoon,  when  George 
approached  me  as  if  I  were  a  general  he 
was  about  to  salute,  and  said  solemnly, 
"Mitzi,  I'd  like  to  talk  to  you  for  a  mo- 
ment, if  I  may." 

I  laughed.  It  was  such  a  deadpan  request 
that  I  was  certain  it  was  a  gag.  Instead 
of  telegraphing  a  reaction  that  would  let 
me  know  he  was  leading  into  a  fun  se- 
quence, George  asked  softly  and  seriously, 
"Have  I  offended  you  in  some  way?  I 
mean  .  .  .  when  you  came  on  the  set  this 
morning  .  .  .  well,  you  seemed  so  formal. 
You  know  ...  I  wouldn't  hurt  your  feel- 
ings for  the  world,  Mitzi  .  .  .  I'm  sorry  if 
I've  given  the  wrong  impression.  .  .  ." 

We  untied  that  tangle  in  a  hurry.  After- 
ward, when  I  went  scorching  past  (I'm  not 
often  late,  as  I've  said),  George  was  likely 
to  confide  in  a  stage  whisper,  "That's  Mitz' 
— she's  catching  a  train.  .  .  ." 

.Nowadays,  I  know  that  some  such  crack 
as  "An  honest  day's  work  for  an  honest 
day's  pay"  is  considered  square — if  not 
cubed — but  George  has  the  type  of  in- 
tegrity regarded  as  charmingly  old-fash- 
ioned. I  mean  this:  I  looked  down  the 
studio  street  one  morning  and  spied  George 
bearing  down  on  me,  walking  with  his  arms 
held  stiffly  away  from  his  body,  and  kick- 
ing out  his  feet  as  if  he  couldn't  bear  his 
weight  on  them.  When  I  asked  him  if  he 
had  a  mechanical  man  job  in  another  pic- 
ture, he  grinned  self-consciously.  It  seems 
that  he  was  scare-crowing  his  arms  so  as 
to  avoid  sleeve  creases  in  the  studio-tail- 
ored suit,  and  he  was  keeping  his  shoes 
in  perfect  shine  by  walking  without  bend- 
ing his  toes. 

The  payoff  was  ironical.  He  was  on  his 
way  to  work  in  one  of  the  funniest  se- 
quences in  the  picture.  It  goes  like  this: 
He  is  talking  over  his  shoulder  to  other 
characters  in  the  room,  as  he  walks  toward 
a  window.  He  stumbles  over  a  chaise 
longue  and,  in  trying  to  catch  his  balance, 
he  falls  against  a  table  loaded  with  a  sil- 
ver platter  of  hors  d'oeuvres — the  cream- 
cheese,  spurty  kind.  Inevitably,  George,  the 
furniture,  and  the  appetizers  get  amal- 
gamated. 

A  plane  ruined  the  sound  track  during 
the  first  take.  One  of  the  arcs  went  bad 
during  the  second.  To  be  brief,  it  took 
five  gooey  falls,  five  changes  of  wardrobe, 
five  changes  of  makeup,  to  trap  the  inci- 
dent in  celluloid.  George  never  whim- 
pered. He  didn't  say — (as  I  think  I  would 
have  said  after  the  third  take) — "Oh,  come 
on,  fellas,  that  take  was  okay.  Why  not 
use  it?" 

Perhaps  Paramount  should  headline  this 
picture  with  the  exclamation,  "Gobel 
Dances!"  .  .  .  because  he  does,  and  he  looks 
great.  Furthermore,  he  didn't  merely  fake 
through — he  performed.  Of  course,  his 
sense  of  rhythm  is  sensational,  so  he  would 


have  looked  good  just  standing  on  one  foot 
and  tapping  the  other,  but  that  isn't  the 
way  George  does  things. 

I  missed  him  one  afternoon  and  went 
snooping  around  the  set  to  find  him.  I 
spotted  him  in  a  far  corner  of  the  sound 
stage,  practicing  his  footwork.  When  I 
called  to  him,  he  thrust  his  hands  deep 
into  his  trouser  pockets,  wrinkling  the  coat 
he  had  been  preserving  with  held  breath, 
and  began  to  whistle  nonchalantly  while 
pretending  to  kick  golf  balls  or  gopher 
holes  or  some  such. 

"What  are  you  doing,  George?"  I  in- 
quired sweetly. 

"Who — me?  Oh,  nothing.  Just — well, 
standing  around  .  . .  you  know  a  fellow  gets 
restless  .  .  ."  he  said,  elaborately  casual. 

Thirty  or  forty  minutes  later,  I  tiptoed 
around  a  series  of  wild  walls  and  peeked 
at  George  again.  He  was  still  experi- 
menting with  his  dance  steps,  and  by  that 
time  had  added  a  good  deal  of  the  Gobel 
personality  to  the  choreography. 

I've  known  professional  perfectionists 
before,  and  I've  found  that  sometimes  they 
make  themselves  ill  while  watching  the 
daily  rushes  because  they  judge  themselves 
too  coldly  and  for  some  reason  can't  ap- 
prove of  what  they  see  on  the  screen. 

George — in  this,  as  in  so  many  respects 
— is  unique.  He  seems  to  turn  his  attention 
entirely  to  his  fellow  performers.  He  is  the 
greatest  audience  in  the  world,  therefore 
a  fan.  He  got  a  terrific  kick  out  of  David 
Niven's  performance  in  "The  Birds  and 
the  Bees."  He  would  sit  beside  me  during 
the  rushes,  nudging  me  with  a  delighted 
elbow  and  shaking  his  head  in  awe.  After- 
ward, he  would  walk  across  the  lot  in  a 
semi-daze,  saying,  "The  way  that  guy  un- 
derlines a  speech  with  a  lifted  eyebrow  .  .  . 
I'm  telling  you.  .  .  ." 

His  appreciation  extends  beyond  the  pro- 
fessional field  to  take  in  his  own  family, 
too.  His  son,  Greg,  aged  eleven,  is  a  star 
pitcher  for  one  of  the  Little  League  ball 
clubs,  and  George  never  misses  a  game. 

One  morning  George  came  onto  the  set, 
all  smiles.  "A  great  thing  happened  this 
morning  .  .  .  the  sort  of  thing  that  gives 
you  a  real  lift.  .  .  ." 

I  imagined  that  Mr.  Y.  Frank  Freeman 
(Paramount's  head  man)  had  paid  George 
a  compliment,  or  that  Don  Hartman  (pro- 
duction chief)   had  praised  the  picture. 

This  is  what  had  happened.  Just  as 
George  was  on  his  way  to  his  home  ga- 
rage, he  caught  sight  of  four  or  five  boys 
on  bicycles  slowly  wheeling  back  and  forth 
in  front  of  the  house.  One  of  them  said, 
"Are  you  sure  that's  the  place?"  Another 
one  said,  "I'm  positive."  Then  a  third 
spoke  up  in  a  muted  tone:  "Gosh — just 
to  think  that  Greg  Gobel  lives  there." 

I  don't  want  to  end  this  brief  report  on 
Lonesome  George  without  confiding  an- 
other fact,  which  will  come  as  no  surprise 
to  girls  from  eight  to  eighty:  George  has 
a  tremendous  romantic  appeal. 

One  afternoon  a  number  of  out-of-state 
visitors  were  on  our  set,  watching  the 
shooting.  As  usual  George  had  posed  for 
pictures  and  had  shown  himself  to  be  the 
hospitable,  amiable  gentleman  he  is.  I 
wasn't  in  the  sequence  being  filmed,  so 
Jack  and  I  were  sitting  in  my  portable 
dressing  room. 

One  of  the  visitors,  not  realizing  there 
were  long  ears  in  the  vicinity,  murmured 
to  a  second  lady,  "David  Niven  is  very 
handsome,  isn't  he?"  The  answer  was  an 
enthusiastic,  "Mmmm."  Someone  else  said, 
"Mr.  Gardiner  is  a  smoothie;  I  get  a  tingle 
out  of  him.  Again  the  "Mmmm."  Yet,  after 
a  few  seconds,  the  Mmmm-er  announced, 
"I  think  George  Gobel  is  as  sexy  in  his 
way  as  Gable  is  in  his.  You  know  what  I 
mean?"  And  a  third  breathed,  "I  know 
what  you  mean.  Personally,  I'd  like  to 
take  him  home  with  me." 

And  so  .  .  .  there  you  are. 


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83 


(Continued  from  page  33) 
on  May  27,  1955,  to  restaurant  owner  Mike 
Manuche,  is  part  of  this  luck-and-timing 
story.  And  because  Martha  is  young  and 
lovely  .  .  .  blonde,  blue-eyed  and  a  trim 
five -feet-five  .  .  .  let's  start  with  romance 
first.  After  all,  it's  the  most  important,  to 
a  woman. 

Martha  and  Mike  met  through  mutual 
friends  who  felt  they  were  destined  for 
each  other.  "A  deadly  thing,  usually,"  says 
Martha,  knowing  that,  when  two  people 
are  brought  together  deliberately,  it  sel- 
dom works  out.  "In  our  case,  it  was  a 
little  different.  One  couple  told  me  some- 
one wanted  to  meet  me,  someone  very 
nice,  and  finally  talked  me  into  going  along 
with  them  on  a  date.  The  other  couple  told 
Mike  someone  wanted  to  meet  him,  also 
someone  very  nice.  He  scoffed  at  the  idea, 
but  finally  agreed.  We  met,  neither  know- 
ing what  had  been  said  to  the  other. 

"Mike  called  me  for  a  few  dates.  A 
couple  of  weeks  after  our  first  meeting  we 
both  suspected  the  fraud  our  friends  had 
perpetrated.  Mike  began  to  realize  it  first. 
'You  weren't  acting  at  all  like  a  girl  who 
had  been  dying  to  meet  me,'  he  told  me 
later.  'In  fact,  I  wasn't  at  all  sure  you 
cared  if  you  ever  saw  me  again.'  I  had  be- 
gun to  suspect  he  hadn't  asked  to  meet  me, 
either.  We  decided  it  was  cute  of  our 
friends,  although  I  might  have  been  quite 
annoyed,  except  that  everything  was  turn- 
ing out  well.  At  least,  we  did  like  each 
other." 

As  it  happened,  they  had  really  met 
once  before,  when  Martha  was  starring  in 
"South  Pacific."  A  newspaper  columnist 
had  invited  her  to  Camillo's,  to  be  inter- 
viewed over  lunch.  The  restaurant  was 
Mike's,  and  he  had  come  to  their  table  for 
a  moment  and  been  introduced  briefly.  He 
later  told  the  newspaper  woman  how  at- 
tractive he  thought  Martha  was,  but  noth- 
ing more  came  of  it.  The  timing  wasn't 
right.  Not  until  months  later. 

JVlike  is  a  former  collegiate  football  star 
from  Holy  Cross,  and  an  Air  Force  veteran 
of  eight  years.  He  goes  for  golf  now  instead 
of  football,  is  a  big  music  fan,  especially  of 
opera,  and  a  connoisseur  of  food.  "He  went 
into  the  restaurant  business  with  a  news- 
paper friend,  Lawton  Carver,  then  of  I.N.S., 
when  Mike  got  out  of  service  in 
1950,"  Martha  says.  "Everybody  told  them 
they  wouldn't  make  it.  But  they  did.  Re- 
cently, Mike  bought  out  his  partner  and 
renamed  the  restaurant  'Mike  Manuche's.' 
The  business  is  doing  just  fine.  Now  every- 
body is  proud  of  his  success." 

Martha  came  to  New  York  originally 
from  Seattle,  where  she  was  born  on 
March  23,  1926.  Her  early  years  were  spent 
on  a  farm  in  Duval,  Washington,  thirty 
miles  from  Seattle.  Music  was  always  a 
background  for  living,  at  her  house.  Her 
father  had  a  good  voice  and  he  sometimes 
sang  on  radio,  but  not  as  a  profession.  Her 
grandmother,  who  had  reared  five  children 
of  her  own,  was  interested  in  making  mu- 
sicians of  her  grandchildren,  if  they 
showed  any  talent.  She  had  taught  voice 
all  her  life,  and  was  an  excellent  pianist. 
Martha,  an  only  child,  was  the  first  grand- 
child, and  Grandmother  began  early  to 
teach  her  the  rudiments  of  piano. 

"I  didn't  practice  as  I  should  have,"  Mar- 
tha admits,  "but  I  did  learn  to  read  music 
well,  and  that  has  been  invaluable  to  me 
in  singing.  I  play  well  enough  to  accom- 
pany myself  and  to  study  the  operas  and 
v  the  other  things  that  interest  me,  but  I 
R  wish  I  had  learned  more  when  I  was  grow- 
ing up.  Kids  don't  realize  how  much  it  will 
mean  to  them  later,  and  families  don't  al- 
ways  know  the  best  way  to  make  educa- 


Lucky  To  Be  Wright 

tion  attractive.  My  great  regret,  even  now, 
is  that  my  grandmother  passed  on  just  be- 
fore I  opened  in  'South  Pacific'  That 
would  have  helped  repay  her  in  pride  for 
what  she  helped  accomplish." 

At  high  school,  Martha  got  interested  in 
the  usual  school  dramatics,  especially  in 
musical  plays,  and  she  began  to  sing  on 
local  radio — the  pop  tunes  of  the  year,  the 
semi-classical  things,  the  show  tunes  and 
the  ballads.  Loving  opera,  she  joined  a 
small  company  that  put  on  some  of  the 
Mozart  operas.  She  began  to  be  in  demand 
as  vocalist  for  club  dates,  lunches,  ban- 
quets, all  sorts  of  community  affairs.  "I 
sang  whenever  and  wherever  I  could,  and 
I  kept  on  learning.  Learning  how  to  handle 
myself  before  an  audience,  learning  what 
they  wanted  to  hear." 

When  a  touring  company  of  the  musical 
play,  "Up  in  Central  Park,"  came  to 
Seattle,  she  was  lucky  enough  to  know 
someone  playing  in  it.  She  decided  to  ask 
for  an  audition,  was  told  there  were  no 
openings  at  all  but  that  they  would  hear 
her,  anyway.  "While  I  was  doing  one  of 
my  numbers,"  she  recalls,  "I  saw  someone 
run  up  behind  me  and  talk  to  the  company 
manager.  Later,  I  learned  that  a  singer  in 
the  cast  had  been  preparing  to  leave  but 
it  was  still  supposed  to  be  a  secret.  The 
secret  was  out  then,  and  I  was  hired  on  the 
spot,  to  replace  her.  I  couldn't  have  chosen 
a  more  auspicious  moment." 

After  about  a  five-month  tour,  "Up  In 
Central  Park"  came  back  to  New  York,  in 
May,  1947.  Martha  had  the  thrill  of  a 
Broadway  run  for  about  a  week,  until  it 
closed.  Now  she  was  in  the  city  that  is 
the  center  of  show  business — but  she  was 
also  three  thousand  miles  from  home  and 
family  and  security,  and  she  was  out  of 
a  job.  However,  as  Martha  says,  "It  was 
New  York,  a  thrilling  place  for  a  girl 
from  the  West.  I  didn't  know  anyone,  but 
I  did  have  a  lot  of  courage,  the  kind  you 
have  when  you  are  very  young  and  the 
world  seems  made  just  for  you.  For  a  few 
weeks,  I  made  the  rounds,  looking  for  a 
job.  I  got  so  tired  sometimes  that  I  felt  I 
couldn't  take  one  more  step  or  sing  one 
more  note,  but  I  bounced  back  fast  every 
time.  One  day  I  auditioned  for  a  job  with 
radio  station  WOR,  and  I  got  it.  The  fact 
that  I  was  prepared  with  pop  tunes,  show 
tunes,  opera — practically  everything — was 
a  big  factor.  It  was  on  a  nationwide  net- 
work, so  it  meant  that,  after  about  three 
weeks  in  New  York,  my  folks  were  able 
to  hear  my  voice  on  radio  in  Seattle." 

Her  salary  barely  covered  the  rent  of 
the  cold-water  flat  she  took  in  a  shabby, 
run-down  neighborhood  on  the  fringe  of 
the  theatrical  section.  It  left  her  only  a 
little  to  spend  on  food  and  clothes  and 
fare  and  other  essentials.  But,  to  a  girl 
with  dreams  of  conquering  New  York,  all 
this  seemed  unimportant.  She  was  having 
a  lovely  time,  and  she  felt  a  little  like  all 
the  princesses  in  all  the  fairy  tales  she  had 
read  as  a  child. 

A  chance  came  along  for  an  understudy's 
role  in  a  play,  "Music  in  My  Heart."  It  was 
the  autumn  of  1947,  and  again  the  timing 
was  right,  and  her  luck  was  riding  high. 
The  show's  leading  lady  left  them  in  Phila- 
delphia, and  Martha  wound  up  filling  the 
part  when  they  brought  the  play  into  New 
York.  Unfortunately,  it  closed  in  a  couple 
of  months,  but  Martha  herself  had  re- 
ceived very  good  notices. 

"I  had  wanted  to  study  more  before 
doing  a  lead  role  on  Broadway,"  she  says, 
"but  you  have  to  take  your  chances  when 
you  get  them,  and  fortunately  I  had  been 
preparing  a  long  time.  After  we  closed,  I 
did  many  things — an  engagement  with  the 


St.  Louis  Municipal  Opera  Company,  for 
one.  I  was  getting  interested  in  television 
and,  when  Barry  Wood  put  on  a  very  good, 
late-afternoon  musical  program,  I  was 
happy  to  be  included.  How  much  it  was 
going  to  mean  in  my  life  was  something  I 
didn't  dream  about  at  the  time.  I  was  just 
enjoying  every  minute  of  it." 

It  was  on  this  show  that  Richard  Rod- 
gers,  of  the  fabulous  team  of  Rodgers  and 
Hart,  first  saw  and  heard  her.  The  song 
was  "Waitin'  for  My  Dearie,"  from  the 
musical,  "Brigadoon."  Mr.  Rodgers'  daugh- 
ter was  watching  television,  and  called  her 
father  to  watch  with  her  when  Martha 
began. 

"It  happened  that  I  auditioned  for  Dick 
Rodgers  right  after  that,"  Martha  says, 
"and,  when  I  came  in,  he  said  to  me,  'I 
saw  you  on  TV.'  I  was  one  of  many  girls, 
of  course,  and  about  twenty  of  us  were 
asked  to  come  back  for  another  audition, 
wearing  bathing  suits.  I  had  no  idea  of 
the  part  I  would  be  understudying  for,  and 
I  couldn't  understand  that  bathing-suit  bit. 
I  decided  this  wasn't  for  me,  and  didn't 
go  back.  So  I  passed  up  any  chance  I 
might  have  had  to  be  Mary  Martin's  under- 
study in  'South  Pacific' — because  that  was 
what  the  audition  was  for,  as  I  later 
learned." 

Luck  again.  And  timing.  Mary  never 
missed  a  performance  and  was  simply 
superb  all  the  way.  No  understudy  ever 
went  on  for  her.  Martha  would  have  been 
lost  in  the  shuffle.  Meantime,  she  was  play- 
ing supper  clubs  and  establishing  herself 
as  a  chic  songstress.  Her  first  club  had 
been  a  small  one  in  Montreal,  the  Club 
Samovar,  but  now  she  was  booked  into 
the  swank  New  York  spots — No:  One  Fifth 
Avenue,  the  Blue  Angel,  and  the  St.  Regis 
Maisonette.  There  was  a  short  interlude 
when  she  was  in  another  musical,  called 
"It's  Great  To  Be  Alive"  (and  it  was,  until 
the  show  folded  about  six  weeks  later). 
She  went  back  to  the  clubs  for  a  while,  to 
the  Mark  Hopkins  in  San  Francisco,  to 
London  to  play  the  Bagatelle,  back  to 
Chicago  to  the  Palmer  House.  And  there 
something  else  wonderful  happened. 

The  road  company  of  "South  Pacific" 
was  in  Chicago  then  and  all  the  big  brass 
were  there  for  the  opening,  including 
Richard  Rodgers.  When  Martha  was  asked 
to  do  an  audition  she  thought  a  spot  must 
be  opening  in  that  company.  For  half  an 
hour  she  sang,  on  the  empty  stage  of  the 
old  Schubert  Theater.  And,  when  she  had 
finished,  Mr.  Rodgers  asked  if  anything 
steady  was  coming  up  for  her  right  away. 
There  were  a  couple  of  club  engage- 
ments, but  no  shows  to  which  she  was 
committed,  and  he  asked  her  to  hold  off 
on  anything  permanent  for  a  while.  She 
still  didn't  know  what  it  was  all  about, 
had  no  idea  she  was  being  considered  for 
the  role  of  Nellie  Forbush,  in  the  New 
York  company  of  "South  Pacific." 

"Three  months  went  by,"  she  recalls, 
"and  I  was  now  back  in  New  York,  think- 
ing about  the  starring  role  in  another  mu- 
sical, 'A  Tree  Grows  in  Brooklyn,'  which 
was  then  being  cast.  A  firm  offer  came 
from  Mr.  Rodgers — and,  instead  of  being 
thrilled  by  it,  I  was  a  little  uncertain.  I 
didn't  know  whether  I  wouldn't  rather 
create  a  role  that  no  one  else  had  played, 
in  a  new  show,  than  try  to  follow  some- 
one as  great  as  Mary  Martin  had  been. 
Mary  was  a  big  favorite  of  mine,  and  to 
be  her  successor  was  a  decision  not  to  be 
made  lightly.  It  still  takes  my  breath  away 
when  I  think  of  it — but  follow  her  I  did, 
on  Broadway,  for  two  years  and  seven 
months,  and  had  a  perfectly  gorgeous  time 
doing  it.  I  even  played  it  in  Seattle  (at  my 
request),  when  Janet  Blair — who  starred 


in  the  touring  company — took  time  off 
for  a  honeymoon." 

After  "South  Pacific"  finally  closed, 
Martha  went  into  the  clubs  again,  to  the 
Cocoanut  Grove  in  Los  Angeles,  the  Wal- 
dorf-Astoria in  New  York,  and  back  into 
radio  and  some  television.  Suddenly,  one 
day  last  year,  she  was  asked  if  she  would 
like  to  be  on  The  Jack  Paar  Show  for  a 
few  weeks.  She  thought  that  would  be  just 
dandy.  She  sang  alone,  and  in  duet  with 
Jack  Haskell,  and  she  ad-libbed  with  Jack 
Paar  and  loved  the  easy  pace  and  the 
breezy  style  of  the  program.  The  temporary 
arrangement  quickly  became  a  permanent 
one,  by  mutual  consent.  They  liked  her, 
too.  So  did  the  TV  viewers. 

"I  haven't  words  to  express  the  fun  it  is, 
working  with  Jack  and  the  others  on  this 
show,"  she  says.  "They  are  some  of  the 
nicest  people  I  have  met  in  this  business. 
Jack  has  a  real  interest  in  everyone  who 
works  with  him.  You  give  your  best,  and 
he  gives  his,  and  the  atmosphere  is  a  happy 
one.  Jack  loves  show  tunes,  the  ones  I  like 
to  sing.  It's  real  great." 

One  of  the  biggest  kicks  came  last  win- 
ter, when  The  Jack  Paar  Show  originated 
briefly  from  Miami  Beach,  Florida.  Mar- 
tha had  a  club  date  already  set  up  back 
North  one  evening,  and  a  two-o'clock 
afternoon  plane  to  be  made  in  order  to 
keep  it.  The  Paar  show  is  on  the  air  from 
one  to  one-thirty  Eastern  Time,  and  she 
wondered  how  she  could  finish  her  last 
number  and  get  to  the  airfield  in  time. 

The  whole  problem  was  solved  by  heli- 
copter. Viewers  all  over  the  country 
watched  her  finish  her  number,  grab  a  fur 
coat  and  throw  it  over  her  light  summer 
dress,  and  hop  into  a  helicopter  which  had 
descended  on  the  beach  near  the  hotel 
from  which  they  broadcast.  "I  understand 
they  got  a  view  of  my  husband,  too."  she 
said.  "Mike  was  also  down  in  Miami  Beach, 
and  he  ran  to  help  me  get  into  the  plane 
quickly.  They  said  the  cameraman  got  a 
quick  'rear-end  view'  of  him,  pushing  me 
in.  Too  bad — because  I  wanted  everyone 
to  see  my  handsome  husband's  face!" 

In  New  York,  they  have  a  little  apart- 
ment for  convenience,  and  a  house  near 
Westport,  Connecticut,  where  they  can  go 
in  summer  and  commute  to  and  from  the 
city.  Last  summer,  Martha's  parents  visited 
them,  so  they  tried  to  get  out  to  the  coun- 
try every  night.  As  New  England  homes 
go,  this  one  is  not  very  old — only  about 
forty  years — but  the  decor  is  early  Ameri- 
can. There  are  two  bedrooms,  a  large  den, 
a  living  room  and  kitchen,  and  there  are 
plans  afoot  to  turn  the  last-named  into  a 
big  country  "kitchen- living-room"  by 
taking  in  some  of  the  bedroom  area.  They 
want  a  picture-book  room,  with  brick  and 
wood  walls  and  lots  of  copper  and  brass 
for  shining  accents.  All  this  may  involve 
slicing  some  space  from  a  guest  house 
that  stands  at  the  rear  of  the  main  house. 

There's  a  flood-prevention  project  afoot, 
too,  a  matter  of  raising  the  whole  struc- 
ture several  feet  to  avoid  the  disastrous  ef- 
fects of  last  year's  flooding,  when  their 
little  branch  of  the  Saugatuck  River  be- 
came a  roaring  torrent  and  Martha's 
precious  small  piano,  among  other  things, 
was  a  casualty.  So  it  looks  like  a  busy  year 
for  the  Manuches  of  New  York  and  West- 
port. 

The  week  Martha  and  Mike  were  mar- 
ried, Martha  was  doing  a  dramatic  tele- 
vision play  called  "Mr.  Dorothy  Allen," 
about  a  talented  and  clever  girl  who  mar- 
ried her  manager  but  couldn't  resist  trying 
to  run  the  whole  show — in  other  words 
wearing  the  pants  in  the  family.  "We  knew 
that  wasn't  the  way  our  marriage  was  go- 
ing to  be,"  she  says.  "Not  a  bit.  Mike  isn't 
'Mr.  Martha  Wright,'  and  I'm  only  Miss 
Martha  Wright  professionally.  At  home, 
I'm  Mrs.  Mike  Manuche.  That's  a  big  part 
of  my  luck!" 


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(Continued  from,  page  38) 
thirty-seven  years  old.  She  readily  con- 
fesses her  age:   "If  I  didn't,  people  would 
never  believe  I  had  the  experience  to  help 
them  find  the  answers  to  their  questions." 

Her  aim  to  "help  people  find  the  an- 
swers" is  the  key  to  her  own  personality, 
for  she  offers  neither  panaceas  nor  sweet  - 
ness-and-light  solutions.  She  does  believe 
that  people  can  make  their  own  necessary 
changes  when  an  outsider  aids  them  in 
analyzing  their  problems.  She  approaches 
the  task  with  knowledge,  confidence  and 
serenity,  for  she  herself  is  both  a  well- 
trained  and  a  well-loved  woman. 

She  deeply  believes  her  correspondents 
and  listeners  Can  achieve  a  fuller,  richer 
life.  Take  the  case  of  the  tall  though 
pretty  secretary.  We'll  call  her  Rena.  .  .  . 
When  the  girl's  mother  first  wrote  to  Mrs. 
Graham  about  her  daughter's  disconsolate 
loneliness,  Lee  invited  Rena  to  come  in 
for  a  face-to-face  conference.  During  it, 
she  bolstered  the  girl's  ego  by  pointing  out 
that  many  of  the  world's  distinguished 
women  had  found  their  above- average 
height  an  asset. 

Lee's  cardinal  rule  is:  "If  you  fail  to 
value  yourself  as  a  woman,  no  one  else 
will,  either."  She  helped  Rena  identify  her 
good  qualities,  then  made  practical  sug- 
gestions for  ways  to  enhance  them.  .  .  . 
Some  months  later,  she  received  a  joyful 
letter.  Rena  wrote:  "I  have  really  tried, 
since  that  day,  to  develop  my  personality 
to  a  greater  degree  ...  I  find  that  my 
change  of  attitude  has  made  a  difference, 
and  right  now  I  am  dating  more  regularly 
than  I  have  ever  done  before.  I  do  thank 
you.  Truly,  you  have  helped  me  change 
my  whole  outlook." 

The  wife  who  complained  of  her  hus- 
band's gambling  was  a  student  in  the 
Family  Relations  class  which  Mrs.  Graham 
teaches  at  the  College  of  the  City  of  New 
York.  Weary  of  hearing  the  woman's 
carping,  Lee  at  last  said,  "Surely  your 
husband  can't  be  as  black  as  you  have 
painted  him.".  .  .  It  resulted  in  all  three 
meeting  to  analyze  the  situation.  The  man, 
it  turned  out,  took  his  responsiblities  as  a 
husband  seriously.  He  excelled  at  his  job, 
he  neither  drank,  smoked  nor  philandered, 
but  freely  admitted  he  was  interested  in 
racing.  He  knew  pedigrees  and  records 
and  enjoyed  comparing  his  predictions 
with  a  favorite's  actual  performance. 

Lee  inquired  how  much  cash  he  put 
back  of  these  predictions.  The  man 
counted  up.  "About  a  hundred  dollars  a 
year,"  he  replied.  .  .  .  Further  questioning 
of  the  wife  revealed  that  her  real  objec- 
tion was  not  the  money — they  could  afford 
it — but  her  feeling  of  being  excluded. 

Lee  helped  them  throw  the  conflict  into 
proper  perspective.  To  the  wife,  she  said, 
"You're  getting  far  too  excited  about  too 
small  a  problem.  This  is  a  hobby — a  means 
your  husband  takes  to  express  his  own 
judgment.  It  is  not,  in  these  proportions, 
a  dangerous  vice.".  .  .  Comparing  it  with 
the  cost  of  other  possible  diversions,  she 
showed  the  woman  that  even  smoking 
cigarettes  could  have  a  higher  annual 
cost.  She  then  asked  the  man  if  he  had 
ever  made  any  attempt  to  interest  his 
wife  in  racing.  He  shook  his  head. 

The  outcome  now  delights  Lee.  She 
says,  "The  husband  acquired  a  good  lis- 
tener to  whom  he  could  boast  or  moan, 
depending  on  his  luck.  The  wife,  again 
feeling  important  and  desirable,  has  quit 
nagging.  They  now  go  to  the  track  to- 
gether, a  few  times  each  year,  making  the 
event  a  big  family  outing." 

The  man  who  complained  he  couldn't 
hold  a  job  contended  he  was  always  fired 


because  superiors  were  jealous  of  his 
ability  as  a  salesman.  ...  Lee  posed  the 
question  from  a  different  angle:  "Could 
it  be  because  you  are  overambitious? 
Because  you  want  to  be  made  vice-presi- 
dent overnight  and  ride  roughshod  over 
those  around  you?  Do  you  always  realize 
that  others  have  the  same  rights  and  are 
entitled  to  the  same  consideration  you 
demand  for  yourself?" 

For  the  tragic  teenager's  problem,  there 
was,  of  course,  no  ready  solution.  Lee 
could  only  urge  her  to  seek  the  help  of  a 
social  agency  and  send  her  the  list  of 
those  available.  .  .  . 

She  went  further  into  the  problem  of 
illegitimate  pregnancy  during  her  opening 
program  of  the  Conflict  series  on  televi- 
sion. With  a  frankness  rarely  permissible 
on  the  air,  she  discussed  the  frightening 
consequences  of  the  worst  possible  solu- 
tion— illegal  abortion. 

Strong  fare  for  TV?  It  was  useful  in 
at  least  one  household.  A  mother  wrote 
Mrs.  Graham:  "My  daughter  has  been 
running  wild.  Nothing  I  can  say  or  do 
reaches  her.  She  listened  to  your  pro- 
gram. She  didn't  say  anything,  but  I 
could  see  she  was  thinking.  Now  at  last 
I  am  hopeful  I  can  find  a  way  to  help  her." 

Topics  normally  banned  for  broadcast- 
ing are  not  new  to  Lee  Graham.  She  says, 
"When  I  first  went  on  the  air,  five  years 
ago,  at  WOR-TV,  I  daily  gave  the  con- 
tinuity-acceptance department  the  jitters. 
But  the  program  manager  stood  by  me 
and  we  have  proved,  first  to  them  and 
now  to  WOR-Mutual  and  WABD,  that— if 
a  topic  is  discussed  with  good  taste  and 
knowledge — no  one  is  offended,  and  it 
often  gives  people  information  they  seek. 
We  have  talked  about  interfaith  mar- 
riages, dope  addiction,  homosexuality,  sex 
education  and  good  relations  between  a 
husband  and  wife,  almost  as  frankly  as  we 
do  in  my  college  classes.  The  public  is 
ready  for  adult  programs." 

Her  special  interest  in  the  problems  of 
teenagers  stems  from  her  own  teen-age 
romantic  problem,  which  set  the  course  of 
both  her  personal  and  professional  life. . . . 
Born  in  New  York,  Lee  was  ill  a  great 
deal  during  childhood  and  grew  up  a  shy, 
withdrawn  little  girl.  Health  and  an  urge 
to  assert  herself  came  when  she  was  fif- 
teen. Her  family,  that  summer,  spent 
their  vacation  at  their  customary  seaside 
resort  hotel  at  Asbury  Park,  New  Jersey. 

Lee  attempted  to  be  super-sophisticated. 
While  she  was  sitting  in  the  lobby  one 
afternoon,  a  handsome  young  man  smiled 
at  her  and  Lee  smiled  right  back.  When 
he  remarked  it  was  a  nice  day,  Lee 
thought  so,  too. 

In  due  course,  his  mother  and  her 
mother  met,  the  families  became  friends 
and,  with  the  approval  of  their  elders,  frag- 
ile, lovely  Lee  and  handsome  Lawrence 
Graham  spent  an  enchanted  vacation 
boating,  taking  long  walks,  dancing  and 
gazing  into  each  other's  eyes. 

Their  first  meeting  in  New  York  took 
on  the  aspects 'of  a  great  occasion.  Lee 
recalls:  "The  Grahams  invited  my  folks 
and  me  to  dinner.  When  Lawrence  showed 
me  his  room,  I  thought  he  must  be  a  great 
playboy,  for  it  was  lined  with  girls'  pic- 
tures. Although  I  now  suspect  he  ar- 
ranged it  deliberately,  I  asked  him  if  he 
really  knew  all  those  girls  and  he  sol- 
emnly asserted  he  did." 

The  difference  in  their  ages  was  an- 
other touchy  point.  Lee  says,  "I  knew 
Lawrence  was  twenty-four,  but  I  had  let 
him  think  I  was  'about'  seventeen.  But 
I  had  always  been  taught  girls  should  be 
honest  with  the  men  they  want  to  marry, 


so  I  again  betrayed  my  lack  of  sophisti- 
cation and  confessed,  'I  have  a  terrible 
secret.  I'm  a  year  younger  than  you 
think.' " 

Actually,  she  was  fifteen  and  a  half. 
That  half  year  was  still  important  to  her 
when,  next  season,  they  again  arranged 
the  Asbury  Park  vacation.  Before  their 
families  left  for  the  resort,  man-of-the- 
world  Lawrence  announced  he  would  like 
to  see  Lee  four  nights  a  week.  Recollec- 
tion brings  a  smile  to  Lee,  "I  wondered, 
why  not  every  night?  But  I  replied  I'd 
try  to  make  it."  Soon  after  arrival, 
Lawrence  asked  for  five.  Again  Lee  said, 
"I'll  do  my  best." 

The  climax  to  their  little  tug-of-war 
came  after  a  happy  day  spent  swimming, 
dining  and  dancing.  Still  reluctant  to 
part,  they  sat  on  a  terrace,  looking  at 
the  moon  and  the  ocean.  Lee  hoped  that, 
in  this  romantic  setting,  Lawrence  would 
ask  for  seven  nights  a  week.  He  asked 
for  seven — plus — saying,  "I'd  like  to  spend 
just  such  a  day  as  this  with  you  all  the 
rest  of  my  life.    Will  you  marry  me?" 

Lee's  plea  for  her  parents'  consent  to 
the  engagement  was  fortified  by  the  fact 
that,  at  sixteen  and  a  half,  she  had  already 
had  a  year  of  study  at  Hunter  College. 
She  was  married  after  she  had  completed 
her  second  year,  and  immediately,  with 
Lawrence's  encouragement,  enrolled  at 
Columbia  University.  "I  wanted  to 
write,"  she  says,  "but,  before  I  could  do 
it,  I  felt  I  should  know  more  about  peo- 
ple, so  I  majored  in  psychology." 

As  a  case  worker  for  the  American  Red 
Cross  during  World  War  II,  she  investi- 
gated requests  for  emergency  leaves. 
Continuing  in  the  social  service  field  after 
the  war,  she  collaborated,  in  1950,  with 
James  Bender,  director  of  the  National 
Institute  of  Human  Relations,  and  wrote, 
"Your  Way  to  Popularity  and  Personal 
Power."  Her  own  book  followed  in  1954. 
It's  called  "If  You  Are  a  Woman,"  and, 
in  it,  she  gives  attention  to  the  problems 
of  each  age,  from  the  teens  to  the  sunset 
years.  Many  of  the  analysis  charts  which 
she  offers  to  listeners  and  viewers  are 
condensations  from  this  book. 

The  one  most  frequently  requested  is 
titled:  "Ten  Qualities  That  Attract  Men." 
She  prefaces  it  with  the  statement,  "The 
more  obvious  charms  like  a  pretty  face 
and  a  streamlined  figure  will  attract  a 
man  easily.  But  they  are  not  the  quali- 
ties which  will  make  him  fall  in  love  .  .  . 
nor  hold  him  indefinitely.  .  .  .  Cultivate 
those  which  attract  and  hold." 

Here's  her  list:  1)  A  genuine  sense  of 
humor.  2)  A  sincere  interest  in  his  job 
and  its  problems.  3)  A  voice  which  man- 
ages to  be  pleasant  under  all  circum- 
stances. 4)  A  preference  for  the  kind  of 
clothes  men  like.  5)  A  deep  sense  of 
loyalty.  6)  A  knowledge  of  homemaking 
skills.  7)  A  definite  tolerance  of  his 
friends.  8)  A  sense  of  proportion — the 
ability  to  take  things  as  they  are,  instead 
of  handling  every  little  problem  as  if  it 
were  a  major  crisis.  9)  A  realization  that 
not  all  men  are  alike.  10)  An  unmistak- 
able satisfaction  in  being  a  woman,  so 
that  your  personality  and  appearance  re- 
flect it. 

Lee  Graham  practises  what  she  preaches. 

Today,  that  juvenile  man-of-the-world 
from  Asbury  Park,  Lawrence  Graham,  is 
a  successful  business  man  in  the  import- 
export  field,  but  Lee  is  still  his  sweet- 
heart. They  love  to  dance,  go  to  the 
theater,  entertain  friends  at  their  Central 
Park  apartment,  and  travel.  Lee  credits 
her  husband  with  her  own  professional 
attainments:  "He  always  encourages  me 
in  everything  I  want  to  do.  I  could  never 
have  written  a  book,  nor  put  a  program 
on  the  air,  nor  understood  anyone's  prob- 
lems, if  Lawrence  hadn't  helped  me.  The 
center  of  my  own  life  is  my  husband." 


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(Continued  from  page  68) 
themselves  or  perhaps  be  killed. 

But,  most  important  of  all,  to  a  father, 
was  the  prospect  of  explaining  himself 
and  his  early  years  to  his  sons  by  per- 
mitting them  to  duplicate,  within  the 
limits  of  a  new  generation's  boundaries, 
his  own  experience. 

"Everything  I  read  about  kids  in  trou- 
ble," Curt  remembers,  "seemed  to  point 
to  one  moral,  no  matter  what  the  details: 
It  wouldn't  have  happened  if  there  had 
been  a  sense  of  real  family  closeness.  The 
catch  is  that  family  unity  isn't  one  of 
those  things  that  comes  complete,  like  a 
television  set,  and  can  be  turned  on  as 
desired.  The  clan  feeling  grows  as  a  tree 
grows,  and  it  takes  some  supervision  to 
keep  it  headed  in  the  right  direction  and 
flourishing." 

So  Curt  and  Edith  Massey  bought  a 
ranch  in  the  rolling,  upland  country  east 
of  San  Diego,  and  stocked  the  acreage 
with  a  hundred  head  of  "whitefaces" 
(Hereford  cattle,  if  you're  an  agricultural 
"square").  The  second  purchase  was  for 
Stephen  exclusively — an  American  saddle 
horse,  a  deliberate,  elderly  gentleman 
with  a  philosophic  nostril  flared  against 
the  orders  of  over-ambitious  lads.  The 
third  purchase  equipped  David  with  a 
Shetland  pony  having  the  disposition,  and 
only  slightly  more  than  the  stature,  of  a 
Manx  tomcat. 

The  lessons  held  in  escrow  by  a  watch- 
ful Nature  were  delivered  to  the  boys, 
piecemeal.  During  the  first  week  of 
ranchership,  Steve  spotted  the  creek  that 
runs  through  the  Massey  acreage,  and 
announced  jubilantly  that  he  was  going 
to  hike  down  and  back.    Before  dinner. 

Curt  explained  the  terrain.  Like  many 
California  arroyos,  it  had  been  eroded  by 
uncounted  centuries  of  occasional  flash 
floods.  Its  sharply  sloping  sides  were  a 
devil's  golf-course  of  boulders,  brush, 
debris,  dead  timber  .  .  .  and  sunning 
patios  for  rattlesnakes.  "I  wouldn't  try 
that  hike  just  yet,"  Curt  cautioned  his 
son.  "When  you're  a  little  more  accus- 
tomed to  this  country  and  when  you've 
put  on  some  muscle,  then  you  can  try  it." 

"It  isn't  much  of  a  hike,"  Steve  insisted. 
"I'll  bet  even  a  baby  could  do  it." 

Curt  knows  when  to  give  a  colt  its  head, 
but  he  also  takes  what  precautions  are 
wise.  He  asked  one  of  the  veteran  ranch 
hands  to  show  Steve  how  to  move  over 
unfamiliar  territory  in  which  one  knows 
there  might  be  rattlesnakes.  Picking  up 
a  four-foot  length  of  stick,  the  man  ex- 
tended the  wand  just  beyond  a  large 
boulder  and  danced  it  along,  listening. 
There  was  no  warning  sound,  so  he 
stepped  forward  and  repeated  the  proc- 
ess. "When  you  are  walking,  keep  your 
eyes  down.  Be  watchful.  When  you  want 
to  look  at  a  view,  first  study  the  ground 
around  in  all  directions,  then  stand  still, 
and  look  upward  and  outward  and  enjoy 
yourself.  Then,  before  taking  another  step, 
look  down  again  and  use  your  stick." 

It  was  beginning  to  get  dark  before 
Steve  returned,  breathing  hard  from 
haste,  his  face  white  with  fatigue. 

One  of  the  reasons  Curt's  camaraderie 
with  his  boys  is  so  comfortably  give-and- 
take  is  that  Curt  never  denies  his  own 
slips  or  alibis  them.  A  week  or  so  after 
Steve's  arduous  canyon  trip,  Curt  was 
pointing  out  some  of  the  strange  rock 
formations  in  the  area.  Leaning  down, 
gloveless,  he  swept  the  top  of  a  boulder 
clear  of  debris  with  his  hand  .  .  .  and  re- 
coiled as  a  snake,  which  had  been  lying 
on  the  top  of  the  heap  of  twigs  and  dried 
grass,  flashed  across  the  sand. 

Steve   grabbed   a   rock,    ready   to   clout 


the  snake,  then  noticed  that  it  was  one  of 
a  harmless  species.  "But  it  could  have 
been  a  rattler,"  he  said  quietly".  Meeting 
his  father's  eyes,  he  continued  in  an  ad- 
monitory tone,  "Where's  your  stick?  You 
should  have  cleaned  off  tie  rock  with 
your  stick." 

"Here  it  is— in  my  other  hand,"  Curt 
admitted  ruefully.  "That  was  real  bright 
of  me.    Real  bright." 

Davey's  snake  story  also  has  a  happy 
ending.  He  made  friends — and  influenced 
mothers  toward  hysteria — in  his  neigh- 
borhood by  his  enterprise.  Seems  that 
all  the  youngsters  who  listened  bug-eyed 
to  his  stories  of  reptiles  on  the  ranch,  de- 
cided that  not  to  have  owned  a  snake,  at 
least  one  teeny-tinesy  one  whose  sting 
was  not  poisonous,  was  not  to  have  lived. 

Davey  was  given  a  series  of  orders.  In 
exchange  for  all  sorts  of  junior  currency, 
he  was  commissioned  to  bring  back  snakes 
in  glass.  His  commerce  was  discovered 
when  his  mother  began  to  wonder  why 
suddenly  he  preferred  peanut  butter 
sandwiches  to  all  others,  and  wanted  the 
emptied  and  washed  jars,  and  why  he 
was  eating  salad  dressing  on  almost 
everything,  apparently  to  build  up  an  in- 
ventory of  those  jars,  too. 

He  still  doesn't  understand  the  attitude 
of  womankind  toward  a  hissing,  slithering 
beauty,  safely  contained  in  a  ventilated 
jar.  He  is  grateful  that  there  was  noth- 
ing in  his  family  contract  about  snakes. 
Oddly  enough,  neither  Massey  parent  had 
considered  a  clause  on  herpetology  nec- 
essary, or  Dave's  demerits  might  have 
wiped  out  his  allowance  for  months. 

The  contract  arrangement  in  the  Massey 
family  is  unique.  At  the  beginning  of 
each  school  year,  a  new  contract  is  drawn 
up  and  signed  by  each  boy  as  party  of 
the  first  part,  and  by  his  parents  as  party 
of  the  second  part.  The  document  speci- 
fies what  advantages  each  boy  is  to  enjoy. 
The  amount  of  his  rent,  if  he  had  to  pay 
it  himself,  is  estimated,  along  with  the  cost 
of  his  food,  clothing,  transportation,  medi- 
cal and  dental  care,  and  recreation.  In 
exchange  for  these  benefits,  each  boy 
agrees  to  perform  certain  tasks  having  to 
do  with  keeping  himself,  his  room,  and 
his  school  work  in  proper  condition. 

Coordinated  with  the  contract  is  a 
weekly  report  and  rate  chart.  If  Steve  is 
asked  to  wash  and  polish  his  father's  car, 
his  performance  is  rated.  If  he  has  done 
the  job  cheerfully,  has  kept  the  radio 
turned  at  moderate  pitch  while  perform- 
ing the  task,  and  has  added  some  plus 
items  such  as  a  vacuum  job  on  carpeting 
and  upholstery,  the  standard  rate  is 
stepped  up  in  proportion.  For  sins  of 
omission,  reluctance,  or  haste,  the  rate 
may  be  pared. 

The  surprises  produced  by  this  system 
are  many,  but  Curt  still  thinks  the  great- 
est ever  provided  was  that  which  re- 
sulted from  Steve's  getting  the  job  of 
selling  newspapers  at  the  Brown  Derby 
corner  in  Beverly  Hills.  This  was  a  plush 
position,  paying  very  cool  cash  money. 
Curt  assumed  that  Steve's  new  source  of 
revenue  might  make  him  contemptuous  of 
the  old,  and  that  his  employed  hours 
might,  understandably,  subtract  from  the 
time  applied  to  his  home  jobs. 

It  didn't  work  out  that  way.  Steve 
managed  both  his  outside  and  his  home- 
side  tasks,  doing  a  better  job  with  his  do- 
mestic chores  than  ever  before,  while 
coining  cash  at  Wilshire  and  Rodeo  Drive. 
He  became  so  fascinated  by  the  idea  of 
speedy  wealth  that,  when  the  family 
moved  to  the  ranch  for  the  summer  and 
he  had  to  give  up  his  newsvendorship, 
he  conned  his  father  into  buying  a  scin- 


tillator.  Together  they  tramped  high  and 
low,  always  hoping  to  catch  sight  of  the 
needle  flying  into  a  frenzy  over  vast  de- 
posits of  uranium. 

So  far  the  score  stands  something  like: 
Blisters,  uncounted;  sprains,  ignored; 
snakes  killed,  tally  lost;  miles  hiked, 
equal  at  least  to  the  circumference  of  the 
earth  at  the  equator;  uranium  located — 
hahaha.  "Oh,  well,  it's  all  part  of  it," 
Steve  told  his  father  with  a  grin.  "After 
all,  we've  built  leg  muscles  that  will  come 
in  handy  during  deer  season,  and  we've 
grown  familiar  with  terrain  over  which 
we'll  be  hunting,  so  we've  come  out 
ahead." 

That  Curt's  back-to-the-land  policy 
had  paid  even  more  permanent  and  valu- 
able dividends  than  could  be  summed  up 
in  muscles  and  mapping,  was  indicated 
during  the  deer  season  Steve  had  so  eag- 
erly anticipated.  He  had  learned  to 
handle  his  rifle  expertly,  and  he  had 
taken  target  practice — in  the  upper 
wastelands  of  the  ranch — seriously. 

One  frosty  morning  Steve  confided  in 
his  dad  that  he  felt  a  bone  prophecy  of 
good  hunting  that  day.  "I'm  going  to  get 
a  three-point  buck  in  my  sights,  and  I'm 
going  to  .  .  ."  steadily  he  squeezed  an 
imaginary  trigger  .  .  .  "and  then  I'm  going 
to  have  the  head  mounted  for  my  room." 

Filled  with  hope,  and  vivid  in  red  caps, 
red  jackets  and  sturdy  hunting  duds, 
father  and  son  separated  and  spread  out 
along  a  pre-arranged  perimeter.  But,  as 
it  turned  out,  Curt  was  the  lucky  hunter 
who  spotted  a  fine  three-pointer,  down 
wind  but  wary.  Curt  hesitated,  studying 
the  area  in  which  he  knew  Steve  would 
be.  A  thick  growth  of  brush  would,  he 
reasoned,  cut  off  Steve's  view  of  the  buck. 

There  was  a  delicate  point  to  be  con- 
sidered: Steve  wanted  at  least  a  shot  at  a 
buck,  and  he  wanted  it  with  all  the  in- 
tensity of  a  fourteen-year-old's  desperate 
dream.  Certainly  there  would  be  other 
hunting  seasons,  and  other  deer,  but  this 
would  be  Steve's  first,  and  firsts  are  im- 
portant to  the  young.  On  the  other  hand, 
if  Curt  were  hunting  with  a  contempo- 
rary, there  would  be  no  question  of  dear- 
Alphonse,  dear-Gaston. 

Curt  decided  upon  the  adult  approach, 
steadied  his  sights,  waited  with  held 
breath,  squeezed  the  trigger,  and  saw  the 
buck  rear  slightly,  bound  upward  and 
fall  dead.  A  few  seconds  later  Steve  ap- 
peared in  a  clearing  and  shouted,  "Did 
you  get  a  hit,  Dad?" 

"On  the  button.     Did  you  see  him?" 

"Nope.  Meet  you,"  yelled  Steve,  head- 
ing for  his  dad.  When  they  joined  forces, 
Steve's  face  was  glowing.  He  hadn't  seen 
the  buck,  had  been  attracted  to  an  open- 
ing only  when  he  heard  the  shot.  No 
look,  no  word,  no  expression  indicated 
that  he  had  expected  his  father  to  save 
the  deer,  hoping  that  Steve  might  spot 
the  buck  a  little  later  and  get  a  shot. 

"I'm  sorry  you  didn't  see  him,"  Curt 
said. 

Steve  shrugged.  "Well,  I'd  have  been 
tickled  to  get  a  shot,  but,  golly  Dad,  I 
can't  expect  all  the  luck.  I'm  glad  you 
knocked  him  over.    Boy,  that's  shooting." 

Curt  rested  his  big  hand  on  the  boy's 
shoulder,  and  father  and  son  exchanged 
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90 


He  Loves  the  Ladies 


(Continued  from  page  59) 
He  offers  hope.  He  is  strong  for  them.  He 
loves  the  Queens,  and  they  know  it." 

The  ladies  instinctively  sense  Jack's 
strength  and  feel  safe  with  him.  They 
know  he  will  not  take  advantage  of  their 
plight  or  makes  jokes  at  their  expense.  In 
front  of  the  cameras,  Jack  plays  host  to 
the  ladies:  He  treats  them  as  if  they  were 
visiting  him  in  his  own  home.  Harry 
Mynatt — for  ten  years  the  Queen's  escort, 
and  now  the  director  of  the  NBC-TV  and 
MBS  radio  show — says:  "One  of  Jack's 
greatest  qualities,  the  one  I  think  his 
success  is  based  on,  is  that  he  never  talks 
down  to  anyone.  He  talks  up  to  them. 
Jack  is  truly  humble." 

Harry  also  points  out  that  Jack  has  a 
generous  heart,  as  well  as  a  humble  one. 
"The  second  month  I  was  with  the  show," 
says  Harry,  "we  finished  a  six-week  tour 
in  Kansas  City — where  I  broke  my  leg. 
The  show  flew  me  home  and,  on  his  first 
day  back,  Jack  came  to  visit  me  in  the 
hospital.  This  was  during  World  War  II 
and  electrical  appliances  were  impossible 
to  get.  The  second  day,  Jack  brought  me 
his  own  little  bedside  radio,  insisting  that 
I  keep  it  until  I  went  home.  That  was  my 
first  impression  of  Jack — of  his  kindness 
and  thoughtfulness.  In  eleven  years,  he 
hasn't  changed." 

Having  been  with  Jack  for  eleven  years, 
Harry  says  he  has  reached  the  point 
where  he  can  anticipate  Jack's  needs  and 
almost  read  his  mind:  "It  is  a  pleasure  to 
work  with  Jack — he's  the  greatest  ad-lib 
artist  in  the  business.  If  he  gets  a  one- 
word  cue,  he  picks  it  up  immediately.  Or, 
if  a  Queen  is  on  the  verge  of  tears,  he  can 
get  her  out  of  it  with  a  single  line. 
He's  quick-witted  and  always  aware.  For 
example:  We  now  do  two  shows  on 
Monday  and  skip  Friday,  so  that  Jack  can 
rehearse  his  Truth  Or  Consequences  show. 
Recently,  on  our  second  Monday  show, 
one  of  our  Queens  wanted  a  set  of  glasses 
and  serving  trays  for  her  young  daugh- 
ter's Friday-night  party.  'Oh,'  said  Jack, 
'you're  going  to  have  a  houseful  of  teen- 
agers tonight.'  Remember,  this  was  Mon- 
day afternoon  —  yet,  without  rehearsal, 
Jack  thought  in  terms  of  Friday's  show." 

In  spite  of  the  fact  that  Jack  is  quick 
with  an  ad  lib,  there  have  been  many 
moments  on  the  show  when  he  has  been 
at  a  loss  for  words.  Once  one  of  his  guests, 
whose  husband  had  recently  died,  asked 
only  for  a  bicycle  for  her  young  son,  say- 
ing simply,  "I've  promised  him  Daddy 
would  send  one  from  Heaven  .  .  ."  Jack 
was  so  touched,  tears  filled  his  eyes  and 
he  had  to  wave  away  the  cameras. 

Where  did  Jack's  sensitivity,  his  sym- 
pathy, his  feeling  for  others,  begin?  Jack 
was  raised  in  Hampton,  Iowa,  a  town  with 
a  population  of  about  4,000.  His  mother 
was  a  schoolteacher,  his  father  had  a 
harness  shop.  Mr.  Bailey  suffered  a  stroke 
when  Jack  was  still  a  youngster,  and  died 
when  Jack  was  ten. 

Their  home  was  in  back  of  the  town's 
movie  house  and  Jack  remembers  falling 
asleep  at  night  to  the  tune  of  a  tinkling 
piano  and  violin.  Jack  was  forever  in- 
terested in  music  and  the  theater.  After 
his  father  died,  Charles  Peterson,  the 
theater  manager,  kept  Jack  off  the  streets 
and  busy  with  odd  jobs;  after  school  and 
Saturdays,  he  dusted  the  theater  seats  and 
carried  out  the  trash. 

"With  my  'experience'  in  the  theater," 
says  Jack  with  a  smile,  "I  once  produced 
my  own  show  in  our  barn's  haymow.  For 
a  curtain,  I  used  my  mother's  sheets.  With 
great  modesty,  I  say  I  wrote,  directed, 
and    played    the    lead.    The    show    had    a 


short  run.  In  fact,  it  only  lasted  one  day 
— the  sheets  had  to  go  back  on  the  beds." 

In  addition  to  his  interest  in  the  theater, 
Jack  was  also  interested  in  music.  Mr. 
Clauson,  the  school  janitor,  taught  him 
first  how  to  play  the  drums,  and  later  how 
to  make  music  with  a  trombone.  By  the 
time  Jack  went  to  college,  he  could  per- 
form on  almost  every  band  instrument. 

At  nineteen,  Jack  went  to  Drake  Uni- 
versity at  Des  Moines  to  study  drama.  He 
paid  his  way  by  playing  in  a  dance  or- 
chestra, and  it  is  possible  that  it  was 
here  that  Jack  first  tasted  disappointment. 
Rather  than  the  straight  music  which  he 
loved,  Jack  was  called  on  to  do  the  "nut" 
numbers — he  wore  silly  hats,  played  a 
trombone  that  wiggled  (after  being 
doctored  by  a  plumber),  and  danced  to 
music  he  made  on  a  washboard.  When 
Jack  played,  the  audience  didn't  dance. 
They  laughed. 

The  same  situation  existed  in  school. 
Though  Jack  studied  diligently,  students 
laughed  hardest  when  he  was  trying  to 
be  serious.  "I  would  get  up  in  French 
class,  for  example,"  he  says,  "and  try  to 
give  a  straight  reading.  Before  I  spoke 
two  sentences,  everybody  was  howling.  I 
wasn't  trying  to  be  funny.  I  was  trying  to 
get  a  good  grade.  It  bothered  me — in 
fact,  it  hurt  me  at  first.  I  couldn't  help  it 
if  I  had  a  rubber  face." 

While  Jack  was  still  in  school,  the  band 
he  "fronted"  was  visited  frequently  by 
Ralph  Bellamy,  even  then  a  well-known 
legitimate  actor  with  a  touring  company 
of  his  own  called  The  Ralph  Bellamy 
Players.  "I  made  it  my  business  to  meet 
Mr.  Bellamy,"  says  Jack.  "After  all,  as  a 
drama  student,  I  considered  myself  in  the 
theater — and  he  was  the  first  real  actor 
I'd  ever  seen.  So  one  night  I  bravely  said 
to  him,  'Look,  Mr.  Bellamy,  I'm  studying 
drama  and  eventually  I  want  to  go  on  the 
legitimate  stage.   How  about  a  job?' 

"  'You  can  be  assistant  stage  manager,' 
he  said.  'If  you'll  work  a  little  in  the 
office  and  play  in  the  pit,  I'll  give  you 
twenty  dollars  a  week.'  I  was  making 
seventy-five  a  week  with  the  band,"  says 
Jack,  "but  I  wanted  to  be  an  actor,  so  I 
took  it.  Bellamy,  of  course,  only  knew 
me  from  my  'nut'  number.  Though  I 
wanted  to  be  a  dramatic  actor,  he  had  me 
pegged  as  a  comic. 

"We  played  good  New  York  shows, 
spending  a  twenty-two-week  season  each 
in  Des  Moines,  Nashville,  and  Evanston, 
Illinois.  Bellamy,"  says  Jack  with  a  wry 
smile,  "started  me  off  in  minor  roles — the 
corpse,  or  the  messenger  boy,  or  the  actor 
who  gets  killed  off  in  the  first  act.  The 
group  was  made  up  of  thorough  actors, 
and  when  they  found  out  I  was  a  drama 
student,  that  was  all  they  needed — they 
hooked  up  the  phone  and  talked  back  to 
me  on  stage  so  I  couldn't  keep  a  straight 
face,  and  they  nailed  the  door  shut  for  my 
big  exit!  The  audience  caught  on  fast 
and  began  looking  for  the  gags.  Rexford 
Bellamy,  Ralph's  father,  felt  sorry  for 
me  and  finally  put  a  stop  to  my  initiation." 

When  the  banks  closed  during  the  De- 
pression, Jack  was  in  Chicago  with  two 
dollars  in  his  pocket.  An  actor's  agent 
told  him  that  a  tent  show  in  Mason  City, 
Iowa  was  looking  for  a  drummer  and 
leading  man.  Jack  says,  "I  told  him  that 
was  fine  for  me,  I  was  the  finest  drummer 
that  ever  snared  a  snare.  But  I  had  al- 
ready told  him  that  I  had  been  with  Bel- 
lamy's legitimate  theater  and  he  said, 
'You  don't  understand.  You  are  to  be 
drummer  and  leading  man.' 

"In  those  days,  if  an  actor  was  wanted, 
the    show    had    to    send    transportation 


money.  I  figured  that,  if  I  didn't  last  long 
in  Mason  City,  I  could  always  walk  home. 
When  I  arrived  in  Iowa,  I  learned  my 
lines  from  the  exiting  leading  man  and, 
the  first  night  of  the  tent  show,  I  drew 
more  laughs  than  the  comedian.  I  didn't 
mean  to.  I  was  really  trying  to  be  the 
great  lover.  The  next  show  the  director 
made  me  the  villain,  and  I  was  funnier 
than  I  had  been  as  the  leading  man.  The 
owners  finally  said,  'Here,  you  put  on  the 
red  wig  and  be  the  comic.  We'll  let  the 
comic  try  the  leading-man  role.' " 

First  Jack  dreamed  of  becoming  an  ac- 
cepted "straight"  musician — and  he  ended 
up  doing  "nut"  numbers.  Then  he 
dreamed  of  becoming  a  dramatic  actor — 
and  was  forever  ending  up  as  the  come- 
dian. As  he  says,  "It's  not  my  fault  that 
I'm  funny.  I  just  can't  help  it."  At  first, 
Jack  admits,  it  bothered  him  a  great 
deal — as  any  frustration  would.  Today, 
completely  happy  in  what  he's  doing,  Jack 
says:  "It  turned  out  to  be  a  blessing." 
These  early  disappointments,  however, 
have  made  Jack  sensitive  to  the  feelings 
of  his  Queens. 

It  was  this  empathetic  feeling  that  pro- 
ducer Howard  Blake  first  noticed  when 
Jack  was  emceeing  Meet  The  Missus  at 
CBS  Radio  twelve  years  ago.  Howard  had 
been  hired  by  the  network  to  produce  the 
show — and,  says  Blake,  "My  first  instruc- 
tion was  to  get  rid  of  Jack  Bailey,  an 
emcee  nobody  had  ever  heard  of.  One 
of  the  vice-presidents  said  he  just  didn't 
have  what  it  takes.  I  worked  with  Jack 
for  two  weeks  and  I  sensed  that  Jack  had 
more  of  what  it  takes  than  anyone  else 
on  the  staff.  I  went  back  to  the  execu- 
tive and  told  him,  'I've  got  news  for  you. 
If  Bailey  stays,  we'll  have  the  biggest 
show  in  the  western  region.'  Bailey 
stayed,  and  we  did." 

It  was  from  Meet  The  Missus  that  Jack 


Bailey  came  to  the  attention  of  Raymond 
R.  Morgan,  owner  of  the  "Queen"  show. 
"It  was  only  after  we  got  Jack  Bailey," 
says  Mr.  Morgan,  "that  the  show  took 
form.  Today,  thanks  to  Jack,  it  is  one  of 
the  highest  rated  shows  on  daytime  TV." 

It  is  interesting  to  note  that  Jack  didn't 
have  a  forgetting  heart.  Ten  years  after 
he  and  Howard  Blake  separated,  the  pro- 
ducer's job  opened  up  on  "Queen" — and 
Jack  insisted  that  Blake  get  the  spot. 

Today,  Jack  spends  four  days  a  week, 
from  11  A.M.  to  3  P.M.,  on  the  "Queen" 
show.  Friday,  he  does  Truth  Or  Conse- 
quences. He  and  his  wife,  Carol,  spend 
weekends  in  their  Malibu  retreat,  where 
Jack  paints.  His  interest  in  painting 
developed  after  he  read  the  Reader's 
Digest  article  about  Eisenhower's  and 
Churchill's  oil-painting  hobby.  Now  that 
he's  an  avid  amateur,  all  his  friends 
proudly  boast  of  Bailey  originals. 

Last  summer,  he  spent  his  six-week 
vacation  studying  art  at  the  Santa  Fe, 
New  Mexico  Art  School.  Each  Thursday, 
he  attends  class  at  the  Los  Angeles  Busi- 
ness Man's  Art  Institute  and  Tuesday  he 
describes  as:  "The  day  I  get  well.  I  go 
into  my  studio,  shut  the  door  and  close 
off  all  pressure.  If  you  hear  me  whistle 
and  sing,  it  means  I've  been  lucky  in 
painting  something  I  like.  I  may  work 
six  or  eight  hours  on  a  painting,  but  it's 
just  like  having  a  day  off." 

Even  in  his  paintings,  the  two  sides  of 
Jack's  personality  are  revealed.  On  the 
one  hand,  he  is  especially  adept  at  paint- 
ing gay  and  colorful  clowns.  On  the  other 
hand,  he  is  proud  of  the  pieces  he  painted 
for  the  Annual  Los  Angeles  Madonna 
Festival. 

His  favorite?  The  painting  in  soft  rose- 
red  and  blues,  over  his  mantel — his  "Child 
Madonna" — which  so  well  expresses  Jack 
Bailey,  emcee-comic  with  a  heart. 


Small-Town  Girl 


(Continued  from  page  55) 
decision  that  she  met  Les  Heller.  She  was 
directing  a  play  at  the  Laboratory  Thea- 
ter and  Les  disputed  her  direction.  After 
a  couple  of  good  verbal  tussles,  they 
became  good  friends  and — sometimes — 
they  were  going  steady.  It  was  an  off- 
and-on  romance.  Les,  just  out  of  the 
service,  wanted  to  be  a  playwright,  so  his 
interest  in  the  theater  matched  Jayne's. 
His  chief  problem  was  an  allergy  to 
orange  blossoms.  Behind  Jayne's  soror- 
ity house  was  an  orange  blossom-type 
bush,  and  it  was  in  this  vicinity  that  cou- 
ples stopped  to  talk  about  saying  good- 
night. Lester  mostly  sneezed.  Jayne's  sor- 
ority sisters  figured  this  was  a  bad  omen, 
an  omen  that  Les  wasn't  the  marrying 
kind.  But,  on  Jayne's  graduation,  he 
proved  they  were  wrong — and  the  wedding 
ring  was  a  gold  band  figured  with  orange 
blossoms. 

It  should  be  noted  that  Jayne,  in  honor 
of  her  grades,  was  a  member  of  Phi  Beta 
Kappa.  She  received  the  University's 
highest  honor,  that  of  having  her  name  in- 
scribed on  the  Bronze  Tablet  for  having 
graduated  in  the  upper  two-percent  of  her 
class.  She  also  won  a  Rockefeller  Fellow- 
ship for  Advanced  Study  in  Dramatics. 
After  the  wedding,  she  and  Les  stayed  on 
until  the  spring  of  1949,  while  Les  earned 
his  master's  degree.  Together,  they  got  a 
British  Arts  Council  Award  for  study  in 
England.  That  took  them  to  the  Shake- 
speare Memorial  Theater  at  Stratford-On- 
Avon  as  resident  students.  They  spent 
June  and  July  in  England,  August  in 
France,  and  got  back  to  New  York  in 
September  of  1949 — to  face  reality. 

"Les  had  a  teaching  job  offered  him  in 


Fargo,  South  Dakota,"  Jayne  recalls,  "and 
it  was  so  tempting.  They  even  wrote  that 
they  had  a  little-theater  group  in  the 
community.  But  we  agreed  to  stay  in  New 
York,  where  there  were  more  oppor- 
tunities for  both  a  writer  and  an  actress." 

Jayne  decided  to  take  a  practical  job 
until  they  got  settled,  and  applied  at  the 
office  of  a  national  magazine.  She  was 
hired  as  a  file  clerk:  "It  was  supposed  to 
be  temporary,  but  I  was  at  it  almost  three 
years.  And  I  was  miserable.  I  wanted  to 
act  so  badly  that  it  was  all  I  could  do  to 
sit  quietly  in  a  theater  and  watch  other 
actors  at  work.  I  finally  began  some  vol- 
unteer work  for  the  American  Theater 
Wing.  About  twice  a  week,  we  would  go 
to  hospitals  to  do  a  skit  for  veterans  or 
participate  in  plays  with  them.  The  Red 
Cross  supplied  the  transportation,  and  so 
I  explained  to  friends  that  I  was  doing 
work  for  the  Red  Cross.  I  couldn't  tell 
them  that  I  was  acting — for  I  thought,  once 
they  knew  that,  they  would  see  how  badly 
I  wanted  to  work  as  an  actress,  and  it 
embarrassed  me.  Finally,  Les  clubbed  me 
into  quitting  at  the  magazine  and  I  began 
to  make  the  rounds  of  casting  offices." 

In  the  fall  of  1952  and  winter  of  1953,  she 
got  some  "walk-ons"  and  began  to  dor 
some  fashion  modeling.  In  the  summer  of 
1953,  she  got  her  first  professional  break 
as  resident  actress  with  the  Strand  Players 
at  Wilmington,  Delaware.  Since  then,  her 
luck  has  been  good.  In  television,  she  has 
worked  on  Robert  Montgomery  Presents, 
The  Best  Of  Broadway,  Suspense,  The 
Web,  Rocky  King  and  Kraft  Theater.  She 
has  had  parts  in  Hawkins  Falls,  Golden 
Windows  and  Concerning  Miss  Marlowe. 
She  played  in  two  off-Broadway  produc- 


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tions,  "The  Skin  Of  Our  Teeth,"  at  the 
Equity  Library  Theater  Director  Work- 
shop, and  then  played  Ann  Boleyn  in 
"Praise  of  Folly,"  at  the  Blackfriars,  a 
little-theater  sponsored  by  the  Dominican 
Brotherhood.  It  was  there  that  an  agent 
saw  Jayne  and  sent  her  to  read  for  "Sa- 
brina  Fair." 

"You  know,  that's  the  way  it's  supposed 
to  happen,"  she  says.  "An  actor  works  in 
one  of  the  off-Broadway  productions  and 
gets  discovered.  But  it  seldom  happens.  I 
was  an  exception."  She  got  the  part  of 
Gretchen  in  "Sabrina  Fair." 

Jayne  has  been  on  The  Brighter  Day 
since  January  fourth  of  this  year.  At  the 
time,  she  also  had  a  part  in  Rodgers  and 
Hammerstein's  newest  musical,  "Pipe 
Dream."  For  a  few  weeks,  she  tried  to 
do  both  shows  but  it  was  hectic.  Her  day 
started  at  eight-thirty.  She  was  at  the 
studio  at  ten  A.M.  to  rehearse  and  tape  the 
radio  sequence  of  The  Brighter  Day.  After 
a  lunch  break,  she  went  on  to  the  TV 
studios  to  rehearse  for  the  four  P.M.  tele- 
cast of  The  Brighter  Day.  From  four- 
thirty  until  six,  she  rehearsed  the  next 
day's  show.  She  then  met  Les  for  dinner. 
Afterwards,  she  went  to  the  theater  for 
the  performance  of  "Pipe  Dream."  Finally, 
at  home  again,  she  had  to  begin  studying 
her  lines  for  the  next  day's  program.  That 
was  her  schedule  Monday  through  Friday. 
On  Saturday,  there  were  two  performances 
of  the  musical. 

"I  used  to  think  with  envy  of  women 
who  had  dinner  out  every  night.  Sounded 
wonderful — but  it  got  to  be  tiring,"  says 
Jayne.  "And  then  the  apartment  started 
to  get  run  down,  and  I've  never  been  able 
to  shed  my  responsibilities  as  a  house- 
wife. Worst  of  all,  I  didn't  even  have 
time  to  make  a  birthday  cake  for  Les. 
That  wasn't  terribly  serious,  but  I  was 
so  touched  when  Les  complained  that  he 
never  got  to  see  me.  So  I  quit  'Pipe 
Dream.' " 

JNow  she  spends  Saturdays  catching  up 
in  her  housework  and  doing  her  shop- 
ping. Sundays  she  saves  for  baking  and 
preparation  of  the  week's  big  meal.  And,  of 
course,  Lester  and  Jayne  have  evenings 
together — and  that  means  talking,  read- 
ing, rehearsing  lines  with  Les  and  listen- 
ing to  records.  Their  apartment  is  rest- 
ful and  easy  to  take.  It  is  in  Manhattan's 
East   Seventies   and   is   modern   in   decor. 

The  apartment  is  predominantly  gray. 
The  ceiling  is  cream,  but  the  walls  are  all 
gray — the  sofa,  deep  gray,  and  the  rugs, 
light  gray.  A  couple  of  "captain"  chairs 
are  appropriately  painted  battleship  gray. 
There  is  a  high-fidelity  set-up — not  gray — 
that  Les  put  together  himself.  "It's  really 
'middle-fidelity,'  according  to  our  expert 
friends,"  Jayne  says,  "but  Les  did  a  won- 
derful job  on  the  cabinet.  He  just  brought 
in  the  lumber,  spread  out  newspapers  and 
then  went  around  to  the  neighbors  to  bor- 
row tools.  Soon  he  was  a  carpenter." 

The  phonograph,  with  the  shelves  above 
for  records  and  books,  makes  a  handsome 
corner  unit.  Another  item  Les  put  to- 
gether is  a  divider-bookcase.  In  the  liv- 
ing room  and  next  to  the  kitchen  door  is 
a  broad  window.  The  dining  table  has 
been  placed  next  to  the  window  but,  to 
separate  this  section  from  the  main  living 
room  area,  Jayne  and  Les  made  a  book- 
case, perpendicular  to  the  wall,  out  of 
planks  and  bricks.  There  is  no  cement. 
The  weight  of  the  bricks  and  books  keeps 
the  case  together. 

Jayne  fixed  the  kitchen  to  suit  herself. 
She  painted  the  cupboards  cream,  and 
then  trimmed  the  room  with  a  red- 
checked  pattern.  She  started  out  lining 
the  cupboards  with  red -checked  plastic 
lining  and  put  a  small  square  of  the  stuff 
on  the  outside  of  the  doors.  She  then 
made    and   put   up   red-checked   gingham 


curtains  and  a  skirt  of  the  same  around 
her  work  table.  She  has  an  enormous 
peg  board  over  the  work  table  for  all  of 
her  cooking  gadgets.  She  is  particularly 
happy  about  a  portable  electric  mixer 
from  her  father.  "Daddy  sent  me  a  coffee 
percolator,  too,"  she  says.  "That  was  be- 
cause, the  last  time  he  and  Mother  were 
in  New  York,  I  made  them  coffee  Italian- 
style  with  an  espresso  and  it  wasn't  to 
their  taste." 

The  bedroom  is  stocked  with  blond  fur- 
niture. Jayne  has  made  curtains,  not 
drapes,  using  a  material  with  a  mobile 
motif  in  salmon,  aqua  and  brown.  The 
bedspread  has  brown  sides  and  a  beige 
top  with  brown  stripes.  "Les  and  I  are 
usually  in  disagreement  over  color,"  Jayne 
says,  then  explains:  "He  has  a  theory  that 
nature  disregards  color  rules  and  mixes 
up  colors  any  way  at  all.  I  like  blends 
and  particular  colors." 

An  unexpected  object  in  the  bedroom 
is  a  filing  cabinet,  but  this  is  an  impor- 
tant piece  containing  manuscripts  and 
records  and  pictures.  Next  to  the  window 
is  a  sewing-machine  console.  "The  bed  was 
the  first  thing  we  bought,  and  the  sewing 
machine  was  the  second,"  JaynG  says.  "I 
never  do  as  much  sewing  as  I'd  like,  but 
that's  due  only  to  a  lack  of  time.  Of 
course,  I've  had  very  good  instructions  in 
sewing  from  Mother.  Until  I  got  out  of 
school,  I  wore  nothing  but'  home-made 
dresses.  I  was  so  tall  and  lanky  that  I 
had  trouble  getting  anything  that  was 
right  for  me  in  stores.  So  Mother  and  I 
would  design  and  make  the  dresses." 

She  does  all  of  her  own  alterations  now, 
when  she  buys  a  dress,  but  making  one 
takes  her  three  full  consecutive  days  and 
it  is  not  too  often  that  she  has  that  much 
time  to  herself. 

"Punkie  likes  homely  things,"  says  her 
husband.  "Many  days,  when  she  should 
be  out  furthering  her  career,  she'll  prefer 
to  bake  a  pie  or  do  some  sewing.  She's 
very  much  of  a  homebody  and  very  warm. 
She's  thoughtful  and  selfless  when  it 
comes  to  friends  and  cats.  She's  always 
picking  up  stray  cats,  and  she's  always 
going  to  bat  for  a  friend — or  even  a 
stranger." 

Les  tells  a  story  about  Jayne:  "Our 
apartment  is  at  the  rear  of  our  building 
and  our  bedroom  window  faces  the  rear 
of  buildings  on  the  street  below  us.  Well, 
one  Sunday  morning — a  kind  of  gray 
morning — we  were  trying  to  drag  our- 
selves up  to  get  started,  when  Punkie 
jumped  up  and  said,  'I  hear  someone  call- 
ing for  help!'  She  ran  to  the  window  and 
then,  without  a  word,  ran  out  of  the  bed- 
room. She  picked  up  a  coat  as  she  passed 
the  closet  and  ran  out  of  the  building. 
She  had  to  run  down  four  flights  of  stairs, 
down  the  block  to  the  corner,  down  an- 
other block,  turn  the  corner  and  come 
up  the  street  and  find  the  building.  She 
did,  and  woke  up  the  superintendent  of 
the  building. 

"As  it  turned  out,  a  woman  had  locked 
herself  in  a  bathroom  and  was  getting 
frantic.  But  Punkie  could  have  called 
the  police.  She  could  have  asked  me  to 
do  something.  The  woman  was  a  stranger. 
Punkie  didn't  know  what  kind  of  situa- 
tion she  was  going  to  get  into,  but  there 
was  someone  in  distress — and  not  for  a 
second  did  she  hesitate.  She  just  went 
into  action." 

Jayne  Heller  may  not  be  sophisticated 
in  the  superficial  sense.  She  does  not  feel 
and  act  naughty,  and  she  is  not  removed 
from  the  world's  realities.  But,  in  the 
true  sense  of  the  word,  Jane  is  sophisti- 
cated .  .  .  for  she  is  intelligent,  enlight- 
ened, sensitive,  and  broad  in  her  under- 
standing. She  can't  help  looking  the 
femme  jatale — but  not-so-plain  Jayne  is 
"plain  folks,"  in  the  very  nicest  sense. 


The  Home  That  Jack  Built 


(Continued  from  page  37) 

"It  wasn't  just  what  he  said,  Jack  re- 
calls, "but  the  way  he  said  it.  He  made 
me  angry.  I  made  up  my  mind  that  I  was 
going  to  make  good." 

He  got  his  first  radio  job  at  Station 
WTTM  in  Trenton,  New  Jersey.  Two  years 
later,  he  moved  over  to  Mutual's  flagship 
station,  WOR — and,  his  fourth  year  in  the 
business,  he  was  a  network  star.  Dan  En- 
right,  who  hired  Jack  at  WOR,  became  his 
partner  in  the  program  packaging  busi- 
ness. That  was  over  nine  years  ago. 

"I'll  tell  you  what  I  think  of  Jack,"  Dan 
says.  "We  don't  even  have  a  written 
agreement.  If  I  were  to  die  tomorrow,  the 
whole  settlement  would  be  in  Jack's 
hands.  And,  since  I  have  a  wife  and  two 
children,  you  can  understand  that  I  trust 
him  all  the  way." 

Barry  and  Enright  have  entire  pent- 
house offices  atop  a  Madison  Avenue 
building.  They  employ  twenty-two  people 
who  work  on  such  frequently  seen  (or 
heard)  shows  of  Jack's  as  Winky  Dink 
And  You,  Juvenile  Jury  and  Life  Begins 
At    80,    as    well    as    projected    programs. 

"I  like  being  a  performer,  but  I'm  a 
little  suspicious  of  it,"  Jack  says.  "As  a 
performer,  you  can't  expect  to  last  a  life- 
time. After  some  years,  the  best  of  them 
disappear.  But  that's  not  where  my  real 
security  is,  anyway.  What  I  live  for  is  to 
get  in  the  cab  after  work  and  get  home." 

He's  home  in  about  ten  minutes  and, 
from  six  to  seven,  every  evening,  Jack 
just  romps  with  his  two  boys.  Jonathan, 
the  baby,  resembles  Jack  in  physical  ap- 
pearance. He  is  a  year-plus,  outgoing  and 
very  happy.  Jeffrey,  who  is  half-past-two, 
is  blondish  and  sweet,  with  a  passion  for 
tracking  down  Marcia's  Siamese. 

Jack  is  devoted  to  Marcia  and  the  kids. 
They  are  literally  tortured  by  any  separa- 
tion. Last  summer,  they  barely  survived  a 
five-day  vacation  from  the  children.  "We 
tried  it  the  summer  before,"  Jack  says. 
"We  left  Jeffrey  at  home  and  intended  to 
stay  away  for  a  week.  It  was  brutal.  We 
went  to  the  shore,  unpacked  our  bags  and 
went  out  on  the  beach.  Then  we  went 
back  to  the  room,  packed  our  bags  and  got 
back  home  that  same  evening." 

Jack  has  definite  ideas  about  raising 
children.  He  and  Marcia  do  not  spank. 
They  do  not  raise  their  voices  to  the  kids. 
"I  don't  mean  you  shouldn't  reprimand  a 
child,  but  we're  against  spanking  and 
screaming." 

They  are  careful  not  to  argue  in  front 
of  the  children.  "When  we  feel  a  minor 
engagement  coming  on,  we  call  for  a  truce 
— and,  more  often  than  not,  we  forget  the 
whole  thing  and  that's  the  last  of  it." 

As  a  substitute  for  spanking,  Jack  tries 
to  distract  the  youngsters  when  they  are 
headed  for  trouble.  This  can  be  a  wet 
business — for  Jeffrey's  favorite  distrac- 
tions are  ice  cubes. 

The  master  bedroom  is  big  and  hand- 
some. Actually,  this  room  sets  the  furnish- 
ing theme  for  the  apartment.  The  huge  bed 
is  Sheraton,  and  so  is  the  heavy  mahogany 
chest,  which  has  been  antiqued  gray  and 
decorated  with  a  floral  pattern.  The  drapes 
and  bedspread  are  of  French  silk,  again 
with  a  floral  pattern.  At  the  foot  of  the 
bed  is  a  television  receiver.  There  is  a 
woodburning  fireplace  in  this  room. 

The  room  most  enjoyed  by  the  Barry s 
is  the  den  off  the  foyer.  You  walk  on  gold 
carpeting,  and  the  walls  are  brown,  with 
floral  drapes  in  green  and  red.  The  furni- 
ture is  all  highly-polished  leather  in  red 
or  green — big,  comfortable  chairs  and 
sofas  with  side-tables  and  pewter  lamps 
for  reading.   One  wall  is  lined  with  book- 


shelves, and  the  shelves  are  filled  with 
records  and  books — and,  modestly  on  a 
shelf  near  the  ceiling,  is  a  large  trophy 
which  Marcia  won  in  a  beauty  contest. 
There  are  several  oil  paintings  by  Marcia 
which  reveal  her  interests.  There  is  a 
canvas  with  a  pair  of  horses — Marcia  is  a 
good  horsewoman.  There  is  a  desert  scene 
— that  reflects  her  fondness  for  her  par- 
ents'  desert  ranch. 

"Marcia  is  one  of  the  most  accomplished 
persons  I've  ever  known,"  Jack  says. 
"There's  much  more  to  be  said  about  her 
than  there  is  about  me."  She  was  born 
and  raised  at  the  other  side  of  the  conti- 
nent. Her  childhood  was  spent  in  the 
town  of  Grants  Pass,  Oregon.  While  Jack 
was  the  oldest  of  three  children,  she  was 
the  youngest.  Her  father  was  a  fine  mu- 
sician and  taught  piano,  he  was  an  at- 
torney who  practiced  law  and  served  as 
county  district  attorney,  and  he  taught 
history  and  civics  in  the  public  school. 
Her  mother  has  a  good  singing  voice. 

Marcia  was  the  only  one  of  the  chil- 
dren to  follow  through  with  music.  At 
fifteen,  she  went  down  to  San  Francisco  to 
play  her  violin  for  the  concertmaster  of  the 
city  symphony.  She  was  auditioned  over 
a  period  of  six  weeks  to  determine 
whether  she  had  the  talent  to  make  the 
sacrifice  worthwhile — for  it  would  mean 
that  she  wouldn't  have  time  for  college, 
and  it  meant  that  her  parents  would  have 
to  move.    She  had  the  talent. 

"My  brother  and  sister  were  already  in 
college,"  Marcia  explains,  "and  my  par- 
ents moved  to  San  Francisco  so  that  I 
could  study  violin."  She  made  remarkable 
progress.  At  sixteen,  she  began  to  play 
with  the  symphony  and,  in  three  years, 
moved  up  to  the  third  stand — quite  a  rec- 
ord for  a  woman.  But  she  had  one  prob- 
lem: it  was  impossible  to  ignore  her  charm 
and  beauty.  Life  Magazine  chose  to  do  a 
story  about  her,  naming  her  the  "glamour 
girl"  of  the  symphony  world.  The  public- 
ity earned  her  a  screen  test  at  M-G-M 
and  a  three-year  contract. 

"By  the  time  the  contract  was  con- 
cluded," she  says,  "I  was  seriously  inter- 
ested in  acting  and  had  been  hard  at  it 
with  a  dramatic  workshop.  But,  at  the 
studio,  I  was  always  cast  as  a  girl  mu- 
sician. And  that  got  tiresome.  So  I  had 
a  long  talk  with  my  agents,  and  it  was 
decided  that  I  would  be  better  off  going 
to  New  York." 

She  did,  and  picked  up  parts  in  tele- 
vision shows.  On  one  of  these  she  was 
seen  by  the  producers  of  the  Broadway 
musical,  "A  Tree  Grows  in  Brooklyn."  She 
was  invited  to  try  out  for  the  show,  and 
earned  the  part  of  Katie  Nolan.  It  was 
Shirley  Booth,  one  of  the  stars,  who  gave 
Marcia  her  "pastel  mink"  Siamese. 

"Patty  Milligan,  a  youngster  who  was 
in  'Tree,'  and  also  on  Juvenile  Jury,  came 
up  to  me  one  day  and  said,  'The  most 
handsome  TV  producer  wants  to  take  you 
out.'  Well,  I  didn't  know  Jack.  I  didn't 
have  a  television  receiver,  so  I'd  never 
even  seen  him."  Their  first  date  was  a 
long  time  in  making. 

"Mother  was  staying  with  me,"  Marcia 
continues,  "and,  more  often  than  not,  we 
had  plans.  But  Jack  would  leave  bright 
little  messages  like,  'Patty  Milligar/s 
grandfather  is  getting  gray  waiting  to 
meet  you.'  And  he  would  send  me  picture 
postcards  when  he  was  away." 

They  had  their  first  date  in  September 
of  1951.  They  were  married  in  July  of 
'52.  "We  chose  July  instead  of  June," 
Marcia  explains,  "because  of  the  political 
conventions.  It  was  election  year,  and 
Jack's   shows   were    cancelled    out   during 


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the  conventions — so  he  had  a  two-week 
vacation." 

The  vacation  was  turned  into  a  Havana 
honeymoon.  And,  after  that,  Marcia  went 
from  career  to  kitchen — and  onward  to 
the  nursery,  without  pausing  to  look  back. 
"I  think  a  woman  can  have  a  career  and 
a  family,"  she  says,  "but  I  don't  believe 
in  turning  the  kids  over  to  a  nurse." 

It  was  discovered,  while  she  was  doing 
"Tree,"  that  Marcia  had  a  fine  singing 
voice.  She  is  now  studying  with  one  of  the 
outstanding  operatic  workshops. 

The  piano  is  in  the  living  room  on  the 
second  floor.  You  take  a  spiral  stairway, 
off  the  foyer,  to  the  living  room.  The  chairs 
are  red,  the  drapes  white,  and  the  walls 
royal  blue.  There  is  a  great  husky  Shera- 
ton sofa  in  gray  velvet,  with  Limoges 
lamps  on  the  end  tables.  There  is  a  wood- 
burning  fireplace  and  over  the  mantel  is 
a  New  England  snow  scene  which  Marcia 
painted. 

"Marcia  contributed  the  piano,"  says 
Jack.  The  grand  is  in  the  east  corner  of 
the  living  room,  and  above  it  is  a  small  oil 
portrait  of  Marcia  as  "Katie."  On  the 
piano  is  a  bust  of  Marcia  as  herself. 

"That  was  a  surprise  Chrismas  gift," 
Marcia  says.  "When  I  was  studying  art, 
Jack  commissioned  the  artist  who  was 
teaching  the  class  to  dp  this  head  of  me." 
For  Jack's  Christmas  gift,  Marcia  made  an 
oil  painting  of  Jeffrey  which  hangs  at  the 
head  of  the  stairs  between  the  living  and 
dining  rooms. 

The  dining  room  has  been  papered  in 
silver  and  gold,  and  the  drapes  are  gold- 
colored.  A  beautiful  Empire  crystal  chan- 
delier, not  brilliant  but  sparkling,  lights 
up  a  Sheraton  table  and  its  red  velvet 
chairs.  There  is  a  huge  Sheraton  side- 
board and,  framed  behind  it,  a  long  rec- 
tangular mirror.  In  one  corner  is  an  old 
English   hutch. 


"Marcia  is  an  excellent  cook,"  Jack  says,  i 

"It  turned  out  that  Jack's  favorite  dish 
is  macaroni,"  she  smiles,  "and  Mother  gave 
me  a  wonderful  recipe  with  a  rich  cream 
sauce  and  lots  of  cheese.  Jack  will  come  i 
home  and  say,  'I'll  take  you  out  to  dinner 
tonight,'  and  I'll  tell  him,  'I  was  going  to  . 
make  macaroni' — so  he  says,  'We'll  go  out 
some  other  night.' " 

They  take  turns  getting  up  with  the  | 
kids  at  night.  And  this  is  one  time  when  i 
Jack's  experience  and  psychology  desert 
him.  "The  other  night,"  he  recalls,  "Jeffrey 
woke  at  two-thirty.  He  insisted  on  getting 
out  of  the  crib  and  we  had  to  play  with 
his  trucks  and  planes.  Couldn't  coax  him 
back  to  the  crib.  At  three-thirty,  we  were 
in  the  den  playing  records.  Finally,  I 
stumbled  across  an  old  box  of  his  baby 
toys  and  put  him  in  the  crib  with  them, 
and  that's  when  he  fell  asleep." 

Because  he  works  weekends,  Jack  takes 
Tuesday  off  to  be  with  the  family  and, 
that  same  evening,  he  and  Marcia  usually 
take  in  a  movie.  And  Marcia  has  made  a 
habit  of  meeting  Jack  on  Saturday  eve- 
nings, at  the  end  of  his  longest  day.  Satur- 
days, Jack  is  up  quietly  at  six-thirty,  gets 
his  own  breakfast,  and  is  at  CBS -TV 
studios  for  Winky  Dink  at  seven-thirty. 
The  show  goes  on  at  ten-thirty.  One  of  his 
constant  fans  on  Winky  Dink  is  Jeffrey. 

"But  Jeffrey  still  hasn't  figured  out 
television,"  Marcia  says.  "I've  seen  him 
look  at  the  back  of  the  set  to  see  if  his 
father  was  hiding  there.  Or  he'll  walk 
right  up  to  the  glass  and  kiss  Jack's 
image." 

But,  rain  or  shine,  broadcast  or  no 
broadcast,  Jack  Barry  would  rather  be 
home  to  get  his  kisses  in  person.  Tele- 
vision is  wonderful  for  reaching  the  hearts 
of  people,  but  the  biggest  part  of  Jack 
Barry's  own  heart  is  forever  with  his 
family. 


Aunt  Jenny's  Favorite  Bride 


(Continued  from  page  44) 
love — and  the  joy  parents  can  feel  in 
watching  it  flower  into  the  kind  of  life- 
time love  they  themselves  have  known 
together.  .  .  .  Such  is  the  story  Aunt 
Jenny,  in  the  person  of  Agnes  Young,  tells 
about  the  real-life  romance  and  marriage 
of  Nancy  Wells.  .  .  .  For,  in  real  life,  Agnes 
herself  is  Mrs.  J.  Norman  (Jimmy)  Wells, 
and  twenty-four-year  old  Nancy  is  their 
beloved  only  child.  The  Wellses  have  al- 
ways been  an  acting  family:  Nancy  has 
appeared  in  a  number  of  leading  roles  in 
Aunt  Jenny's  radio  stories,  and  on  other 
network  programs,  as  well  as  on  television 
and  in  five  seasons  of  stock.  Jimmy  Wells 
is  an  actor  who,  at  times,  has  turned  to 
other  pursuits — such  as  writing  and  paint- 
ing— but  whose  heart  still  belongs  to  show 
business.  Agnes  has  been  crazy  about  show 
business  all  her  life.  So  it  seemed  com- 
pletely right  to  them,  when  Nancy  fell  in 
love  with  a  good-looking  young  actor 
named  Stephen  Charles  Pluta,  four  years 
her  senior  ...  a  boy  she  had  first  met  at 
dramatic  school — although  neither  could 
have  guessed  then  that  theirs  would  be 
anything  more  than  the  most  casual  ac- 
quaintance. 

Certainly  neither  Nancy  nor  Stephen 
suspected,  in  those  days,  that — at  11  o'clock 
on  the  morning  of  last  February  11,  at  the 
Church  of  St.  Joan  of  Arc,  in  Jackson 
Heights,  New  York — they  would  pledge 
their  vows  to  each  other  in  the  presence 
of  a  hundred  or  more  of  their  relatives 
and  close  friends. 

"It  was  a  beautiful  wedding,"  Agnes  said, 
in  typical  Aunt  Jenny  fashion,  sighing 
happily  at  the  memory  of  all  the  excite- 
ment  and   joy  "connected    with   it.     "My 


brother  flew  from  Shamokin,  Pennsyl- 
vania, especially  to  perform  the  ceremony, 
something  Nancy  wanted  very  much.  She 
had  always  wanted  a  plain  gold  wedding 
band,  too,  like  the  one  her  grandmother 
wore,  and  that  was  the  kind  used  for  the 
double-ring  ceremony.  Everyone  spoke  of 
the  wedding  announcements — part  of  the 
inscription  on  the  inside  read: '  Lord  bless 
these  rings  that  they  who  shall  wear  them 
may  keep  true  faith  to  each  other,  so  to 
abide  in  the  peace  of  Your  will  and  ever 
live  in  love  with  each  other.  Isn't  that 
lovely?" 

Nancy — a  size  ten,  weighing  112  pounds, 
and  blonde,  with  her  mother's  fine  gray- 
blue  eyes — was  the  traditional  beautiful 
bride,  in  an  ankle -length  bouffant  white 
lace  and  net  gown.  Her  "something  bor- 
rowed" was  a  fingertip  veil,  Dutch  cap 
style,  ornamented  with  tiny  seed  pearls. 
The  "something  blue"  were  the  forget- 
me-nots  in  her  bouquet  of  white  gladioli. 
Matron  of  honor — Nancy's  only  attendant 
— was  Mrs.  James  Neylin,  wife  of  a  well- 
known  actor,  herself  an  actress  known 
as  Joyce  Ash.  Joyce  wore  a  sweet  shade 
of  blue,  in  a  shimmery  material  called 
crystalette. 

The  petite,  brown-haired,  sparkling 
mother-of-the-bride,  Agnes  "Aunt  Jenny" 
Young  Wells  (quite  a  long  name  for 
someone  who  stands  only  three-quarters 
of  an  inch  over  five  feet!)  was  dressed  in 
a  rich  plum  taffeta,  set  off  by  a  tiny  pale 
pink  hat  with  gloves  to  match.  The  wed- 
ding reception  and  breakfast  was  at 
Budd's  Restaurant,"  in  Jackson  Heights, 
one  of  their  favorites.  After  that,  the  young 
couple  went  off  for  a  honeymoon  week  at 
a  winter  resort  in  the  Pocono  Mountains. 


"Steve  and  Nancy  went  to  the  Neigh- 
borhood Playhouse  School  of  the  Theater, 
in  New  York,"  Agnes  relates.  "Steve  was 
in  another  section  of  the  school,  and  they 
knew  each  other  only  by  name  and  had  a 
sort  of  nodding  acquaintance.  They  were 
both  very  young  then,  although  Steve  is 
four  years  Nancy's  senior.  It  wasn't  until 
1953,  about  five  years  after  they  first  met 
— when  they  both  played  in  the  same  sum- 
mer stock  company  at  Holyoke,  Massa- 
chusetts— that  they  got  to  know  each  other 
well.  Working  together,  they  began  to  go 
together." 

"You  might  say  our  courtship  was  main- 
ly in  Horn  and  Hardart's,  after  we  got 
back  to  New  York,"  Nancy  picks  up  the 
story.  (This  is  the  company  that  has  the 
nickel-in-the-slot  "Automat"  restaurants.) 
"Steve  and  I  would  make  our  separate 
rounds  of  job-hunting,  and  then  we  would 
meet  for  coffee.  At  first,  we  met  once  a 
week.  Then  it  was  twice,  then  three  times, 
then  every  day.  We  would  compare  notes 
and  talk  about  our  ambitions  and  the  pros- 
pects of  being  'discovered'  for  some  thrill- 
ing role.  Steve  was  doing  a  number  of 
things  and  so  was  I,  but  nothing  compared 
to  what  we  dreamed  of  doing. 

"Instead  of  his  taking  me  home,  I  would 
walk  him  down  to  Pennsylvania  Station, 
because  he  had  a  long  ride  to  his  home  in 
Trenton,  New  Jersey.  I  almost  came  to 
hate  that  station,  because  he  left  me  there 
and  went  off.  After  a  while,  we  both  knew 
we  were  in  love,  but  I  think  I  knew  it 
first — although  I  had  to  keep  silent  about 
it.  I  remember  the  day  when,  sitting  op- 
posite him  in  the  restaurant,  I  suddenly 
thought,  'This  is  the  man  with  whom  I 
would  like  to  spend  my  life.' " 

They  found  their  apartment,  in  a  quiet 
old  neighborhood  on  East  Twelfth  Street, 
four  months  before  their  wedding,  but 
they  rented  it  without  delay:  "We  stum- 
bled on  it  and  knew  there  wouldn't 
be  another  like  it.  Besides,  there  was  a  lot 
of  work  and  fixing  to  be  done,  and  that 
gave  us  time  to  get  it  ready." 

Agnes  and  Jimmy  are  proud  of  the  way 
the  young  people  have  fixed  up  the  apart- 
ment. Nancy  had  helped  so  many  of  her 
friends  paint  and  wallpaper  their  homes, 
she  had  a  strange  feeling  that  this  was 
just  another  one,  not  intended  for  her. 
Steve  had  no  doubts,  and  pitched  into  the 
decorating  job  with  gusto. 

The  living  room  is  furnished  in  Colon- 
ial, in  maple  and  pine.  Walls  are  green, 
the  rug  a  soft  brown,  upholstery  fabrics 
and  drapes  in  browns  and  tans  and  reds. 
Steve  built  the  hi-fi  cabinet.  Nancy's 
lamps,  from  her  own  room  at  home,  light 
up  the  new  living  room.  On  the  wall  are 
two  of  Jimmy's  pastel  landscapes,  one  a 
view  of  shore  and  sea,  and  one  of  the 
dunes.  Jimmy  is  a  self-taught  artist  whose 
work  is  enormously  admired  by  family 
and  friends,  and  Nancy  considered  her- 
self lucky  indeed  when  her  father  had 
the  two  pictures  framed  for  her  at  Christ- 
mas time  for  her  new  home.  Steve  is  a 
shutterbug,  whose  big  interest  is  color 
slides,  and  some  of  these  will  later  be 
translated  into  framed  prints  and  added 
to  their  "gallery." 

The  bedroom  is  a  soft  yellow.  Nancy's 
parents  gave  her  the  furniture  from  her 
room,  the  big  mahogany  double  dresser 
and  dressing  table.  She  made  the  gay  cur- 
tains at  the  windows  and  the  cafe-type 
curtains  that  form  the  unusual  headboard 
for  the  big  "Hollywood"  bed.  A  week  be- 
fore the  wedding,  she  hadn't  even  bought 
the  material — but,  somehow  or  other,  the 
job  finally  got  done.  A  prized  possession 
is  the  handsome  afghan  which  Agnes 
crocheted  for  her. 

The  kitchen  is  small  and,  instead  of 
what    Nancy    called    "ignoring    it,"    they 


decided  to  turn  it  into  something  rather 
special,  with  a  wall  covering  picturing 
"Old  MacDonald's  Farm"  in  shades  of 
yellow  and  orange  and  brown.  The  lino- 
leum is  basically  brown,  but  with  a  multi- 
color effect.  However,  it's  the  bathroom 
which  is  the  "showpiece"  of  the  house — 
in  fact,  Steve  has  to  be  restrained  from 
showing  guests  the  bathroom  first.  It's  the 
result  of  a  "bathroom  shower"  given  for 
Nancy  by  Patsy  Campbell,  whom  all  radio 
listeners  know  because  of  her  many  won- 
derful roles,  particularly  as  The  Second 
Mrs.  Burton  until  last  fall  (the  wonderful 
role  in  which  Jan  Miner,  another  fine 
actress,  is  now  starring). 

Patsy  organized  the  whole  thing,  but  of 
course  Agnes  was  in  on  the  surprise. 
Instead  of  each  of  Nancy's  friends  shop- 
ping separately,  they  contributed  what  they 
would  have  spent  and  Patsy  and  Agnes 
did  the  shopping,  knowing  the  color 
scheme  and  knowing  what  things  Nancy 
wanted  most  .  .  .  the  big,  soft,  mono- 
grammed  towels,  and  all  the  pink  and 
white  and  gray  accessories  to  go  with  the 
pink-tiled  room. 

Ihere  were  three  other  showers  for 
Nancy,  two  miscellaneous  ones  and  a 
kitchen  shower  given  by  Steve's  family 
and  friends  in  his  home  of  Trenton.  For 
that  one,  Agnes  tried  to  find  an  old-fash- 
ioned bread-mixer  because  she  knew 
Nancy  wanted  it. 

Bread-baking  is  an  old  Wells  custom, 
ever  since  Jimmy  tried  it — more  as  a  gag 
than  anything  else — a  good  many  years 
ago.  They  use  special  flours  and  ingredi- 
ents which  are  healthful  and  which  make 
a  wonderfully  tasty  loaf,  and  no  Wells 
would  be  without  this  bread  very  long. 
"We  were  able  to  find  a  bread-mixer 
about  fourteen  years  ago,"  Agnes  said.  "We 
bought  it  at  Macy's. 

"Jimmy  went  back  to  Macy's,  but  of 
course  no  one  had  even  heard  of  a  thing 
like  that  for — well,  for  at  least  fourteen 
years,  when  we  probably  bought  the  last 
one  anyone  ever  had  in  stock!  It  was  the 
same  at  Gimbel's,  and  at  other  stores.  Who 
bakes  bread  any  more — and  with  a  con- 
traption like  that?  Only  the  Wellses,  I'm 
sure.  One  of  the  top  CBS  publicists  told 
our  sponsor,  Lever  Brothers,  about  the 
mixer.  They  put  a  notice  in  their  company 
magazine.  We  offered  to  swap  our  recipe 
for  it,  and  we  finally  found  one." 

Besides  cooking  and  baking,  Nancy  likes 
to  knit.  She  never  has  been  a  real  devotee 
of  the  great  out-of-doors,  except  in  the 
mild  way  most  city  girls  are.  But  all  this 
may  be  changed,  now  that  she  has  married 
a  fellow  who  is  crazy  about  hunting  and 
fishing  and  sports  of  all  kinds. 

"Steve  took  Nancy  crabbing  last  sum- 
mer, while  she  was  visiting  his  family  on 
the  Jersey  shore,"  Agnes  recalls.  "When 
he  asked  if  she  would  like  to  try  crabbing, 
she  said  she  would  love  it — little  knowing 
what  she  was  getting  into.  She  had  always 
drawn  away  from  anything  that  crawls, 
like  insects,  or  snakes,  or  five  fish  that 
flop  about.  She  has  no  fear  of  animals  in 
general,  just  these  few.  In  fact,  she  loves 
most  of  them.  They  went  out  in  a  row 
boat  and  Nancy  was  having  a  grand  time 
pulling  in  the  net,  when  suddenly  a  crab 
plopped  right  out  of  the  net  into  the, 
bottom  of  the  boat,  next  to  her.  Did  she 
shriek  or  make  a  fuss?  Indeed  not.  Quite 
calmly,  she  picked  that  crab  up  and  put 
it  back." 

Agnes  Young  laughs  her  Aunt  Jenny 
laugh,  when  she  tells  this  little  anecdote, 
then  adds,  "As  Aunt  Jenny  always  finishes 
her  real-life  stories  on  radio,  I  am  going 
to  finish  this  one  about  Nancy:  "And  now 
I'll  give  you  my  Golden  Thought  for  to- 
day— You  never  know  what  a  girl  will  do 
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(Continued  from  page  46) 
happy  seventh-grader  at  Willard  Mace 
professional  school,  a  mathematical  whiz 
who  finds  even  eighth-grade  arithmetic 
"sort  of  easy."  Her  mother  used  to  work 
as  a  statistician.  Her  father  is  a  busi- 
nessman. But  none  of  this  seems  to  ex- 
plain their  offspring's  talent  for  drama.  It 
was  just  always  there.  One  of  her  uncles 
still  calls  her  "Sarah  Heartburn,"  a  nick- 
name he  gave  her  when  she  recited  nurs- 
ery rhymes  with  the  fervor  of  a  Bernhardt. 

Marguerite  Sawyer  sensed  from  the  be- 
ginning she  had  an  actress  on  her  hands: 
"Some  children  fight  against  the  opportu- 
nities, even  after  they  come,  but  Bonnie 
always  loved  to  act.  It  was  'play'  to  her.^ 

"I  think  it  must  be  my  real  profession," 
Bonnie  confirms  solemnly.  However — just 
as  though  it  weren't  her  "real  profession" 
— this  little  girl  loves  to  play  in  make-be- 
lieve theater  and  TV.  She  gathers  to- 
gether the  neighborhood  children  in  Flat- 
bush,  Brooklyn,  where  the  Sawyers  live  in 
a  big,  old-fashioned  house.  There  are 
Bethie  Epstein,  her  best  friend,  and 
Arthur  Levy,  one  of  her  best  boy  friends 
— who  live  across  the  street — and  a  lot  of 
others.  Their  company  is  The  F  and  J 
Productions  (named  for  no  particular 
reason  except  that  they  sort  of  liked  the 
sound  of  that  title — although  it  has  been 
rumored  that  the  "J"  stands  for  a  cer- 
tain little  boy  named  Jackie,  who  is  an- 
other of  Bonnie's  boy  friends,  and  the 
"F"  stands  for  fame!). 

Weather  permitting,  their  stage  is  a 
huge  fallen-tree  trunk  in  the  back  yard, 
and  the  garage  makes  a  TV  control  room. 
Bonnie  serves  as  both  producer  and  di- 
rector of  all  shows,  as  well  as  acting  in 
them,  giving  her  signals  through  the 
garage  window  and  by  means  of  a 
walkie-talkie  set  she  got  for  a  present. 
"That's  so  they  know  what  I  am  saying," 
she  explains.  "I  like  to  play  the  man  in  our 
shows,  so  I  can  wear  my  pedal-pushers 
and  a  shirt  and  put  up  my  hair  in  a  scarf 
and  carry  a  gun — a  play  gun,  of  course. 
All  the  kids  come  over  to  watch  our  shows. 
The  children  in  them  aren't  real  actors  at 
all,  but  some  of  them  act  just  as  good  as 
real  actors." 

Sometimes  they  use  one  of  Bonnie's  old 
Valiant  Lady  scripts,  but  most  often  they 
do  "originals"  from  the  pencil  of  ten-year- 
old  Bethie.  "Bethie  has  done  some  very 
good  shows,"  Bonnie  says  proudly.  "Real 
dramatic.  Of  course,  some  of  the  older 
kids  help  her  along  and  take  things  out 
that  aren't  so  good."  (Editor's  note:  Alas, 
Bethie.  This  is  the  writer's  fate  always,  to 
have  his  work  tinkered  with  by  others!) 

Bonnie  has  other  special  friends,  apart 
from  those  in  her  neighborhood.  Young 
actors  and  actresses  who  are  her  class- 
mates: Pidgie  Jamison  ("she  sings  and 
acts  and  is  one  of  my  best  friends")  .  .  . 
Ricky  and  Johnny  Klein  ("they  are  both 
in  the  Broadway  stage  play,  'The  Ponder 
Heart,'  and  they  do  parts  on  TV  and  are 
very  nice  boys")  .  .  .  Glenn,  Ronnie  and 
Ken  Walken  ("they're  three  very  nice 
brothers  who  are  all  good  actors").  And 
Malcolm  Broderick,  who  doesn't  go  to  her 
school  or  live  in  her  neighborhood  but  is 
a  special  friend  of  long  standing  ("he  was 
in  'The  Desperate  Hours,'  on  Broadway"). 
There  seems  to  be  room  in  Bonnie's  heart 
for  many  friends  and  many  loves.  For  her 
parents  ("I  couldn't  have  any  other  par- 
T  ents  I  could  love  so  much  or  who  could 
v  be  so  good  to  me")  .  .  .  for  her  grand- 
B  mother  ("She  has  something  extra  for  me 
and  I  have  something  extra  for  her")  .  .  . 
for  her  uncles,  Jimmy  and  Georgie  and 
Herbie  and  Dick,  and  her  aunts,  Caroline 


It's  Always  Playtime 

and  Betsy,  and  all  her  cousins  .  .  .  for 
her  teacher,  Mrs.  Mace.  And  for  her  TV 
favorites,   as   well. 

"When  I  can  stay  up  late  enough— 
which  isn't  too  often,  because  my  mother 
makes  me  go  to  bed  on  time — but  maybe 
once  in  a  blue  moon,  I  listen  to  The 
$64,000  Question.  I  wish  I  could  watch  it 
every  time.  I  like  Lucy  and  Meet  Millie 
and  Father  Knows  Best  and  The  Million- 
aire. And  all  the  Walt  Disney  programs. 
And  Roy  Rogers  and  Hopalong  Cassidy — 
I  once  had  a  darling  dog  I  named  Hoppy, 
but  he  died." 

When  she  was  quite  a  bit  younger  than 
she  is  now,  Bonnie  played  a  role  on  a  TV 
drama  with  Ernest  Truex.  The  show  didn't 
go  on  the  air  until  10: 30  at  night.  Just  be- 
fore air  time,  she  sat  on  her  little  stool  at 
the  side  of  the  set,  and  glancing  her  way, 
Mrs.  Sawyer  saw  that  her  daughter  had 
fallen  fast  asleep,  waiting  for  her  cue,  in 
spite  of  a  nap  early  in  the  evening.  "I 
motioned  to  the  announcer  and  he  woke 
Bonnie  up,"  says  Mrs.  Sawyer,  "but  I  was 
worried  that  she  would  have  forgotten 
her  lines.  Not  Bonnie!  She  rubbed  her 
eyes  awake,  went  right  on,  and  did  just 
beautifully." 

Valiant  Lady — broadcast  at  exactly  noon, 
Eastern  time — presents  few  problems  that 
interfere  with  Bonnie's  rest  or  her  school- 
ing. Or  her  playtime.  Her  school,  with 
courses  designed  for  children  in  the  pro- 
fessions, is  open  until  five  in  the  after- 
noon. She  reads  her  script  on  the  sub- 
ways, traveling  back  and  forth  from  her 
home  to  the  studio  in  Manhattan.  At  home, 
once  Bonnie  has  gone  over  the  script  by 
herself,  her  mother  takes  over  and  cues 
her  until  she  is  letter-perfect. 

She  has  homework,  like  all  schoolgirls, 
but  she  is  quick  at  it  and  there  is  always 
time  to  play  with  Topper,  who  is  a  frolic- 
some black  cocker  spaniel  with  a  pedi- 
gree. ("His  great-grandfather  was  My 
Own  Brucie,  a  show  dog  who  took  the 
top  honors  at  Madison  Square  Garden  dog 
shows,"  says  Bonnie,  "and  someday,  when 
we  have  time,  we  want  to  show  Topper 
and  we  think  he  will  win,  too.")  Right 
now,  the  young  canine  in  question  seems 
more  interested  in  gnawing  her  shoes  and 
hiding  them  in  outlandish  places. 

Bonnie  loves  all  animals,  rides  so  well 
that  she  won  a  first  prize  in  a  local  horse 
show.  A  pet  kitten,  Itty-Poo,  was  stolen 
last  year  and,  when  the  Valiant  Lady 
scripts  call  for  tears  on  Bonnie's  part,  she 
has  only  to  remember  how  she  felt  when 
Itty-Poo  was  first  snatched  out  of  her 
life.  She  isn't  quite  resigned  to  it  yet.  Not 
even  Mopsy,  the  cat  who  appears  at  times 
on  Valiant  Lady,  can  make  her  forget.  But 
she  looks  forward  to  the  time  when  Top- 
per may  be  written  into  the  script — if  he 
promises  not  to  gnaw  shoes. 

"The  little-girl"  Bonnie  is  very  fond  of 
dolls  and  keeps  adding  to  her  already  fan- 
tastically large  collection  of  all  the  dolls 
that  were  ever  given  to  her.  Among  the 

Features  in  Full  Color 

FRANK  PARKER'S  NEW  HOME 

GORDON  MacRAE 

JOAN  O'BRIEN 

Bob  Crosby's  Lovely  Songstress 

KARL  WEBER 

of  "Search  For  Tomorrow" 

all  in  the  July  issue  of 

TV  RADIO  MIRROR 

on  sale  June  5 


recent  ones  is  "A  lady  doll,  from  my 
father,  on  my  eleventh  birthday  last 
December  13.  She's  dressed  in  taffeta  with 
a  lace  stole,  a  big  hat,  high  heels  and 
diamond  bracelet.  She  has  a  clear  plastic 
handbag  with  a  tiny  pair  of  glasses  inside 
it  and  other  little  things,  and  she's  pulling 
a  little  toy  poodle.  She  walks,  too,  and 
bends  her  knees.  That's  so  she  can  say 
her  prayers."  (Bonnie  always  says  hers, 
and  goes  to  Sunday  School  regularly.) 
There's  a  new  bride  doll,  too:  "My  Uncle 
Jimmy  gave  it  to  me.  She's  dressed  in 
white  satin  and  wears  a  veil,  and  she  has 
a  little  blue  garter  for  'that  something 
blue'  all  brides  should  wear.  I  just  love 
her." 

1  he  "actress"  Bonnie  has  been  on  many 
big  shows — Suspense,  Kraft  Theater,  Rob- 
ert Montgomery  Presents,  Lamp  Unto  My 
Feet,  Space  Cadet,  among  others — and  she 
thinks  that  "the  people  in  show  business 
must  be  the  best  people  in  the  world,  they 
are  so  nice."  For  almost  three  years  now, 
she  has  been  Kim  Emerson,  daughter  of 
Valiant  Lady  Helen  Emerson,  who  is 
played  by  Flora  Campbell.  She  loves 
Flora,  who  has  an  understanding  of  how 
a  small  girl  feels  and  is  always  patient  in 
explaining  their  scenes  together.  Bonnie 
also  loves  Flora's  own  little  girl,  Creel. 
"She's  six  now,  and  she's  my  friend,  too. 
I  may  even  name  my  own  child  Creel 
some  day,  because  I  like  her  so  much  and 
it's  a  beautiful  name." 

Bonnie  wishes  Jimmy  Kirkwood,  her 
brother  on  the  show,  were  her  brother 
"for  real."  And  that  Herb  Kenwith,  the 
director,  were  her  brother,  too.  You  de- 
tect a  little  wistful  note  here,  as  if  the 
one  thing  lacking  in  her  joyful,  busy  little 
life  is  a  brother  like  Jimmy  or  Herb.  And 
she's  beginning  to  feel  the  same  way 
about  Terry  O'Sullivan,  who  plays  a  sym- 
pathetic reporter  on  the  show,  as  she  gets 
to  know  him  better. 

The  little-girl  Bonnie  almost  scared  the 
actress  Bonnie  last  December  on  her 
birthday.  "I  guess  it  was  pretty  silly,"  she 
admits  now,  "but — because  I  didn't  want 
one  thing  to  spoil  my  birthday — I  got 
afraid  I  might  fluff  a  line.  The  minute  I 
said  one  word,  I  wasn't  scared  any  more. 
I  just  thought  I  would  be.  So  it  was  all 
for  nothing.  Anyhow,  if  you  should  hap- 
pen to  miss  a  line,  you  just  pick  yourself 
up,  and  nothing  happens  at  all."  This,  of 
course,  was  the  "veteran"  actress  speaking. 

There's  a  possibility  that,  instead  of  go- 
ing to  Maine,  or  Cape  Cod,  this  coming 
summer  for  a  vacation,  the  Sawyers  might 
just  happen  to  take  a  trip  to  Europe.  Just 
maybe.  Bonnie  can  hardly  wait  to  see 
Switzerland.  And  to  visit  some  old  castles: 
"I  have  never  seen  a  real  castle  and  I 
would  like  to  go  through  one  that  princes 
and  princesses  lived  in  and  see  the  knights' 
halls  and  all  those  things  I  read  about. 
It  would  be  just  too  wonderful." 

Her  long-range  plans  include  college, 
preferably  one  with  theater  and  dance 
classes  (she  has  studied  dancing,  wants  to 
study  voice  and  piano).  "My  mother  tells 
me  you  can  have  a  lot"  of  fun  at  college, 
besides  learning  a  great  deal,  and  meet 
nice  boys  and  girls  and  have  a  good  time 
going  to  dances  when  you're  not  studying," 
she  says,  quite  seriously,  but  with  her 
eyes  dancing  at  the  prospect  of  all  the 
wonderful  things  that  lie  ahead  for  an 
eleven-year-old. 

Right  now,  however,  Bonnie  Suzanne 
Sawyer  is  quite  content  to  be  the  age 
she  is.  As  she  sums  it  up:  "If  anything,  I 
would  like  to  be  very  young  again,  and 
just  starting,  and  doing  it  all  over.  That's 
how   much   fun   I  have   had!" 


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So  good  to  your  taste  because  of  L&M's  superior 
tobaccos.  Richer,  tastier— especially  selected  for  filter 
smoking.  For  the  flavor  you  want,  here's  the  filter 
you  need. 

2.  SUPERIOR  FILTER 

So  quick  on  the  draw!  Yes,  the  flavor  comes  clean— 
through  L&M's  all  white  Miracle  Tip.  Pure  white 
inside,  pure  white  outside  for  cleaner,  better  smoking. 


RELAX  WITH 


©  Liggett  Be  Myers  Tobacco  Co. 


KING     SIZE 


Pll-TER8 
"^"•MVERS  TOBACCO 


CO, 


mV>r  BIG  RED  LETTER  DAY!