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Full text of "Radio Varieties (Sep 1940-Jun 1941)"

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i^'4 . 


Scanned from the collections of 
The Library of Congress 



Packard Campus 

for Audio Visual Conservation 

Motion Picture and Television Reading Room 

Recorded Sound Reference Center 



Edward G. Robinson as 
ulius Reuter in Warner 
Jros. timely film, "A Dis- 
jatch from Reuter's." Rob- 
nson returns to the air- 
anes Oct. 9 in "Big Town" 
>ver CBS. 


Jurgens National Favorite - Jimmy Dorsey 

Waxes Swing in New Album News, Views 

and Reviews of Today's Records. 


In his tenth year as a dance- 
band maestro, Dick Jurgens has 
finally arrived as a national 
"name." Popular in Chicago and 
the mid-west, Dick never had 
much of a following in the rest of 
the country. However, long re- 
cording periods with Okeh and 
coast-to-coast airthne this summer 
combined to make the Jurgens 
cognoment one of the brighter in 
the orchestra world. His discs 
are all notable for perfect tempos, 
simple, melodic arrangements and 
grand vocals. The loss of Eddy 
Howard has been more than com- 
pensated by the addition of Har- 
ry Cool, one of today's finest vo- 
calists. Cool, a graduate of 
KMOX St. Louis, possesses a 
beautiful tone and splendid dic- 
tion. Dick's latest release couples 
"Crosstown" with "Goodnight 
Mother." The first side is a 
sprightly rhythm number with 
clever and amusing lyrics. The 
reverse impresses as a potent an- 
ti-war song. Tune is on same 
general style as "Goodnight 
Sweetheart," with Harry Cool 
neatly selling the lyrics. (Okeh). 

Woody Herman and Jimmy Dor- 
sey are two Decca outfits which 
rate high up in any band poll. 
Herman, a vastly underrated 
maestro, has one of the finest 
blues combinations in the country. 
His "Blues Upstairs" is a jazz clas- 
sic. Best of his recent efforts has 
been "Herman At The Sherman" 
and "Jukin." The ease and ex- 
pression of this outfit plus its 
aatural musicianship makes listen- 
ing a pleasure and dancing a 
"must." Dorsey has overtaken 
brother Tommy during the past 
year and fans are beginning to 
realize that Jimmy really has a 
solid orchestra. With his alto sax 
sparking the band, Jimmy takes 
a back seat to no competitor. 
Decca's album of "Contrasting 
Music" is interesting all the way 
through as Jimmy and the boys 
swing along on "Swamp Fire," 

Page 2 * 

"Rigamarole," "Cherokee," "A 
Man And His Drum," "Keep A- 
Knockin," "Major and Minor 
Stomp," "Contrasts," "Perfidia," 
tc. There's plenty of material in 
he album for any swing cat — 
and it's all mellow. 

Not enough attention has been 
paid to Ted Straeter's swell music 
or Doris Rhodes' ditto singing. Ted 
has a society band that produces 
the finest dance-time anyone 
would want. Dorothy Rochelle 
handles the vocals more than 
adequately. Listen to "Tea for 
Two" and "Dancing in the Dark" 
(Columbia) for verification. Doris 
Rhodes, former CBS "Girl with iiie 
Deep Purple Voice," has waxed 
"Melancholy Baby" and the Ger- 
shwin's old tune "Lorelei" for the 
same company. Backed by Joe 
Sullivan's band, which includes 
Maxie Kaminsky on trumpet, Pee- 
wee Russell on clarinet and Brad 

Gowans on trombone, Doris de- 
livers strongly on both sides. She 
has a gorgeous low tone and 
clear diction, plus a natural rhyth- 
mic feeling. Highly recommended 
for your library. 

Thomas "Fats" Waller lets loose 
with "At Twilight" plus "Fat and 
Greasy'-' to our great delight. Fats 
is worth hearing any time. The 
much improved Les Brown outfit 
cuts "Blue Divil Jam" and "Grave- 
diggers Holiday" for lighter jit- 
terbugging. In the waltz field 
there's Wayne King, still practi- 
cally alone at his chosen tempo. 
"Melody of Love" has a nice 
L.weep. Flipover: "Forgotten" has 
a vocal by the Waltz King. 
NOTE: Let's have your comments, 
suggestions, queries on this col- 
umn. The first 500 fans to write 
in will receive a new, 5x7 photo 
of Dick Jurgens, with a list of 
his latest record releases. 


VOLUME 3— No. 9 


Karl Lambertz 

The Williams Brothers 

Radio Varieties Gold Cup Award 

Irene Rich — Glorious One 

Carl Hoff Lost at Sea 

"I Was Born to Sing" '• • 

"Joyce Jordan" Serial Enters Fourth Year 

Meet The Wilbum Children of WSM 

She Wasn't The Type 

Pix and News About the Stars 

Water, a Radio and Tomato Soup 

DeU Gibbs 

NBC Brings You World War No. 2 

Betty V^inkler 

Page 4 

Page 5 

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Page U & 15 

Page 16 

Page 18 & 19 

Page 20 

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F. L. ROSENTHAL, Publisher 


Published by Radio Varieties Incorporated, at 1056 West Van Buren Street, 
Chicago, Illinois. New York Office: 485 Madison Avenue. Hollywood Office: 
3532 Sunset Boulevard. Published Monthly. Single copies ten cents. Subscrip- 
tion rate $1.00 per year in the United States and Possessions, $1.50 in Canada. 
Entered as second class matter January 10, 1940, at the Post Office at Chicago, 
Illinois, under the act of March 3, 1879. Every effort will be made to return 
unused manuscripts, photographs, and drawings (if accompanied by sufficient 
first-class postage and name and address), but we will not be responsible for 
any losses for such matter contributed. The publishers assume no responsibil- 
ity for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 


NEWS and VIEWS of WDZ, Tuscola 

WDZ'S 200 LBS. 

Paulie Grove the dynamic 
Hillbilly blues yodeler 
came to WDZ in Novem- 
ber, 1938, after, what he 
terms, a very dull life be- 
hind the plow, and here's 
the inside story: 

Born and raised on a farm in Jasper Coun- 
ty, near West Liberty, where he attended 
school, he was one in a family of seven 
boys and one girl. After seventeen years 
of struggling to get ahead on the farm, he 
managed to save enough from the eggs (his 
chickens laid) to purchase a second hand 
guitar. He spent many hours beside the old 
family phonograph listening to recordings, 
principally those of Jimmy Rodgers, whom, 
it is often said, he resembles a great deal in 
style of his performance. 

At the age of 24 years the de- 
sire to see the world flared up so 
strong in the breast of this coun- 
try boy that he took it on the 
lam, went to Brocton, Illinois — a 
full sixty miles from home and 
mother, and got a job driving a 
transfer truck. One year at this 
vocation was sufficient to secure 
for Paulie a ticket back home on 
the farm, plus a life long com- 
panion to support. 

After three more years on the 

farm, the desire for the great open 
spaces once more came upon 
our smiling troubadour. Throwing 
his "gittar" over his shouldar he 
took off for the WDZ studios then 
located in Mattoon, Illinois. 

At last his efforts were to bare 
fruit, for he was given a job im- 
mediately and has been with 
WDZ ever since. 

Paulie Grove 

Is he good? Well, just watch 
him. He's goin' places! 

He's been in radio but two 
short years but has achieved for 
himself in that time an audience 
that many stars work years to 

A self-made man, if ever 1 seen 
one, and a mail puller in any 
man's radio station. 


Frank Jennings, who organized 
the Pals of the Prairie, widely 
known to the WDZ audience, has 
been appointed program director 
of WDZ, in Tuscola, 111. Frank 
has been in radio six years over 
stations throughout the middle 
west, including WHO, Des Moines, 
KMA, Shenandoah, la., and 
KVOO, Tulsa, Okla. Since De- 
catur, 111. is Frank's birthplace, 
he's right at home with WDZ. 

Clair Hull, manager of WDZ, says 
Frank is "shaping up nicely and 
promises to be a good man for 


WDZ met a large number of 
people this summer on a new ap- 
pearance idea called WDZ ON 
PARADE. The WDZ artist staff 
put on a free show at a focal point 
in the business district of the, one 
town visited each week in the 
WDZ area. This free afternoon 

show publicized a night show and 
by rebroadcasting over WDZ by 
created interest in the audience 
short wave from the street stage. 
As evidence of success, WDZ ON 
PARADE played before an audi- 
ence of about 75,000 during the 
fourteen shows. Profit from the 
night shows, and from sponsor- 
ship by the merchants in the town 
visited each week, aided material- 
ly in paying salaries of the artist 
staff, none of whom were dis- 
missed through slump summer 


Page 3 



Since between fifty and sixty 
per cent of all programs origi- 
nated in the studios of Station 
WFAA are either entirel or partly 
musical, the music department of 
The Dallas News station is of 
major importance in the prepa- 
ration and background of radio 
programs which WFAA listeners 

The musical director of WFAA 
is Karl Lambertz, a veteran of 
more than thirty years in show 
business, much of which was 
spent in the theater playing or 
directing stage or pit orchestras. 
Generally speaking, the job of his 
department at WFAA is that of 
planning and executing musical 
programs in all the ways in which 
music enters into the picture of 

Ldmbertz selects' the music to 
be played on a program or pas- 
ses on the music selected by the 
artist or group to perform on the 
air. The chief consideration here 
is building a well-balanced musi- 
cal show which will include sel- 
ections of interest to a wide cross- 
section of the listening audience. 

The musical director chooses 
the artists to perform the program 
he makes out, and is responsible 
for getting rehearsals scheduled 
and for getting the program on 
the air at the proper time. This 
means an elaborate private tele- 
phone book and system of noti- 
fying artists, as well as a large 
listing of artists with notations on 
their particular talents. 

Lambertz also supplies musical 
cues and other dramatic parts 
which are generally a part of 
every dramatic show. 

One of Lambertz' s roles in that 
of ex-officio production manager 
of programs involving other mu- 
sical artists. 

An important sub-division of the 
music department is the music 
library, which at WFAA is in 
charge of Arthur Kuehn. Kuehn 

Page 4 . 

Karl Lambertz 

takes the music sheet after Lam- 
bertz either makes it out or pas- 
ses on it and checks the copy- 
right of the song to see if the sta- 
tion has a license to perform it. 
If not, out the number goes and 
another is substituted. 

Kuehn has his orchestrations, 
vocal copies and copyright infor- 
mation so catalogued that he can, 
at a moment's notice, put his 
hands on any one of approximate- 
ly 9,000 orchestrations, 15,000 vo- 
cal copies of songs, or any one 
of 150,000 cards giving complete 
information about the copyright 
of that many songs. He also has 
catalogued the key number to 
more 4,000 musical selections on 
electrical transcription, contained 
in the station's recorded music 

The music library at WFAA 
comprises the largest number of 
orchestrations, vocal copies and 
the largest collection of copyright 
information owned by any indi- 
vidual station in the United States. 

Another unusual advantage of 
the WFAA music department is 
that it retains a coach for its vo- 
cal artists and groups in the per- 
son of Craig Barton, accomplished 
pianist, arranger and vocal 
coach. Barton's job is to drill 
vocalists until the rough spots in 
a performance have been elimi- 
nated. Barton's coaching is in a 
large measure responsible for the 
success of such vocalists as Eve- 
lyn Lynne, now on NBC in Chi- 
cago (known here as Evelyn Hon- 
eycutt), and Dale Evans, Chicago 
network singer. 

The music department also con- 
ducts public auditions for those 
who either actually have, or 
think they have talent, on Tues- 
day evenings. A few artists have 
been discovered in this way. 
Everyone gets a hearing, and any 
promise of talent is bound to be 




Bob, Dick, Don and Andy (below) 

The Williams boys are real 
brothers: Bob, age 21; Don, 17; 
Dick, 14 and Andy, just 12 years 
old. None of them has ever had 
a lesson in music or voice. 

The Williams Brothers came to 
WLS in late July from WHO in Des 
Moines, where they had been 
singing on the Iowa Barn Dance 
for three years — since just after 
they started to sing together, in 

About six years ago, while the 
family was living in Wall Lake, 
Iowa, Bob and Don and their 
parents were singing in the church 
choir. The boys, then just 14 and 
11 years old, saw the possibilities 
in a brothers' quartet and ap- 
proached their father on the 
matter. It was decided they would 
start just as soon as six-year-old 
Andy was a little older. They 



did; in a few months they crashed 
Des Moines radio; and in three 
years, they now find themselves 
in big city radio, as staff artists 
at WLS, Chicago. 

Originally they were invitea to 
Chicago only for two guest ap- 
pearances on the WLS National 
Barn Dance, but the audience 
demand for more of their singing 
v/as so great that they were added 
to the staff. On "The Last Hour" 
they stopped the show as the 
theater audience applauded loud 
and long, demanding encore after 

In addition to their regular ap- 
pearances on the Barn Dance, 
the Williams Brothers have a 
program of their own at 8 a. m.' 
CDST on Tuesdays, Thursda'^'s 
and Saturdays, appear frequently 
also on the WLS Homemakers' 
Hour and other programs. 

Page 5 


Presented To 


In addition to having a bird farm of over 500 game birds on his Holly- 
wood estate, Al Pearce has something to crow about himself. He has just 
been awarded the coveted Gold Cup prize for outstanding radio enter- 
tainment by Radio Varieties. 

Al Pearce, whose program is 
heard over CBS each Friday (6:30 
CDST; 7:30 EDST), has done it 
again. "It" being the develop- 
ment of a new idea in radio; an 
idea that is packed full of kind- 
ness, faith in the unknown, unex- 
plored talent of America, plus 
topflight entertainment value. 

About two and a half months 
ago, Pearce came to the conclu- 
sion that something should be 
done about the hundreds of tal- 
ented newcomers in radio who 
are favorites on local stations but 
have never had an opportunity 
on coast-to-coast programs. Many 

Page 6 , 

airings have sought out amateurs, 
and many shows feature estab- 
lished artists in guest spots. But 
Pearce wanted to stretch out a 
hand to the great middle class — 
who go about their business of 
entertaining their particular locale, 
but never get the "break of prov- 
ing themselves on a transconti- 
nental broadcast. 

"We felt that the rest of the 
Qountry, outside the limited field 
where these artists are known, 
should hear these people," Pearce 
explains. "'We didn't want to es- 
tablish any hard ,-X(-nd-'' fast rules 
about presenting new talent every 
week. We didn't wont an ama- 

teur hour idea. We did want to 
watch for unusual talent all over 
the country and showcase it on 
our own program." 

The response was cataclysmic. 
From all over the country an av- 
alanche of responre came in. Let- 
ters, records, even telephone 
calls proved that the unheralded 
talent of America was waiting 
for just such an offer. 

The first guest was pretty little 
Bonnie King from station KMBC in 
Kansas City. Bonnie stepped off 
a plane, wide-eyed with wonder 
and excitement to be greeied by 
the Pearce cast and also the Tex- 
as Rangers who came from tl^e 
somiO Kansas City station. Mr. 
and Mrs. Pearce and the rest of 
the cast set out to make Bonnie's 
stoy a pleasant one. On the 
night of the broadcast, Bonnie had 
her chance at the big-time, and 
made the most of it. Her voice, 
her style and her personality as 
displayed by Pearce on his show, 
won Bonnie the featured soloist 
spot with the Bob Crosby Band. 

Virginia Carpenter came down 
from San Francisco at Pearce' s 
invitation. Result — Warner 
Brothers took an option on her 
services. Ed and Tom Plehal, 
harmonica duo from WCCO in 
Minneapolis were brought to Hol- 
lywood by Pearce. They per- 
formed — and were offered an 
engagement at the Roxy theater 
in New York. From KFAB in Lin- 
coln, came the young tenor. Bob 
Bellamy, now on his way up the 
ladder of success thanks to Pearce. 

Not only is this unusual plan 
stimulating and inspiring talent 
in America. It is providing an 
entertainment punch for every ra- 
dio listener. But then, Pearce has 
been doing the different thing in 
radio, much to the listener's en- 
joyment, since the old Blue Mon- 
day Jamboree Days — the pro- 
gram he originated on the west 
coast. Half the time the players 
didn't even use a script because 
Pearce had the theory that un- 
less the actors had fun — the audi- 
ence couldn't. The theory 
worked, too. 

He's always violating the rules 



in radio technique. Usually the 
star of a program stars, and the 
rest of the cast remains in obscu- 
rity. Not so on the Pearce pro- 
gram. Carl Hoff who directs the 
music for Pearce has emerged a 
definite, concise personality. Artie 
Auerbach, the "Mr. Kitzel" of the 
show, has etched a character the 
whole nation laughs at. "Mr. 
Kitzel" is mimicked in every day 
talk, he's satirized in the movies 
— - in short, Pearce has helped 
Auerbach to build a sound, solid 
comic character. The same is 
true of Arthur O. Bryan who does 
"Waymond W. Wadcliffe" much 
to the hilarity of the listeners. 

It's part of Al Pearce's back- 
ground to hold out a helping 
hand, and to keep a key on the 
public's entertainment pulse. 
Born in San Jose, California, July 
25, 1898, Pearce worked his way 
through school helping with the 
family dairy. At 15 he played in 
an orchestra at the San Francis- 
co World's Fair. His first radio 
experience was singing duets with 
his brother, Cal, with the San 
Francisco Real Estate Glee Club. 
From that time until he turned to 
professional radio, Pearce spent 
the years as a salesman. Roof- 
ing, insurance, diamonds and real 
estate were pushed by the indomi- 
table Pearce. He met all kinds of 
people, tried to understand all 
kinds of philosophies. The mar- 
ket crash in 1929 put an end to 
selling real estate — so Pearce 
turned to commercial radio. He's 
been in it ever since. 

But he's never lost touch with 
the reactions of the public. 
Pearce's favorite sport is fishing 
in his boat the Audal (combina- 
tion of Audrey, Pearce's wife, and 
his own name). But he only keeps 
a few of the catch. The rest are 
distributed to the needy. 

The standards of the world, par- 
ticularly of the entertainment 
world don't usually include the 
bromide of helping others instead 
of yourself, as a quick road to 
success, but Pearce has made it 
work. Sponsored by Camel Cig- 
arette's, the Pearce program prob- 
ably has a more widely diversi- 
fied type of audience than any 
other airshow. All types and 
kinds of listeners catch the friend- 
ly spirit and enthusiasm that is 
part and parcel of all Pearce's 
entertainment endeavors. 


Daddy's Heart Belongs to Him 

Dick Powell's seven-year-old son, Norman, does a turn-about 
on Mary Martin's famous song — "Daddy's Heart Belongs to Me, or 
Vice Versa", he says. Dick Powell, known to millions of radio 
listeners as a singing star of "Good News of 1940", broadcast every 
Thursday at 8:00 p.m., EDST, over the NBC-Red Network, is just 
plain "pal" at home — where a good deal of time is spent playing 
ball, telling stories and swapping Ice cream with Normle. 

Heidt of Happiness 

Horace Heidt, handsome maestro of NBC's "Treasure Chest" and 
"Pot o' Gold" programs, presents his new (and rather cute) vocal 
acquisition, sixteen-year-old Jean Farney, a Cedar Rapids girl — 
rapidly gaining radio stardom. Two years ago, Jean pushed her 
way into the middle of Heidt's rehearsals while on a theater date 
near Cedar Rapids and requested an audition. Always the gentle- 
man, Horace listened although he wasn't looking for a singer. He 
developed a sudden need of one after he heard Jean, how- 
ever. But rigors and strain of one-nighters was a little too much 
for the youngster and illness overtook her. Heidt waited until she 
recovered and sent for her again two months ago. Is she happy? 

Page 7 


Within sixty days of the Sun- 
day night that Irene Rich began 
to play the role of a mother on 
her NBC-blue network series, Hol- 
lywood seized upon her for an 
important mother role in an im- 
portant new picture. 


The first studio to recognize her 
qualifications for this role was 
Metro-Goldwyn-Mayer, which cast 
her as the mother in the movie 
version of Phyllis Bottome's fa- 
mous story, "The Mortal Storm." 

Page 8 " 

Until her appearance on the Sun- 
day night serial "Glorious One," 
Miss Rich had played a variety 
of roles, many of them ingenue 
and young characters. 

Curiously enough, the role of 

Judith Bradley, which Miss Rich 
plays in "Glorious One," is in 
many respects very similar to her 
movie role. On Sunday night she 
is the mother of two children in 
a family beset by many crises. 

Her job is the straightening out 
of this family's precarious domes- 
tic life; and in the movie, "The 
Mortal Storm," she is also the 
mother given much the same task. 
Release of "The Mortal Storm," 
is expected within a few weeks. 

In the movie "The Mortal 
Storm/' the effect of the Nazi 
regime on one family is graphi- 
cally portrayed. How the chil- 
dren, firm in the belief that the 
Nazi objectives will bring a glor- 
ious future to their country — but 
leads them to final tragedy, makes 
one of the most stirring pictures 
of the year. 

Irene Rich is now in her seventh 
year of radio broadcasting for the 
same sponsor. In that time she 
has played more than 350 dra- 
matic programs. Star of stage, 
screen, and radio, she is also the 
mother of two beautiful daughters. 
One, recently married, and the 
other, a sculptress, have both 
joined her for the summer holi- 
days. Daughter Frances, the sculp- 
tress, has been given national no- 
tice because of her work. She has 
done monuments and decorative 
motifs for building in a number of 
cities. One of her most recent 
pieces of work was a set of bas- 
reliefs for Purdue University. 

Another important picture for 
Miss Rich, following closely on 
the heels of the successful "Mor- 
tal Storm" role, will soon be re- 
leased by Columbia Studios and 
will be called "The Lady In Ques- 
tion." Brian Aheme is the male 
star of the picture. 

Miss Rich will be seen as 
Michele Morestan, wife of a Paris 
bicycle-shop proprietor. She has 
TWO grown children and again 
plays the role of a mature woman. 

Continued on Page 17 



When rough weather damaged his cabin cruiser, the Caprice, Carl Hoff (aboard 
the cruiser in photo) and his party, were lost for nine nerve wracking hours. 

Catalina Island is one of the 
beauty spots of the world and al- 
so one of the most popular des- 
tinations of Southern California 
yachtsmen. But have you ever 
noticed how many of them are 
reported missing or adrift in the 
waters surrounding it? Seperat- 
ing the island from the mainland 
is thirty miles of the trickiest wat- 
ers in the world. Heavy fogs bil- 
low down out of nowhere, cross- 
currents and rough waters with 
high winds develop with no 
warning. It compares with the 
English Channel and the waters 
off Cape Hatteras for squalls and 
tough navigation. That's why 
this channel bests so many good 
Latest to testify to the truth of 
this is Carl Hoff, handsome maes- 
tro of the Al Pecrrce-CBS programs 
on Friday nights. On a recent 
Sunday Hoff drifted helplessly 
there for nine hours when the 
rudder on his cabin cruiser, the 
Caprice, was snapped off by 
rough water. Water so rough that 
it snapped the one-inch brass 
shaft on his quite new boat, be- 
lieve it or not! 

Imagine, if you can, the anx- 

iety, the nerve wracking uncer- 
tainty — multiplied by nine hours 
of waiting and wondering — of 
such an experience. It wasn't 
pleasant, although now it seems 
amusing in retrospect. 

Hoff and his pretty wife Dorothy, 
accompanied by Helen Carroll of 
the Merry Macs also featured on 
the Pearce show, and her hus- 
band, Carl Kress, ace guitarist, 
had been to Catalina for the week- 
end on Hoff's boat. At about 3 
o'clock Sunday afternoon they 
radio-telephoned to Bob Cannom, 
producer of the show, who was 
aboard his boat in Balboa basin 
that they were about to leave the 
island for the mainland, plan- 
ning to arrive about 6 o'clock. 

Just before 5 Cannom tuned in 
his set again and heard Hoff 
calling him. "I've just lost the 
rudder on my boat!" was the 
frenzied call of the Caprice's 

Action was fast after that. Can- 
nom called the marine operator, 
KOU, at Wilmington. The short- 
wave radio-telephone band was 
immediately cleared, as is always 
done for distress calls. Cannom 
called the Coast Guard. Wendell 

Niles, Pearce's announcer who 
was with Cannom, drove to noti- 
fy the Balboa harbor master. The 
Hermes, 175-foot Coast Guard 
cutter, was immediately dis- 
patched to search for the Caprice, 
according to the approximate lo- 
cation given by Hoff. 

Perhaps you don't know that 
small cruisers do not carry equip- 
ment for calculating exact latitude 
and longtitude. The compass 
gives the direction and by cal- 
culating approximate speed and 
time out of port they can give 
only a rough idea of location. 
This Hoff did. The Coast Guard 
then calculates tide drift and wind 
velocity to decide where a boat 
should be after a given time is 
elapsed. Thus did the Hermes set 
out to find Hoff, at about 5 in the 

Radio calls were put in every 
half-hour after that, between Hoff, 
Cannom, the KOU marine opera- 
tor and the Coast Guard, with 
Cannom' s and Niles' anxiety 
growing every minute, for Hoff 
was not found. To save the bat- 
teries on his boat, Hoff was mak- 
ing his calls shorter each time. 

Continued on Page 17 



Page 9 



Jessica Dragonette calls her long radio expe- 
rience "fortunate" because of the "long association 
with good directors" it afforded her. "It helped me." 
she said, "along the straight and narrow path of 
good musicianship." 

Her great achievements with concerts — sym- 
phonies-movies and Radio she completely 
disregards as "details." "I was born to sing," she 
says, "and nothing else matters. The rest is details." 

Jessica Dragonette 

The vivacious j'oung soprano star of 
the new Sunday night Ford Summer 
Hour series on the Columbia net- 
work finds it difficult to balance her 
youthful appearance and a radio 
record that establishes her in the 
formidable class of the "veteran." 
Real old-timers who squint down 
their noses and say this can't be she, 
must be reminded that when r-dio 
wns very young, Jessica was even 

Page 10 

younger. Moreover, radio's still just 
a kid. 

Her career in broadcasting is much 
less the record of a veteran than that 
of an artist's growth to cultural 

Two years ago she stepped from 
the broadcasting studio into the con- 
cert hall with the tremendous satisfac- 
'•■'in of having seen her exneriments 
bear fruit. The very type of variety 

program on which she is starred now 
is a crystallization, she feels, of the 
early patterns she evolved f«r this 
type of entertainment. Her combi- 
nation of acting and singing in light 
opera broadcasts and in the first sing- 
ing-talking scrint was among the 
forms she tested. Children's stories, 
one-act plays and Shakespeare were 
other important mediums she 

"I hoped that American poetry 
would be written for the air, too," 
she said, "and predicted a trend 
toward 'better programs. I had to 
battle for good music. My faith in 
the demand of listeners for good 
things was strong." 

Miss Dragonette's two-year expe- 
rience in the concert hall, which in- 
volved tours to the remotest corners 
of the United States, Hawaii and 
Canada, proved this faith to be 

"I took temporary leave of radio 
not to advance myself in another 
field on the strength of a reputation 
in radio," she said, "but because I 
felt my pioneer work was finished. 
So many loyal followers had requested 
me to make personal appearances 
that I felt I should justify their faith 
in me. 

"And then I wanted to verify what 
1 knew was happening, to find out 
how music was being taught and what 
people's tastes were. I have found 
to my delight that these people not 
only wanted to listen to music but to 
make their own. In every community 
I visited there was a worthy group 
activity being conducted. Everywhere 
1 went mem'bers of the audience came 
backstage and told me of some con- 
structive work in which they were 
engaged after having been led to it 
by radio." 

The vivacious young soprano said 
this all helped her to get "a needed 
change to develop as an artist" after 
having "done the same thing so long." 
Meanwhile a stranger thing was hap- 
pening. Her tremendous radio fol- 
lowing was impatient for her to come 
back to the microphone. They missed 
her, and said so in a steady stream 
of letters. Concert appearances 
before thousands was a treat for 
which they were grateful, but they 
preferred her at the microphone so 
millions could hear her at once. This 
accounted for her decision to return 
to the air. 



Cast of Joyce Jordan 
played by Ann Shepherd 
plays various roles in Col 

"Joyce Jordan — Girl Interne" 
was born on a Fifth Avenue bus! 
No, not the character, but the 
idea for the radio serial now 
about to complete its fourth year 
on the air. 

By chance, one day, "Hi" 
Brown, the show's producer, and 
Julian Funt, author, sat down 
behind a young couple on a 
New York motorcoach who were 
arguing the age-old theory that 
marriage and a career do not 
mix. They were going at it 
tooth and nail when the inspira- 
tion for "Joyce Jordan — Girl 
Interne" dawned on the politely 
eavesdropping gentlemen sitting 
behind them. Here was a theme 
for a good daytime serial which 
had landed in their laps from the 

The reason behind the tena- 
cious appeal of the story, — few 
programs have its staying pop- 
ularity — probably lies in its 
being a believable, real-life story 
of hospital life. "Joyce Jordan", 
unlike most medical heroines, did 
not perform any delicate brain 
surgery her second day out of 
medical school, — in fact, she 
has -never performed an operation 
at all on the show. Feeling that 
scalpel sequences are over-used 
in daily dramas of this type, "Hi" 
Brown and Julian Funt have 
steered quite clear of experimental 

: Paul Sherwood played by Myrom McCo 
— Dr. Hans Simons played by Erik Ralf 
unibia's serial heard at 1:15 p.m., COST. 

medicine and have dealt almost 
completely with the psychological 
phases of the field. Instead of 
dramatizing operating room 
scenes and leaving their radio 
audience with "cliff hanging" 
teasers to bring them back the 
next day, "Hi" and Julian let 
"Joyce" unravel emotional prob- 
lems by common-sense, scientific 
methods. "Joyce" holds her daily 
audience through a "stream of 
consciousness appeal, not through 
perilous threats. 

When "Hi" was shopping 
around for a counter theme in the 
hospital story, he discovered that 
medicine and newspaper work 
ran neck and neck in the affec- 
tions of feminine listeners. Hence, 
he picked a foreign correspon- 
dent to play the romantic lead op- 
posite his girl physician. Right 
now, in the script, she has com- 
bined both marriage and her 
career and is wed to the news- 

"Hi" Brown has cast many big 
names on his afternoon fifteen- 
minute program. Rex Ingram, 
"De Lcrwd" in "Green Pastures" 
appears in the script off and on, 
as does Aileen Pringle, former 
screen siren. Myron McCormick, 
who plays "Joyce's" husband, 
does both stage and film work 
besides radio. His last movie 
was the documentary child-birth 

rmack — Joyce Jordan 
and Adelaide Klein who 

saga, "The Fight for Life". Agnes 
Moorehead, who is radio's num- 
ber one actress, also lends a 
hand to the story, along with 
Theodore J^ewton, reporter in 
"The Man Who Came to Dinner", 
Broadway comedy hit. 

"Hi's" first "Joyce Jordan" was 
Rita Johnson, lovely, blonde film 
star; Helen Claire, of "Kiss the 
Boys Goodbye" fame, came next; 
then Elspeth Erik, who left the 
cast to do Claire Booth's "Margin 
for Error"; finally Ann Shepherd, 
present "Joyce Jordan", a prom- 
inent Chicago actress who played 
in starring roles at the age of 
sixteen. Ann got her early train- 
ing behind the footlights under 
the name of Shaindel Kalish; 
then went to Hollywood to do 
film work under the name of 
Judith Blake. She changed her 
moniker to Ann Shepherd when 
she started radio work — and 
has held onto it ever since. A 
talented, emotional actress, Ann 
pinch-hit for Sylvia Sidney in 
"The Gentle People" on the stage 
before she got her permanent 
girl interne job. 

"Hi" and Julian work hard on 
the "Joyce Jordan — Girl Interne" 
script every day to keep the 
story moving, and avoid those 
"dull" sequences which are 
responsible for the demise of 
many daytime dramas. 



Page II 


KITTY KEENE CAST: In this old family album 
group are the principal members of the cast of Kitty 
Keene, NBC dramatic serial heard Mondays through 
Fridays over the NBC-Red network at 4:30 p. m. COST. 
Left to right, front row: Carlton (Charles Williams) 

KaDell, Gail (Kitty herself) Henshaw, Patricia (Jill Jones) 
Dunlap, Bob (Bob Jones) Bailey, Loretta (Pearl Davis) 
Poynton. Back row: Phil (Jefferson Fowler) Lord, 
Director Frank Dane, Peggy (Clara Lund) Hillias and 
Stanley (Neil Perry) Harris. 


Kitty still beautiful, is the mother 
of a chcrrming daughter, Jill, and 
the wife of Charles Williams, 
former newspaperman. Jill is 
married to Bob Jones, lieutenant 
of detectives. The daughter is a 
mother too. Tiny Miss Jones is 
Kit, Junior. 

Star of the show is Gail Hen- 
shaw, a young actress who forgot 
to count 10 during a quarrel with 
her fiance two years ago. Gail 
handed Robert Hughes her en- 
gagement ring — and the mitten 
— and headed for Chicago by 
plane. Gail was still in a huff 
when she landed, so, without 
even unpacking she marched 
over to NBC studios in the Mer- 
chandise Mart to ask for a job. 
A few months later she was 
Kitty Keene. 

The scrap? That came out all 
right, too. Hughes lingered in 
New York a month after Gail left; 

Page 12 

then he took a tip from Young 
Lochinvar, reversed Young L's 
route and headed west. Miss 
Henshaw became Mrs. Robert 
Hughes on Christmas Eve, 1938. 

Gail is that rara avis, a native 
New Yorker; she was born in 
Gotham August 8, 1912. She at- 
tended St. Agatha elementary 
and high school, went to Wellesley 
for a couple of years and then 
switched to the American 
Academy of Dramatic art, from 
which she graudated in 1933. At 
Wellesley Gail not only starred 
in dramatics, she directed campus 
plays, was in the choir, gave a 
hand to the crew and played 

Back in 1936, Gail was in stock 
in New York when a fellow 
player begged her to help him 
out on a hurry-up replacement in 
a dramatic presentation on a 
local station. She stayed two 
years, graduating to the networks. 

Current episodes in the serial 
deal with Kitty's problems as 
manager of "The Modern 
Woman", a job which has 
estranged her unemployed hus- 
band and driven him to New 
York and consolation in the 
charms of Norma Vernack, a 
Javanese dancer. Further compli- 
cations are stirred up by Kitty's 
decision to move to an elaborate 
apartment "on the other side of 
town" and taking the young 
Joneses with her. The move goes 
to Jill's head and Bob finds he 
doesn't fit in. A friend of Kitty's 
employer, adds to the situation 
by showing an interest in Kitty. 

The show is produced for the 
agency by Frank Dane, director 
and character actor who created 
the role of detective "Never-Fail" 
Hendricks for the Story of Mary 
Marlin. Dan Donaldson announ- 
ces the serial and Clinton Stanley 
does production for NBC. 



Bartons At Home 

If the Bartons of "The Story of Bud Barton" 
were a real family they couldn't look any 
more domestic than this picture of the three 
NBC actors who play mother, father and son. 
Fern Parsons plays Mrs. Barton; Lester Damon 
plays Henry Barton, and Dick Holland is Bud. 
The drama of Bud, his family and friends is 
heard five times weekly as part of NBC's 
Children's Hour, a full suppertime hour of 
entertainment enjoyed by children and grown- 
ups alike. 

Scrumptious Scripter and Singer 

Pipe the decor resting on a photographer's Idea of a pipe line — 
Sally Vass, 23-year-old big sister of NBC's popular harmony team — 
The Vass Family — composed of four beautiful sisters and a hand- 
some brother. The group are currently broadcasting from NBC's 
studios in Chicago. Sally, incidentally, writes all their scripts. 


"Sky Baby", Arabian thorough- 
bred named after the young colt 
in the popular NBC serial, "One 
Man's Family", is trying his 
hardest to smile for the camera 
in his first picture, while Kath- 
leen Wilson, "Claudia" on the 
program, is tickiiing nis cnin 

to help him out. 

Comedian Eddie Cantor dusts 
off the microphone in prepara- 
tion for his return to NBC 
October 2 in a new "Hour of 
Smiles" series. With an all-star 
comedy revue, the funster will 
end a year's vacation from the 
airwaves when he is again heard 
over the NBC-Red Network, on 
which he first won radio glory 
nearly a decade ago. The "Hour 
of Smiles," now featuring Abbott 
and Costello as Summer en- 
tertainment, will continue to be 
broadcast every Wednesday at 
8:00 p. m., COST. 

Mike. Cleaner 


Page 13 


It's just a Big, Little Family Affair 
with the Wilbums, newest young- 
est Opry Stars. 

From a small farm in Arkansas 
to the Grand Ole Opry is the 
path traveled by the Wilburn 

And they would not trade places 
with the Squire of Van Buren, 
Bob Burns. 

Bob can have his Bazooka and 
Hollywood and all that goes with 
it. The Wilburn Children are 
satisfied with what they have, to 
put it mildly, and would not trade 
with the most famous citizen of 

Ever since the oldest of the chil- 
dren first picked up a "gittar" — 
and that has not been long ago — 
their fond parents dreamed of the 
day when they would "make" 
the Grand Ole Opry. 

That's the dream of most gittar- 
plunkers and fiddle-scrapers in 
America, so it was not un-naturaly 
that the Wilburn parents, father 
and mother, should aspire to such 
a goal for their children rather 
than hoping one would ascend to 
the White House. 

And the fact that both parents 
had musical attainments — but 
had not attained the pre-eminence 
of the WSM Grand Ole Opry — 
only added spice to their ambi- 
tions for the children. 

When Lester responded so 
promptly to the instructions of his 
parents, they felt emboldened to 
start on the next youngest. That 
was Leslie. Once Leslie had mas- 
tered the rudiments of the mando- 
lin, guitar and fiddle, they bought 
a mandolin and gave it to their 
only girl, Geraldine. And on 
down the list of their children 
from the oldest to the youngest, 
Mr. and Mrs. Estes Wilburn in- 
stilled in them a love of the old- 
time tunes of their forefathers and 
an ability to play and sing them. 

After work on the farm had been 
completed, the Wilburn family 
would gather on the porch in the 
gathering twilight and engage in 
a family song-fest. From aged 
grandfather down to three year 
old Theodore, the Wilburns sang 
the songs that had echoed through 
the Arkansas hills for many gene- 

youngest to oldest (left to right) — Theodore, 
Doyle, Geraldine, Leslie and Lester. 

Then, when grandfather and 
father were satisfied the children 
were ready, only grandfather 
stayed on the form as Mr. and 

Mis. Wilburn started out with the 

They did not know where they 
were going first. 

Page 14 





Theodore Wilburn, a radio star at six, is the biggest little man on 
the WSM Grand Ole Opry. He may not be able to reach the mike with- 
out the aid of a chair, but he can reach the hearts of millions of Grand 
Ole Opry fans when he sings the songs of the soil. 

But they knew where they were 
headed for — finally. That was 
Nashville, Tennessee and the 
WSM Grand Ole Opry. 

They made it this summer — 
and only this past month made 
their first appearance on the NBC 
network portion of the famed Opry 
show. Back in Arkansas — at 
the home-town of Hardy — and in 
other parts of the Razor-back state, 
countless friends gained real sat- 
isfaction when they heard the 
Wilburn family on the Grand Ole 

But the biggest thrill for the 
Arkansas Travelers was the re- 
ception the Opry audience ac- 
corded them. By the thousands 
came letters to WSM praising 
"those cute little children from 
Arkansas," "How they can sing," 
"angelic voices," "among the 
best" and other flattering phrases 

that told the Wilburns in a lan- 
guage they could all understand 
— all the way from Theodore to 
Papa Estes — that they had made 
good on the toughest trial any 
folk singer can have. 

Many of those who wrote in to 
WSM wanted to know about the 
Wilburn children. Radio Varieties 
has already received many let- 
ters asking about this youngest 
family group. 

So here is the information about 
each one: 

LESTER is the oldest. He is 
sixteen and acts just like a big 
brother, keeping the youngsters 
out of mischief. He plays the 
mandolin, guitar and fiddle, which 
he prefers to anyth-ing else. But 
given a choice between working 
on the farm and something else, 
Lester would take to fishing and 

LESLIE is next in line. He is 
fourteen years old, in the seventh 
grade in school, but openly pre- 
fers music to mathematics. Or is 
it arithmetic in the seventh grade? 
Unlike older brother, he would 
take to farming next to fiddling, 
but like older brother he is a 
triple threat musician — mando- 
lin, guitar and fiddle. 

GERALDINE, the only girl in 
the family is thirteen years old 
but has progressed in school as 
far as her older brother. She also 
plays all three instruments and 
when not playing on the radio or 
studying her lessons, likes to help 
mother with the cooking and sew- 

DOYLE, who is nine years old 
is next in line. He is in the fourth 
grade in school and professes to 
like his school work next to mu- 
sic. He also likes baseball and 
will play it at the drop of a bat. 

Youngest and most lively and 
mischievous is THEODORE, who 
is only six years old. Theodore 
is the only member of the family 
not versed on three instruments. 
This youngster has not mastered 
the fiddle, but can man-handle a 
man-sized guitar and make a 
mandolin cry. He is the darling 
of the Opry and it takes the best 
efforts of the rest of the family 
to keep Theodore from getting 

As most radio fans know, most 
of radio's "families" are fictitious. 
But not with the Wilburns. One 
look at their accompanying pic- 
tures is enough to convince any- 
one of that. 

They come from Arkansas 
where Papa Wilburn says the 
people "use coons for watch-dogs 
and owls for roosters and Bob 
Burns is a sissy." 

And where the Grand Ole Opry 
is an object of more admiration 
than the Metropolitan Opera to 
some sputtering soprano. 

And for six year old Theodore 
to achieve stardom on WSM's 
Grand Ole Opry is just as won- 
derful to his home-folk back in 
Arkansas as if Baby Sandy should 
be signed to sing Don Jose in 
"Carmen" at the Metropolitan 
Opera next season. 

Theodore, the biggest little star 
on the Grand Ole Opry, is the 
man of the moment in Arkansas. 



Page 15 



By Bob Harttnan 

For the third time in two hours 
an arresting blonde girl edged 
her way along the line which 
led to the assistant stage man- 
ager's office. She was a girl of 
unusual appearance, with fine 
high cheek-bones and a world of 
vitality in her carriage. 

She self-consciously adjusted 
her sable neckpiece (borrowed) 
as her place in line landed her 
before the desk. The assistant 
stage manager gave her a cursory 

"You're not the type," he said. 

"O. K.," answered the girl. She 
turned to go. 

"Saaay — WAIT a minute!" 
said the man. You've been here 
before today." 

"You bet I have," answered 
Lesley Woods. "There times! 
I die hard." 

This little episode in Lesley's 
life may be indicative of why, in 
two short years, she's become 
one of Chicago's radio's busiest 

Not very many years ago 
Lesley Woods walked out of 
Goodman School of the Theatre, 
cum laude, which meant that she 
could really wrap her tongue a- 
round a piece of the English lan- 

Almost immediately Lesley 
landed a job with a summer 
theatre and did everything from 
shifting scenery to walking on as 
leading lady when the star 
keeled over with the heat. 

The season almost over, Lesley 
returned to Chicago to find an- 
other job awaiting her. This time 
with a stock company in Michi- 
gan. She got to play bits, quite 
a few ingenue leads, and a few 
starring parts when name players 
were ill. 

Right here it better be stated 
that Lesley admits she's darn 
lucky when it comes to illness. 
She's never sick herself but twice 
a principal she's been under- 
studying has had tough going 
and Lesley has been given the 

Page 16 

long-awaited chance to "go on in 
the part." 

Finally the Michigan stock 
season came to an end and once 
more Lesley decided to return to 
Chicago when two other girls in 
the company said, "Come on. 
Let's go on to New York!" 

Lesley scoffed. "You should 
see my bank roll!" she laughed. 

"You should see OURS," they 
G" swered. 

Blonde in real life, somehow Lesley 
Woods Is never called upon to play 
dizzy blonde roles at the NBC 

Chicago studios. Lesley has made 
her mark as a dramatic actress ap- 
pearing on three NBC dramatic 
serials, as an ailing wife In "Guiding 
Light"; a divorcee in love with a 
doctor in "Road of Life"; and as an 
office receptionist in love with a doc- 
tor in "Woman in White." 

Anyway, the three young 
ladies set off for the great metrop- 
olis, their principal asset being 
an old Ford car. 

Lesley Woods tackled Broad- 
way a full-fledged actress. She'd 
had years of formal training. She'd 
had two seasons of actual expe- 
rience. But Broadway treated her 
the way it treats all young ac- 
tresses. It gave her the grand 
brush off and forced her to get 
in the hard way. 

As a matter of fact, the gentle- 
man who told Lesley she 
"wasn't the type" was one of her 
first job-hunting efforts and she 
didn't let him discourage her. She 
went home — returned the sables 
to the girl across the hall (who 
returned them to her lucky girl 
friend who had a steady job) and 
sat down and wrote a letter to 
the producer she'd just tried to 
see. On an impulse, Lesley 
cVopped in a small picture of her- 
self — a trick which won her 
many an appointment thereafter. 
In a few days a note came from 
Mr. So-and-So would see Miss 
Woods at 11:15 the following 

Miss Woods saw Mr. So-and- 
So the following Tuesday. He 
gave her one look and started to 
say — "You re not the . . . 

Lesley held up her hands. "I 
know," she interrupted. "I'm not 
the type." 

"Frankly, you aren't," said the 
producer. "But let's hear you 
read anyway." 

Lesley read some scripts, and 
proved to the producer and to 
herself that sometimes it's better 
to be a good actress than "the 
type." She got a bit part in the 
Broadway production of "Excur- 

There followed parts in the 
Theatre Guild play, "Love Is Not 
Simple," and Mark Hellinger's 
"Double Dummy." 

In between shows Lesley mod- 
eled and clerked at exclusive 
Fifth Avenue shops, posed for 
photographers, and worked in 
movie shorts — anything to keep 
20c in her pocket. 

One day, after Lesley had 
battled through lines of actresses, 
wheedled a job out of a producer, 
toiled through weeks of grueling 
rehearsal, the show closed during 
dress rehearsal. 

That was the day Lesley got 
sick of having only 20c in her 
pocket. She wasn't going to give 
up but decided it was time she 
had a change. 

Continued on Page 17 


Continued from Page 9 

Once he reported that Kress, try- 
ing to tie a shirt to the radio an- 
tenna for a distress signal, was 
nearly washed overboard, and 
then, ironically, no one saw it. 
After dark the Coast Guard told 
Hoff to set off rockets or dip a 
mop in oil and burn it over the 
stern. He had no flares or mop 
aboard. The sea was rough, the 
wind high and the Caprice was 
lost and tossing. 

At 10 p.m. the Hermes reported 
to Cannom that it had covered 
300 square miles, in ever widen- 
ing circles between Catalina and 
the mainland, but still had not 
found Hoff. 

Next came a call from Hoff 
that he could see lights which he 
believed to be somewhere on 
Catalina. Cannom and the 
Hermes' skipper both told him it 
must be the mainland, according 
to the normal drift he should have 
had. Meanwhile Hoff had been 
using his searchlight for SOS dots 
and dashes, and finally that wore 
out. Cannom and Niles, waiting 
at dock in Balboa, were helpless 
and very worried. At midnight 
Hoff was still lost. 

At about 1:30 a.m., the Nor- 
conian III, a charter boat going 
from Wilmington to Catalina, 
picked up Hoff about six miles off 
a lonely part of Catalina and 
towed him to Avalon, main town 
of the island, arriving about 2 
a.m. With the radioed report of 
the rescue, the Hermes lost no 
time in rushing there to check up 
on what seemed to have been a 
"sea phantom." 

"How did you ever drift back to 
the island, going against the wind 
and tide," the Coast Guard skip- 
per asked Hoff. 

"Well, I left my motor running, 
because we didn't seem to pitch 
and roll so much then, but of 
course that did make us zig-zag 
all over the ocean. I guess I for- 
got to tell you that in my reports," 
the exhausted Hoff explained. 

When Pearce asked Hoff the 
same question the next day, the 
wearied maestro had recovered 
his sense of humor somewhat. 
His only answer, paraphrasing 
Arthur Q. Bryan on the Pearce 
show, was 

"Mr. Pearce, it wasn't easy." 


IRENE RICH - Glorious One 

Continued from Page 8 

"The Lady In Question" will be 
released late in August and is 
being directed by Charles Vidor, 
who directed "My Son, My Son." 
Other stars in the picture will be 
Rita Hayworth, Dorothy Burgess, 
Edward Norris and Glenn Ford, 

The Irene Rich radio program, 
"Glorious One," continues with- 
out an interruption through all 
the picture work she is under- 
taking. A third picture is reported 
being planned for her already. 

"Glorious One" is heard every 
Sunday night on the NBC Blue 

More than $5,000 was raised re- 
cently by Miss Rich, when she 
visited Miami at the invitation of 
Mayor Alexander Orr to make a 
personal appearance for the 
American Red Cross. 

As a result of her nation-wide 
offer to pick up personally checks 
for the American Red Cross in 
the amount of $5,000 or more, she 
headed the greatest show ever 
produced in the Florida city. 

The star of "Glorious One" 
made the trip to Miami as a re- 
sult of the sponsor's co-operation 
is shaping up the show around 
incidents which did not involve 
"Judith Bradley," the character she 
plays on the air. 

The event was a result of Mayor 
Alexander Orr's response to Miss 
Rich's Red Cross appeal after a 
spurious telegram had been sent 
in his name. Rising to the chal- 
lenge, Mayor Orr said immed- 
iately that Miami would make 
good, and on July 5th would de- 
liver at least $5,000 into Miss 
Rich's hands. Seventeen civic 
clubs of Miami joined in a special 
luncheon on July 5th and all pro- 
fessional talent in the area was 
included in the program. A cho- 
rus of 150 trained voices, the 
American Legion Drum and Bugle 
Corps, 29 widely known singers, 
and a committee of the city's 
leading business men participated 
in the event. In charge of ar- 
rangements for the day was Mr. 
E. E. Seller, who has been in 
charge of Orange Bowl festivals 
for Miami's New Years Day foot- 
ball classics for several years. 
Price of the luncheon was one of 
the method used to raise Red 
Cross funds during the day. 


Continued from Page 16 

With an empty purse, and a 
stunning wardrobe (the perennial 
paradox of young actresses) 
Lesley arrived in Chicago for a 
short vacation with her mother. 
She intended to stay to weeks. 
She stayed two years. 

On one of her first evenings at 
home, Lesley went to a party 
given by radio people. They 
talked about their work, as radio 
people are wont to do. They said 
to Lesley, "why don't you take a 
crack at it?" 

Lesley could think of no good 
reason why not and the next 
morning found her "taking a 
crack at it," which consisted of 
cooling her heels outside a radio 
producer's office. 

When the first comment after 
her first radio audition was 
"you're not the type," Lesley took 
it as an omen of luck rather than 
one of misfortune. And wisely. 
She stubbornly beat away at the 
portals, and finally the great god 
Radio gave her the green light. 
Producers began to notice the 
slight blonde girl always so 
smartly dressed, always so full 
of energy, always so alert as to 
what was going on. 

Lesley started to do radio work, 
and radio directors discovered 
that although she might not be 
"the type" when she walked in- 
to a studio, she possessed such 
splendid technical background in 
acting that she was able to turn 
out the kind of job they had in 
mind before rehearsal was over. 

Lesley has made a name for 
herself in radio on such programs 
as Edgar Guest's "It Can Be 
Done," heard over CBS some 
months ago; and "Campana's 
First Nighter" which returns to 
CBS airwaves September 3. She 
is now being heard in the fea- 
tured roles of "Carol Evans" in 
CBS and NBC's," Road of Life," 
"Midge" in "Midstream" and 
"Janet Munson" in "Woman in 
White" heard over NBC. 

Although Lesley is seldom if 
ever confronted with "You're not 
the type," anymore, when she 
DOES hear it, Lesley treats her- 
self to a good laugh! 

"When they scry that to me 
now," says Lesley, "I know for 
sure I'm on the right track!" 

Page 17 



Lovely Muriel 
Brenner, who 
has just been 
cast as Helen 
Gowan Stephen- 
son In the NBC 
serial, "Koacl ot 
Life", is filling 
a role that nas 
been portrayed 
at one time or 
another by such 
finished actresses 
as Betty Winkler, 


Betty Lou Ger- 
son, Donna Reade 
and Janet Logan. 
iVIuriel has ample 
experience Tor 
the sssignment, 
however, having 
served a valuable 
stretch in West 
Coast film stu- 
dios before com- 
ing to Chicago 
in 1938. 


S:' ^''^^^^->V«^^y^'- ' -^'-^w ' vsv v w'-^" ' <js^^i^ 


Daisy Bernier, the "Honey" of 
the singing trio, "Two Bees 
and a Honey", is a newcomer 
to the Fred Waring Gang. Pre- 
viously, she appeared in Broad- 
way revues and was last seen 
in a featured role in the hit, 
"Sing Out the News" The 
newest "l-'ennsyivanlan" hails, 
Incidentally, from Massachu- 

I. Q. Goes East 

In the front rank of inquisitors 
swarming the airwaves In every 
manner of quiz programs is 
young Lew valentine — "Dr. I. 
Q." in person. He has just 
moved his lively show from 
Billings in the Rockies t© 
Broadway's Capital Theater 
and will continue to be heard 
over the NBC-Red Network 
Mondays at 9:00 p. m., EDST. 

Page 18 



Betty Ruth Smith, charming NBC actress, is a firm believer In the 
rule of three — especially when it's a question of breaking into big- 
time radio. After eighteen months local station work at home In 
Wichita, Kansas, Betty came to Chicago one Monday in 1939, saw 
sights on Tuesday, and visited NBC on Wednesday. After three 
auditions she was signed up. Three days — three tries — and now 
Betty plays Karen Adams Harding on the serial, "Women In White." 



Dora Johnson, pretty young NBC 
dramatic star, started out as a 
singer, but had her career nipped 
in the bud by illness. In a short 
time, however, she re-established 
herself as an actress and thereby 
re-established herself in the fam- 
ily tradition, Dora, you see, has 
one brother an actor and another 
a playwright, and any work away 
from the theater is next door to 
oblivion. Dora's door is the role 
of Evey FItz, the married daugh- 
ter, in the serial, "Oxydol's Own 
Ma Perkins", heard over the 
NBC-Red Network every Monday 
through Friday. 

Neifir Sho^vs and Stars Over NBC This Fall 

Vacationing radio programs will 
begin their return to networks of the 
National Broadcasting Company early 
in September, with new programs 
scheduled offering a wide variety of 
entertainment and Information. 

Programs a I r e a d y definitely 
scheduled are: 

Sept. 1 — Chase and Sanborn program, 
variety; NBC-Red, Sundays, 7:00 
p. m., COST. 

1 — Walter Winchell, news com- 
ment, NBC-Blue, Sundays, 8:00 
p. m., CDST. 
5 — Good News of 1940, variety; 
NBC-Red, Thursdays, 7:00 p. m., 
9 — True or False, quiz program; 
NBC-Blue, Mondays, 7:30 p. m., 
15^0llvio Santoro, boy yodeler; 
NBC-Blue, Sundays, 4:15 p. m., 
24 — Bob Hope, variety; NBC-Red, 
Tuesdays, 9:00 p. m., CDST. 

29 — Bob Becker's Chats About 
Dogs; NBC-Red, Sundays, 2:45 
p. m., CST. 

29 — Dorothy Thompson, news com- 
ment; NBC-Blue, Sundays, 6:30 
p. m., CST. 

29 — S h e r I c k Holmes, dramas; 
NBC-Blue, Sundays, 7:30 p. m., 
p. m., CST. 

29 — Ahead of the Headlines, news 
analysis by Newsweek editors; 
NBC-Blue, Sundays, 10:45 a. m., 

30 — I Love a Mystery, dramas; 
NBC-Blue, Mondays, 7:00 p. m., 

30 — Tom Mix Ralston Straight 
Shooters, juvenile dramas; NBC- 
Blue, Mondays through Fridays, 
4:45 p. m., CST. 
Oct. 1 — Fibber McGee and Molly, vari- 
ety; NBC-Red, Tuesdays, 8:30 
p. m., CST. 

1 — Ben Bernie, musical audience 
participation show; NbC-Blue, 

Tuesdays, 7:00 p. m., CST. 

2 — Cavalcade of America, his- 
torical dramas; NBC-Red, Wednes- 
days, 7:30 p. m., EST. 

2 — Eddie Cantor, variety; NBC- 
Red, Wednesdays, 8:00 p. m., 

4 — Arch Oboiers Plays; NBC- 
Red, Fridays, 8:30 p .m., CST. 

6 — Jack Benny, variety; NBC-Red 
Sundays, 6:00 p. m., CST. 
13 — Tony Wons' Scrap Book, read- 
ings; NBC-Red, Sundays, 3:15 
p.m., CST; Tuesdays and Thurs- 
days, 12:15 p.m., CST. 
27 — Quaker Oats program, variety; 
NBC-Red, Sundays, 4:30 p.m., 
Nov. 12 — Uncle Jim's Question Bee; 
NBC-Blue, Tuesdays, 7:30 p. m., 
Nov. 15 — Information Please (new 
network, time and sponsor); 
NBC-Red, Fridays, 7:30 p. m., 



Page 19 


Chuck Acree, who conducts "Everybody's Hour" and "Man on the Farm" for WLS, 
Chicago, also "We, the Wives" on NBC, has one of the largest collections of cross 
questions with crooked answers in the world. He added to them this summer on a 
six-weeks trek through Central America. Several years ago on a question-and-answer 
program. Chuck asked an interviewee what three things, if he could have only three, 
he would take with him for a ten-year stay on a lonely island. On his Central American 
junket. Chuck found the answer for himself, as reflected in this page from his diary. 


I hope I ^ever see a quinine 
tablet again. I wish we could 
find just one place where we 
could rest for one day without 
worrying about catching malaria 
and fever from the mosquitos. I'd 
give anything for a bar of soap 
and the privilege of striking a 
match. I wonder what it feels 
like to sleep in a real bed. 

I'd give ten dollars for a drink 
of clear, cold water that I know 
is safe to drink. A ten-cent can 
of tomato soup would be a su- 
preme delicacy. I wonder what 
Hitler is doing now, if the English 
have driven the Nazis out of Nor- 
way. I'd trade all my baggage 
for a .radio that would get short 
wave programs. I wonder if the 
next white man we find will have 

For thr^e days we have had 
nothing to drink but native beer. 
Water is plentiful, but we dare 
not drink it for fear it carries the 
amoeba germ that causes dysen- 
tery. Boiling doesn't seem to kill 
them. Distilling the water will, 
but we have no apparatus with 
us to distill the water and must 
wait until we get "into port" before 
we find water that is safe. And 
even then it will not be cold — 
just warm — but it will be wet. 

Every night we sleep under a 
mosquito net that has such a 
"tight weave" that it is almost 
suffocating. But despite this pre- 
caution a few of the devils nip 
us anyway. That's why we take 
quinine. We started with just a 
few grains of quinine a day. Now 
we gobble down so many that 
our heads ring, and already I 
am noticing that I can't hear as 
well as I should. 

We had matches, plenty of 
them. But as we travelled we 
gave first one packet to one native 
and another packet here and 

Page 20 

there until suddenly they were all 
gone. Now if another white man 
came through here with some, we 
would not stop at begging for 
them just as earnestly as the 

Soap is scarce, too. We have 
three cakes left, the small cakes 
like the ones you receive when 
you stay at a hotel. They are 
cakes we just happened to take 
with us when we got off the boat. 
The natives "in port" always send 
their children to the dock to beg 
for the small cakes of soap that 
cruise-passengers might happen 
to have when they leave for a 
sight-seeing tour. I couldn't un- 
derstand that three weeks ago, 
but now I know. I'd like to meet 
one of those passengers right now 

Sleeping in a hammock is a 
great experience — the first night. 
The next night you wish you could 
get your back on a feather bed. 
Sleeping on a pile of freshly cut 
twigs is better, but the creases left 
in your back make you remember 
the nice innerspring back home. 

But none of these inconve- 
niences compare with the punish- 
ment of not having a radio. We 
brought a portable radio with us, 
but never stopped to think that 
we wouldn't be able to get any 
"long wave" stations in Central 
America. And the radio isn't 
equipped for short wave reception. 
We've been near a radio three or 
four times since we left the boat, 
once at Puerto Cabezes, Nicara- 
gua; again at Managua, Nicara- 
gua and a third time at San Car- 
los up in the hills on the Pacific 

A bit of dial twirling at San Car- 
los taught us much more quickly 
than all our diplomats' cautions 
that German propaganda is per- 
meating the Central Americas. We 
never had thought much about 
short-wave stations before, but 
here it was suddenly brought 

home to us how important short- 
wave broadcasting is to the well- 
being of the relations of the Ameri- 
cas. From Germany came 
"strong" short-wave broadcasts in 
Spanish (which we learned to un- 
derstand very quickly) telling 
about the tremendous benefits the 
German Reich was contributing 
to civilization. From England 
came the matter of fact assurances 
that all would be well. Somehow 
I feel that all won't be well. That 
was two weeks ago we heard that 
last broadcast. I wonder how 
things are going now. I wish we 
could find another radio some- 
place — a radio that would get 
what all Central American own- 
ers say that prefer: "An unbiased 
short-wave news report from the 
good old Estados Unidos." 

I never knew short-wave broad- 
casts were so important. I never 
knew they could mean so much. 

How well I remember that 
question I asked during the "Man 
On The Street" broadcast about 
what three things a person would 
take with them for a solitary stay 
of ten years. I could make up 
my list easy now. 

First of all there would be plen- 
ty of good drinking water — plen- 
ty of it. Second: I would like a 
radio — a radio that would re- 
ceive short-wave programs. And 
then I would have hundreds and 
hundreds of cases of canned to- 
mato soup just to help remind me 
that there was such a thing as 

You can fight mosquitos, go dir- 
ty and do without matches, but 
you can't fight thirst, hunger and 
the desire to keep in touch with 
civilization. Give me a drink and 
something that I like to eat, and 
I believe I could last the ten 
years all right. But a mosquito 
bar, a few cakes of soap and some 
matches would certainly be ap- 




A sort of Orson Welles is Dell 
Gibbs, new addition to the an- 
nouncing and continuity depart- 
ments at WFAA, Dallas. Gibbs 
not only is an announcer and 
writer of program and commercial 
continuity, but is as well an ac- 
complished musician, musical ar- 
ranger and, of all things, a law- 


As a 1940 graduate of the Uni- 
versity of Florida at Gainesville, 
Gibbs holds a Bachelor of Science 
in Business Administration and 
a Bachelor of Law degree from 
that institution. His career as an 
announcer began while at the 
university, while he worked as 
an announcer at WRUF, owned 
by the State and operated by the 

Adequate testimony to the fact 
that Gibbs knows his law is the 
fact that he won the $100 first 
prize award in the 1940 Nathan 
Burkan Memorial Contest spon- 
sored by the American Society of 
Composers, Authors and Publish- 
ers, with a paper on "Radio In- 
fringement of the Interpretive 
Rights of the Musical Artist and 
the- Rights of the Phonograph Rec- 
ord Manufacturer." 

Although the essence of musical 
arranging, especially the arrang- 
ing of popular dance music, does 
not seem to have any excuse be- 
ing wafted through the halls of 
a law school, Gibbs accomplished 
it. He was for three years ar- 
ranger and trumpet player with 
Dean Hudson's Florida Clubmen, 
an organization now heard on 
the networks of NBC. 

He was a newspaper columnist 
for three years at the University 
of Florida, writing a weekly col- 
umn on radio for the campus 
newspaper and contributed liter- 
ary articles to the Florida Review. 
He also was feature editor of the 
university yearbook and associate 
editor of the publication at ano- 
ther time. While all this was go- 
ing on, he was playing in dance 
bands to pay his way through 

Gibbs was born on Friday, Jan- 
uary 13, 1917 at Jacksonville, 


Dell Gibbs 

Fla., and attended the primorv 
and high school grades there, 
going to the University of Florida 
for his higher education. 

He was a page in the United 
States Senate in Washington dur- 
ing the 1931-32 session, and 
served such noted senators as 
the late Huey P. Long, Hattie Car- 

away, Tom Connolly, and other 
noted Democrats. 

Gibbs is a member of Phi Delta 
Theta social fraternity, Florida 
Blue Key, an honorary leader- 
ship and service fraternity at the 
university; Phi Delta Phi, national 
honorary legal fraternity and Al- 
pha Kappa Psi, national profes- 
sional commerce fraternity. 

Page 21 


In front line trenches, atop hills looking down on shell- 
pocked battlefields, in the heart of Europe's largest cities 
with air raid sirens screeching and bombers roaring over 
head, from ships at sea crowded with survivors, and at 
the side of rulers of state, cabinet members and generals 

in the fleld-from these and nnany more points at home 
and abroad, NBC's radio reporters, commentators and 
military experts bring to radio audiences the play-by-play 
account of Word War No. 2. 

Pictured here are the men and women who man the microphones in war-torn Europe. Top row: 
Left to right, Charles Lanius in Rome; Joan Livingston in Shanghai; John McVane in London, and 
William C. Kerker in Berlin. Bottom row: Left to right, Archinard in Paris; Martin Agronsky 
in the Balkans; Helen Hiett in Madrid, and Fred Bate in London. 

Where there is war, there also is an NBC representative, and back in Radio City and Washington 
expert commentators organize and broadcast interpretations, and late bulletins. Above are the men 
who cover NBC's home front. Top row: left to right, T. R. Ybarra, who broadcasts a nightly Euro 
pean roundup at 9:00 p.m., COST; Lowell Thomas, who brings the news to the supper table at 5:45 
p.m., COST, and Earl Godwin, who goes on the air at 7:10 a.m., COST, with news and views from 
Washington. Bottom row: left to right, Maj. Gen. Stephen O. Fuqua, NBC's military expert; H. R. 
Baukhage, lunch hour Washington commentator, and John B. Kennedy, who broadcasts the European 
news at 6:15 p.m., COST. 

Page 22 






They hired Betty Winkler to do her first role in radio because they thought she had a 
soprano voice. .Nobody knew until three days later, when a throat cold had relaxed 
its grip on her vocal chords, that Betty was actually a contralto. But by that time 
she was well launched on a radio dramatic career and nobody has been able to get 
hfr away from that career since, not even her marriage to Robert Jennings, adverti- 
sing agency executive. Onq of radio's best known actresses, Betty plays the title 
role in Girl Alone over the NBC-Red network Mondays through Fridays at 4:00 p.m. 



Page 23 




iKuaio UafletleS i v [aaazine 




Does your subscription expire soon? Whether it expires soon or not RADIO VARIETIES 
MAGAZINE makes you a bargain offer of 10 months subscription for 500 when accompanied 
with the coupon at the bottom of the page and mailed before September 30th, 1940. 
You will then receive RADIO VARIETIES for 10 ADDITIONAL months after your present 
subscription expires. 

This offer will not be made again. Get busy immediately. This cash certificate 
must be mailed together with fifty cents in cash, money order or check (no stamps) 
for a special ten months subscription to RADIO VARIETIES MAGAZINE. 

This is strictly a non-profit offer and I know you will be anxious to take advantage 
of this generous offer. This offer is only made for circulation purposes so you may 
enjoy your radio programs more completely with RADIO VARIETIES which reveals the 
"inside of radio" in every issue. 

Each month a full cover picture of some leading radio star is featured on the cover. 
These cover pictures alone are well worth the cost of the magazine and you will find 
many pages and pictures of your favorite stars and programs in every issue. 
RADIO VARIETIES is the most interesting radio magazine in the radio field and will 
bring you loads of happiness and enjoyment. 

Mail your certificate together with 500 TODAY. Be sure to send in before the expir- 
ation date so your subscription will be accepted. 

Sincerely yours, 


FLR-RM Publisher, Radio Varieties 



This authorized cash discount certificate is good for 50c when mailed together with 
50c in coin, check or money order (no stamps) for special 10 month subscription to 
Radio Varieties Magazine if mailed on or before midnight, Monday, Sept. 30 1940. 
I herewith enclose 50c. Send Radio Varieties for 10 months to 

Name Address_ 

Town^ State 

(please write plainly) 

Notice To Auditing Dept. 
Charge this 50c cash discount on 10 month ^. ^. Kosentltai 

subscription to Advertising Dept. Publisher. Radio varieties 

D New Subscriber Q Old Subscriber «-->o va„,^.es - septemb^ 

Jack Stilwill. an- 
nouncer at WLS, Chi- 
cago, includes among 
his many programs 
portions of the WLS 
National Bam Dance 
and the daily Smile- 
A-While Program. 


^ne il'liaweii C^ait 






Reviews, News and Views 
of the Recording Whir] 

J> AYMOND SCOTT has changed 
the personnel of his new band, 
but the answers stay the same. 
Scott's records are prime illustra- 
tions of what good musicianship, 
clever ideas and persistent re- 
hearsals can do. "A Million 
Dreams Ago" and "In A Moon- 
boat" are distinguished, polished 
modern dansology. 

Nan Wynn delivers a potent 
vccal job on both sides. She 
won't be with the bond when it 
opens at Chicago's Blackhcrwk in 
November. Ray has added Clyde 
Burke for the ballads and is cur- 
rently looking for another girl 

Girl vocalists generally fall in- 
to three classes. The first ccnsists 
of girls who are beautiful — but 
can't sing. The second includes 
the lassies with good voices but 
poor chassis. 
The- third, very 
limited, consists 
of the ladies 
who combine 
both tone and 
sex - appeal in 
the proper 
quantities. One 
of the nicest 
girls third-class 
on radio and ginny simms 
records is 

Ginny Simms, the Kay Kyser 
canary. Ginny has a peculiar 
style which is highly individual- 
istic. Her high, soaring obligates 
on popular tunes are a joy to 
hear. Listen to "I'll Never Smile 
Again" and "I Can't Resist You" 
(Okeh) for good examples of the 
Simms technique. Another fa- 
vorite with vocal fans is Connie 
Boswell. Lovely Connie has few 
equals when it comes to swing- 
ing or balladry. Her Deccadisc 
of "Blueberry Hill" and "The 
Nearness of You" approaches 
vocal perfection. 

With the fall season approach- 
ing, word comes that the New 
York Philharmonic - Syjmphoniy 

By Hal Davis 

Orchestra will again be heard on 
the CBS air-lanes. Columbia Re- 
cords has released the Brahms 
Second as played by Barbirolli 
and the Philharmonic in a techni- 
cally perfect recording that is 
made more attractive by the 
recent price cuts. Chicago's 
Frederic has recorded Sibelius' 
"Swan of Tuonela" for Columbia 
with the Chicago Symphony. The 
playing is brilliant and Stock's in- 
terpretation decidely worth-while. 

Dixieland swing is a specialized 
field in which few bands are out- 
standing. Most notable in this 
line is the Bob Crosby outfit, 
followed closely by Will Brad- 
ley's up-and-coming aggregation.- 
Decca has just issued a Crosby 
Dixieland album that is darn 
good jazz. Especially liked were 
such sides as "Dixieland 
Shuffle," "At The Jazz Band Ball, 
and "Dixieland Ban d". Solo 
honors are evenly distributed with 
Bob Haggart's bass being in 
evidence most of the time. 

Eddy Duchin fans will probably 
be thrilled to death when they 
hear his new Columbia piano 
album. "The Magic fingers oi 
Radio" get busy with such num- 
bers as "Lovely To Look At," 
"April in Paris," "Way You Look 
Tonight," "1 Guess I'll Have To 
Change My Plan" and other 
romantic ballads in the same 
catergory with highly effective re- 
sults. Backed by a smooth 
rhythm group, Duchin plays in 
his usual distinctive style. Highly 
Recommended for piano fanciers. 

Eddy Howard's "I'll Never 
Smile Again" and "Now I Lay 
Me Down To Dream" are ad- 
mirable song-selling. Lou Adrian 
handles the accompaniments. 
(Columbia). Tommy Dorsey un- 
leashes smooth trombone on 
"Our Love Affair" and "That's 
For Me." (Victor). Vaughn 
Monroe's new band, which looks 
like a comer, does an excellent 
job with "There I Go" plus 
"Whatever Happened To You." 
(Bluebird). Give this aepartment 
John Kirby for instrumental per- 
fection. His "On A Little Street 

In Singapore" and "Zooming 
at the Zombie" can't be matched 
by any ether small combination. 
Watch fcr Billy Kyle's pianistics. 
(Okeh) Teddy (Cafe Society) 
Wilson's Columbi adisc of "Liza" 
and "Sweet Lorraine" fsat-ures 
terrific Wilson 88-work.;.' Don 
Arres caters to the current conga 
craze with "One" And- Twp And 
Three" plus "Agua."- ' ■ '■ '• .',:■ 

Tommy Tucker'^Tim'e flips' light- 
ly off the tongue — but maestro 
Tucker deserves a longer period 
of consideration. Tcmmy, like- 
able and personable, has 
together a real- 
ly fine sweet 
band under his 
banner. Smart 
showman and 
shrewd baton- 
eer. Tucker 
realizes that the 
success of a 
band is not 
TOMMY TUCKER ^^j^ ae'pendont 

on the kind cf 
music it plays. Tommy is con- 
stanlty on the lookout lor new 
ideas, songs and novelties to 
spice up his entertainment value. 
Remember "The Man Who Comes 
Around?" Tommy plugged and 
plugged at that tune till his Okeh 
record had sold over 200,000. 
Now he has the sequel, some- 
thing called "The Man Don't 
Come To Our House Anymore." 
It's tuneful and rhythmic, with a 
catchy lyric. If Tommy doesn't 
watch out, he'll end up with one 
of the country's biggest name 
bands. ASIDES: Amy Arnell, 
young, luscious, smooth, does the 
vocals. Amy sings in the Bonnie 
Baker fashion when she has to, 
but ccm. turn out a fine job on 
clever novelties. Catch "Ain't It 
A Shame About Mame?" (Okeh). 

(Want a picture of Tommy 
Tucker? Just drop this column a 
postal. The first 500 fans to write 
in will receive a picture of 
Tommy and a list of his latest 

Page 2 




f f 

LIFE CAN BE BEAUTIFUL — If you don't believe it 
ask the above members of the cast of Life Can Be Beauti- 
ful, NBC dramatic serial heard Mondays through Fridays 

over the NBC-Red network at 12 Noon CST. Left to 
right: Ralph ("Papa" David Solomon) Locke, Mitzi 
(Rita) Gould, John (Stephen Hamilton) Holbrook and 
Alice ("Chichi" Conrad) Reinheart. 

The "Life Can Be Beautiful" 
program was on the air two years 
last September 5th, and to date 
the chief problem of the authors, 
Don Becker and Carl Bixby, is 
how to introduce a villainous 
character into the script and keep 
him, or her, that way. 

Their difficulty can be traced 
directly to Papa David Solomon, 
the central figure of their story, 
and to the atmosphere of his little 
Slightly-Read Bookshop, where, 
for the most port, the scene of the 
story is laid. When Bixby and 
Becker created David Solomon, 
they endowed him with a philos- 
ophy which is summed up in 
the program title, "Life Can Be 


Beautiful", and they gave him a 
sincere belief in the fundamental 
goodness of every human being. 
Papa David immediately came to 
life before their eyes, and has so 
stubbornly adhered to the char- 
acteristics, with which they them- 
selves endowed him, that every 
new, and supposedly villainous, 
character which they introduce to 
the script immediately reforms 
under David's kindly tutelage, 
and another plot has to be 

Stephen Hamilton, a crippled 
yoimg lawyer, was already living 
with David in the bookshop when 
the story opened and, in the first 
day's episode, Clhichi Conrad, a 

young girl from the slums who 
had been turned out on the streets 
by a woman she believed to be 
her mother, ran into the shop for 
refuge. These two have since be- 
come Papa David's "adopted" 
children, and the old man's in- 
fluence on them was all accord- 
ing to plan. A short while ago, 
however, a character by the 
name of Rita Yates was in- 
troduced to the show. She was 
supposed to be in the bookshop 
for the questionable piorpose of 
swindling money from one of 
Chichi' s friends, and her char- 
acter was definitely on the shady 
side when first we met her. She 

(Continued on Page 4) 

Page 3 


Continued from Page 3 

stayed in the bookshop a few 
weeks and, in spite of the authors, 
her better nature began to assert 
itself. Finally David reformed her 
completely, while B i x b y and 
Becker tore their hair and re- 
signed themselves to finding Rita 
honest work in a settlement 
house. She was a complete 
washout as a villainess when 
David got through with her. 

Ralph Locke, who takes the part 
of Papa David, is a genial gentle- 
man with a twinkle in his eye, 
and a perfect fit for the part. Even 
Papa David's stubborness is 
reflected in Ralph's sustained and 
single-minded refusal to accept 
publicity. He says that if he's 
any good the public will find it 
out, and if he isn't there's no point 
in trying to persuade them to 
think he is. He then retires to his 
out-of-town home and only shows 
up in the city for his regular 

Alice Reinheart, who plays the 
part of Chichi Conrad, and John 
Holbrook, who plays Stephen 
Hamilton, ore, however, regular 
city dwellers and maintain a sort 
of program solidarity by living 
within a few blocks of each other. 

Alice, the petite and pretty star 
of the show, is 5 '2" tall and 
weighs only 95 pounds. She has 
chestnut hair and her own descrip- 
tion of her eyes is "green with 
coffee grounds in them". Her 
radio life in David's bookshop 
reflects her own life, for her 
library is the most important part 
of her own home. She has col- 
lected first editions for years and 
has a four-volume scrapbook in 
which she has transcribed ex- 
cerpts from the world's greatest 
literature. She turned down a 
rnovie contract to make her debut 
in radio in 1931, and has behind 
her a long list of successes in 
stock and on Broadway. An ac- 
complished piannist, Miss Rein- 
heart studied the piano for four- 
teen years, part of the time at the 
San Francisco Conservatory of 
Music, and then tried her hand at 
journalism, majoring in that 
subject at the University of 
California. Her early stage ex- 
perience took her on a European 
tour, and she has appeared on 
the stage in Berlin. The wide 
variety of her interests, and the 

Page 4 

vital quality of her mind make 
Miss Reinheart a well-informed 
and fascinating conversationalist 
on almost any subject that can 
be brought up, and lends an 
unusual richness and depth to 
her acting. 

John Holbrook, the Stephen 
Hamilton of our story, has a rather 
different and unusual background 
for an actor. His first business 
venture was a very successful ski 
school in Canada. Passing from 
this job to being an automobile 
salesman, and later joining a 
group of actors in Waterbury 
Conn., he eventually found him- 
self before the microphone as an 
announcer on a local station. 
After this he wrote, produced, and 
announced various shows in 
Boston, and was at one time the 
head of the Radio Department of 
an advertising agency. He gave 
up this job, because he didn't feel 
he knew enough about radio, and 
came to New York City. Here he 
was primarily responsible for the 
compilation of the largest known 
recorded library of music in 
public domain, and here his 
career as a successful radio actor 
really began. 

These three people, versatile 
and interesting in their own right, 
make up the nucleus around 
which the story of '"Life Can Be 
Beautiful" revolves. Other per- 
manent members of the cast are: 
Carl Eastman, who plays the part 
of Toby Nelson, a loyal and 
belligerent admirer of Chichi ever 
since her childhood days in the 
slums of the big metropolis where 
our story takes place; Richard 
Kollmar, who is heard as Barry 
Markham, son of the wealthy and 
prominent surgeon. Dr. Markham, 
played by Charles Webster; and 
Mitzi Gould, vivacious and 
talented young actress who takes 
the part of the now reformed Rita 

The theme music used on the 
show was written by the co- 
author, Don Becker, and its title 
is, naturally enough, "Life Can Be 
Beautiful". It can be bought in 
sheet music form. Don, himself, 
listens to the show and to the re- 
hearsals almost every day by 
means of a private wiring system, 
which allows him to "tune in" to 
the studio at any time while 
sitting in his own living-room. 


Volume 3, No. 10 

October, 1940 

"Patter Off the Platter" 

"Life Can Be Beautiful" 

Radio and Your Imagination 

Here's How It All Started 

Familiar Music in a Majestic Manner 

Your Crazy Program 

Who Are the Men Behind the Men Behind the Mike? 

The Story of a Comeback 

Kenny Baker 

Bing Crosby 

Renfro Valley Folks 

Bald Pates and Boiled Shirts 

Burns of Allen Does a Rhumba 

Music Makers 

WLS at the Fairs 

I Married a Sportscaster 

WDZ's Sales Ladies 

Listen to "Blondie" 

Pix of the Stars 


10 & 


22 & 




















Published at 1056 West Van Buren Street, Chicago, Illinois. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possessions, $1.50 in Canada. Entered as second class matter lanuary 
10, 1940, at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 




CecU B. DeMille. world fa- 
mous motion picture director 
produces the Lux Theater 
programs over the CBS each 
monday at 8:00 p.m. CST. 
DeMille, one of the screen's 
foremost figures for more 

than 25 years, is the first big 
film director to devote a reg- 
ular portion of his time and 
talent to radio. In this story 
he explains the technique 
used to stimulate the imagi- 
nation of the radio audience. 

By Cecil B. DeMille 

Strength of the radio dramati- 
zation of any story involving 
action and excitement lies in the 
ability of producers and players 
to stimulate the listener's imagina- 

This was clearly demonstrated 
for me recently when we produced 
Louis Bromfield's novel, "The 
Rains Came", on the CBS "Lux 
Radio Theater." You will recall 
the climax of the story — the 
earthquake that releases a flood 
on the province of Ranchipur, 
India, taking an appalling death 
toll, and violently changing the 
destinies of all who are left alive. 

The day after we produced this 
story on the air I received the 
congratulations of a motion picture 
actress who had listened to the 
performance at home. 

"That was the greatest flood 
scene I've ever witnessed," she 
said — and then laughed at her 
slip. "I mean," she corrected, 
"that I've ever heard." 

But I told her she was right the 
first time. We had tried to make 
that flood visible to our audience, 
and to her it apparently was. She 
had enough imagination to vis- 
ualize the whole scene that we 
could merely suggest with sound. 
And in this combination of 
powers — imagination and stimu- 
lation — lies the great magic secret 
of radio. 

The radio listener, his imagina- 
tion stimulated by the sounds and 
effects, becomes for the moment 
a motion picture director. Let us'- 
suppose a war story is being 
broadcast. There are sounds of 
battle, and ^a single line of 

"There are 15,000 men storming 
that hill, sir." 


The listener with imagination 
immediately creates that scene in 
his mind. He visualizes trees, 
rocks, - parapets, distributes thou- 
sands of men through the scene. 
Perhaps, like a general, he places 

guns, tanks, planes, puffs of 
smoke here and there, hand-to- 
hand fighting. 

The listener with imagination 
can "see" this effect, I repeat, but. 
only if his imagination is properly 
stimulated by the sound we give 

Not long ago, I imported hun- 
dreds of 70 and 100 foot pine trees 
from the San Bernardino moun- 
tains, "planted" the forest at 
Paramount and populated it with 
500 Indians for a single scene in 
the picture, "North West Mounted 
Police," The total bill made me 
think, with some chagrin, how 
much easier it would be to create 
the same scene when we do 
"North West Mounted Police" on 
the Lux Radio Theater — with a 
few words of description, some 
dialogue, and a number of super- 
numerary voices, back from the 
microphone f o r "atmosphere." 
Yes, motion pictures are much 
more expensive. 

In a motion picture, each mem- 
ber of the audience will see that 
scene in exactly the same way. 
But the radio audience, hearing 
it on the air, will have thousands 
of individual concepts. It is this 
"imaginative elasticity" of radio 
that fascinates me. 

Once I asked a room full of 
people to sketch for me their im- 
pressions of a great temple re- 
ferred to as the scene of a broad- 
cast. Of course, all the sketches 
differed greatly in conception and 
detail. Yet each was striking, 
and revealed how vividly the 
subject had impressed each 
listener. So, too, with a complete 
drama on the air — projected 
through a single microphone, it 
is transformed into as many im- 
aginative dramas as there are 
pairs of ears to hear it. 


Page 5 







THE SMALL-sized 4^/4 AA shoes 
■■■ left vacant at Vi^SM, Nash- 
ville's noted Air Castle of the 
South, when Dinah Shore joined 

Page 6 

the NBC staff for national stardom, 
have not been filled — so far. 

But WSM listeners hove an 
idea that these 4>4 AA shoes 

may be filled by THREE LOVELY 

Heard at the same time Dinah 
previously was featured, The 


Sophistocates are causing com- 
ment down South, where rhythm 
and romance are more important 
than the monetary do-re-mi. 

The Sophistocates hove been 
on the air only a few months, and 
yet in that time they have made 
real progress. 

Inasmuch as it is always a 
pleasure to interview pretty girls, 
Radio Varieties' correspondent 
tackled his assignment of deter- 
mining the secret of early 
success of the Sophistocates with 
what is generally called relish. 
(Editor's Note: Ken Carpenter 
would probably call it ^^acle 

"W here could he find the 
Sophistocates?" inquired the in- 
quiring reporter. 

"Why in studio C or E, any 
time between 10 in the morning 
and 4 in the afternoon", answered 
the WSM hostess, so attractive 
that for the moment the inter- 
viewer thought perhaps he might 
shift assignments. 

But duty called — and so to 
the Sophistocates for the secret of 
success on the air after only a 
few months. 

If he had been expecting any- 
thing romantic or mysterious, he 
was doomed to disappointment. 
For the secret was simply HARD 
WORK. These three young ladies 
actually work in one of WSM's 
studios each day between the 
hours of 10 in the morning and 4 
in the afternoon, and in a way 
that would make many a steno- 
grapher blush. 

"That's the only way to build 
one of the best girl's trios in the 
country", explained Mary Din- 
widdle exposing a determined 

"And what about lunches?" in- 
quired the inquiring reporter, 
"none of you look as if you 
passed up many meals." 

"Oh, we send out for those" 
replied pretty Frances Robinson, 
as all three planted none too 
gentle pats against both cheeks 
for too much cheekiness on the 
part of a reporter, whose duties, 
after all, prescribe asking ques,- 
tions, and not making catty re.- 


Incidentally, that Mary Din- 
widdle can slap a face. She got 
her experience slapping a big 
bass fiddle. Mary started out in 
music when she was only 12 
years old, member of on all-girl 
band. She hid behind the big 
bass fiddle whenever the truant 
officer was around, since she had 
to skip school frequently. But 
even then music was the most im- 
portant thing in her life. 

The truant officer, together with 
Mama and Papa Dinwiddle final- 
ly persuaded Mary that maybe 
she had better go on to school 
and take a fling at music later. 

The next time Mary essayed on 
the bond-stand, she was with a 
male-band. Again, she slapped 
the bass, stepping forth frequently 
for a smile and a song. It was 
during this period that she 
learned the manly art of self- 
defense. Not many men, even 
pie-eyed, wanted to take a chance 
on hurting the feelings of a 
young lady, who tantalizingly 
twirled a big bass fiddle as if it 
were an all-day sucker. 

The truth was, Mary had her 
towering instroment so fixed that 
it took very little effort to send it 
spinning. But that was enough 
to send the mashers a-scamper- 

Jean Harmon admits that she 
minors in dates (not historical) 
but like the rest of the trio, con- 
firms her first love is singing. It 
was Jean that called the first 
meeting of the Sophistocates and 
arranged their initial rehearsals. 
She insisted that they try out at 
WSM, but the others demurred. 
They felt they were not ready. 

The others were right. Or at 
least that was also the opinion of 
the WSM audition committee. But 
they turned the trio down so 
politely, that Jean convinced both 
Frances and Mary that it would 
be no time before they became 
the new Boswells. 

What they had actually gotten 
was the usual polite brush-off at 
WSM. But these youngsters did 
not know defeat, and that polite 
turn-down only inspired them to 
harder work. At first they started 
with 3 hours a day. When they 
startled WSM with their improve- 

ment and got Dinah Shore's old 
spot, they stepped that d a il y 
schedule up steadily to its present 
herculean proportions. 

Since coming to the Air Castle 
of the South, they hove gotten 
their biggest kick in fan-mail, 
their biggest disasppointment in 
listening to their own records. 
For while others think they are 
fine, the Sophistocates are still 
not satisfied. 

Pretty Frances Robinson is in 
charge of the fan-mail, it comes 
mostly from men, and mostly 
from groups of three men. 

Apparently with the fans as 
well as the trio, it's love me, find 
a pal for my girl-friend". So far, 
however, only one of their mash 
lelters has materialized into an 
actual date. 

Frances was surprised when the 
sponsor of their show, a coffee 
manufacturer, returned one letter, 
marking it "PERSONAL" and 

With hasty fingers bom only 
of a woman's curiosity, she tore 
open the envelope to find a letter 
from Boy Scout Troop, Number 
63, singed by the secretary. It 

"None of us is sophistocated, 
but we like to hear you Sophis- 
tocates sing. We even bought a 
pound of your coffee and took it 
on our hike last week. But we 
are not very good cooks. If you 
girls can cook as well as you 
sing, we'd like you to go on our 
hike next week." 

The girls went, and they cooked 
as well as sang. Now, they are 
honorary members of Boy Scout 
Troops No. 63. 

Incidentlly, your reporter found 
them good scouts. 

You may wonder why Radio 
Varieties, which month after 
month, brings you success stories 
of stars that night after night come 
through your loud speakers via 
the several networks, would be 
interested in a comparatively un- 
known trio. 

Well, we believe the Sophis- 
tocates of WSM will not be long 
in making theraselves well-known, 
and when they do become the 
Boswells of Tennesee, then we'll 
say, "We told ycu so." 

Page 7 



Joan Blaine, popular star of "Val- 
iant Lady", analyzes the daily 
serial, tracing it's early beginnings 
. . . and gives readers a brief 
glimpse of her own background. 



Now that I've been "Jocm Bar- 
rett" for over two and a half 
years on "VaUant Lady," every 
weekday afternoon, with rare va- 
cations for a few days it's time 
to go over my radio work and to 
analyze this art form in which I 
work, the radio serial. 

I'll get myself out of the way 
first. "Joan" seems to be good 
luck for me. There's "Joan Bar- 
rett," and there was "Joan Hous- 
ton," who stayed by me a long 

time too. It must be my ancestor 
James G. Blaine, who was almost 
president of this country, who 
transmitted my love of the stage 
to me. When I was a kid I was 
the gal on the debating team, you 
know . . . "Should The Govern- 
ment Run The Railroads?" or, for 
the sake of variation, "Should we 
Free The Phillipines?" I must ad- 
mit that I didn't care much which 
side I took, so long as I got a 
chance to deliver a good rous- 

ing speech. I won medals, cer- 
tificates, and a silver loving cup 
that I've hung on to, sort of a 
good luck piece. It's too big for 
a vase, and too small for a punch 
bowl, so it retains its pristine glo- 

My love of oratory stood me in 
good stead, too, as it won a North- 
western University scholarship for 
me. I won first in all speech con- 
tests there, and got the thrill of 
my life when I won the Grand 
Prize in the Northern Oratorical 
league contest, competing agin' 
nine men from nine other univer- 
sities. It's a wonder I didn't go 
in for politics! 

New York, with attendance at 
Columbia's Journalism School; 
acting in Chicago with the Chi- 
cago Theater Guild; and a con- 
cert tour from coast to coast, 
where I played the harp and did 
dramatic character sketches 
brought me to the stage in a 
serious way. I worked in Cali- 
fornia, New York, and in sum- 
mer theaters, and enjoyed star- 
dom on Broadway. I did movies, 
then I worked on radio shows out 
of Chicago's NBC studios. I re- 
call such parts as that of Mary 
Marlin, in the show of the same 
name; Joan Huston in "A Tale of 
Today;" "Music Magic;" "Musi- 
cal Keys;" "Welcome Valley;" 
and "Silken Strings." 

All this happened before 1937 
and "Valiant Lady." I've worked 
in so many serials that I've done 
a lot of investigating into the his- 
tory of the radio serial. While 
radio's version of the continued 
sketch has grown into a definite 
art form, its ancestry is long and 
honorable. Way back in the Mid- 
dle Ages, in France, Spain, Italy, 
and other countries, a form of 
rapid-fire sketch called "Vaude- 
ville" was developed. From this 
sprang modern vaudeville and 
the "revue." Since there were 
no newspapers (or radios!) in 
those distant days, the actors pre- 
senting the "Vaudeville" also in- 
cluded sketches based upon re- 
ports of contemporary events, of- 
ten in ballade form. 

In Spain and the Latin-Ameri- 
Continued on Page 25 





When the lights dimmed in a 
Detroit Auditorium on the night of 
September 29 it marked the return 
of the Ford Sunday Evening Hour 
for the seventh consecutive sea- 
son. Lily Pons, Metropolitan 
Opera soprano, who was guest 
soloist on the opening broadcast 
shared the spotlight with her hus- 
band, Andre Kostelanetz, conduc- 
tor. The program of the 75-piece 
Ford Symphony Orchestra and the 
26-voice mixed chorus was heard 
in millions of homes in the United 
States over a nation-wide CBS net- 
work, and in far distant lands via 
short wave, at 8 to 9 P.M. (CST). 

Many listeners have written in 
requesting information as to when 
the Ford Sunday Evening Hour 
started and who thought of the 
idea of putting on a full-hour of 
fine music with a complete lack 
of advertising. For those interest- 
ed in the Sunday Evening Hour, 
here is its history. 

In June, 1934, seventy musicians 
of the Detroit Symphony orches- 
tra were selected to play at the 
Ford Symphony Gardens at the 
World's Fair in Chicago. For 
twelve weeks this musical aggre- 
gation played a series of 156. con- 
certs, performing two two-hour 
concerts seven days a week. More 
than 1,500 compositions were pre- 
sented before an audience of a 
million World's Fair visitors. This 
large number probably exceeds 
the total audience for most sym- 
phonies for a generation. 

The programs presented by the 
Detroit Symphony Orchestra, dur- 
ing its engagement at the Sym- 
phony Gardens, were not exactly 
the type of programs you'd expect 
to hear had you been a regular 
patron of the concert halls of 
America. There was liberal 
sprinkling of lighter music — Vic- 
tor Herbert fantasies, sparkling 
selections from light opera, hardly 
any full-length symphonies but 
more compositions such as the 
Hungarian and Slavic dances and 
Kreisler caprices. However, more 
serious music was by no means 


neglected and was an important 
part of each concert. But whether 
the program was light or serious, 
the enthusiasm of the cosmopoli- 
tan audience which attended the 



programs brought to realization 
the good-will building potentiali- 
ties of such a presentation. 

After the final performance of 
the Detroit Symphony in the Gar- 

dens at "A Century of Progress, ' 
the orchestra returned to Detroit 
to begin the first of the Ford Sun- 
day Evening Hour series. For 
radio purposes they became the 
Ford Symphony (Drchestra and 
broadcast over what, at the time, 
was one of the largest networks 
in radio history. 

These Sunday night concerts 
were similar to those which were ■ 
presented in Chicago. Henry Ford, 
interested in reaching the multi- 
tude, offered something to bring 
beauty and artistic inspiration to 
the man In the street, as well as 
to those whose education and 
tastes would permit them to en- 
joy the compcsitions of the great 

Mr. Ford's original instructions 
to the program staff are well sum- 
marized in the phase "familiar 
music in the majestic manner." 
These instructions have been fol- 
lowed faithfully. As a result ra- 
dio listeners have heard a great 
symphony play an orchestral tran- 
scription of "Turkey in the Straw,' 
Victor Herbert medleys and, in 
1940, Earl Robinson and John La- 
touche's "Ballad for Americans." 
Critics found these works interest- 
ing, stimulating and inspiring. At 
the same time. The Ford Sunday 
Evening Hour did not assume that 
listeners appreciated only that 
kind of music, for it offered on the 
same programs a Schumann con- 
certo or a great symphony. Lovers 
of fine music realized anew that 
majesty can be breathed into a 
simple and well-loved melody by 
great art in presentation. 

From the standpoint of populai 
acceptance, the program has es- 
tablished something of a record. 
This was proved when t h e 
Women's National Radio Commit- 
tee acclaimed it the "best musical 
program" and presented its an- 
nual award to its sponsor for the 
past three years. For the six sea- 
sons it has been on the air it has 
been voted the most popular ra- 
dio program in numerous polls 
conducted by newspapers, mag- 
Continued on Page 24 

Page 9 


Jack Amiung, Your Crazy Program Maestro, signals for a fanfare. Trumpeters 
"Brother Pinknose," left, and "The Great Lover" comply. All the "noise" is by way 
of introducing another hilarious skit by Sugarcane (Conrad Brady), left, and February 
Francis Quinn). 

The scene was the Mineral Wells, Texas office of Hal H. Collins, 
president of the Crazy Water Company. Mr. Collins was addressing a 
timid yoimg reporter from a college newspaper. 

"Yes, this radio business is going to be a big business someday. 
Why some time we might even use it to advertise our products." 

The time: 1929. 

One year later Mr. Collins' Crazy Water Company was selling 
Crazy Water Crystals via WBAP, Fort Worth, with a harmonica player 
and Mr. Collins as head spieler. One of Texas' most popular radio 
programs was bom. 

TODAY, Your Crazy Program is 

being aired Monday through 

Friday over WBAP and the Texas 

Quality Network, consisting of 

WFAA, Dallas; KPRC, Houston, 
and WOAI, San Antonio, in ad- 
dition to WBAP. The cast con- 
sists of nearly half-a-hundred 

Page 10 

artists and a recent week's mail 
count was 32,291 postal cards. 
Yes, it's a far cry from the harma- 
nica opus of 1930 to the huge 


variety show of 1940. And only 
one of the originial cast appears 
in the current show. It's the boss 
man, Hal Collins. 

So rapid was the sale of Crazy 
Crystals that a few months after 
the harmonica player - Collins 
combination made its ether debut, 
Jack Amlung and his popular 
orchestra were added attractions. 

With Amlung' s band as the 
nucleus the Crazy show passed 
through many changes from 1930 
to 1935. The amateur-craze had 
struck radio and Mr. Collins was 
kept busy interviewing such 
Crazy program prospects as one- 
man bands and hog callers. 
Fiddle bands, whistlers and the 
popular Skiles Family followed in 
vaudevillian succession. One of 
the musical Skiles is now listed 
on the roster of the Fred Waring 
aggregation and another is toot- 
ing his horn for Henry King. 

Conrad Brady, well known in 
the show business, was added 
to the Crazy show in 1935 as 
master of ceremonies. He was 
assisted by Francis Quinn in for- 
ming the blackface team of 
Sugarcane and February. This 
act with its homey witticisms met 
with immediate popular favor and 
is still going strong. Many con- 
tests such as jingles, etc., were 
built around this comical pair but 
their presentation of a daily ques- 
tion-answer skit known as "The 
Brain-busters" drew the most at- 
tention. Puzzlers were sent in by 
the listeners and Sugarcane and 
February called on members of 
the studio audience for the an- 
swers. When some studio fan's 
hand would go up the familiar 
cry: "Here cum a man," was a 
sure house-bringer-downer. 

Your Crazy program was also 
aired over the Mutual Broadcast- 
ing System from November, 1936 
to March 26, 1937, in addition to 
its five-times-weekly WBAP-Texas 
Quality Network shows. 

Not so incidentally, this popular 
quarter-hour originates in the spa- 
cious lobby of the Crazy Water 
Hotel in Mineral Wells, Texas, 52 
miles west of Forth Worth and 
WBAP, from whence it is placed 
on TON lines as well as WBAP's 
800 kilocycle frequency. Approx- 
imately 500 fans wax wildly en- 

thusiastic in the studio -lobby 
daily, during these programs and 
the daily mail hails from every 
Texas county and the states of 
Louisana, Oklahoma, New 
Mexico, Arkansas, Missouri, Kan- 
sas and Colorado. 

During the latter part of 1936 
and nearly all of 1937, a young 
dancer from Weatherford, Texas, 
appeared on the show in the role 
of a vocalist. Her torch ballads 
were delivered in a somewhat 

daily but brief heart-to-heart talk 
by Mr. Collins. It's entitled "One 
Man's Opinion" and may treat 
of subjects varying from "Kind- 
ness to Dumb Animals" to "Why 
Gentlemen Don't Always Prefer 
Blondes." Hundreds of loyal 
listeners have reported that they 
like this port of the show best of 
all. If all the mail from appre- 
ciative Your Crazy program 
friends received since the pro- 
gram's debut in 1930, was placed 

Mary Martin was known as Mary Hageman when she sang torch songs for the 
Your Crazy Program in 1936-37. 

piping voice which by no means 
made her the popular personage 
she is today. She was known to 
Crazy fans as pretty Mary Hage- 
man. Today, she's known to 
NBC and movie fans as Mary 
Martin; pretty Mary Martin, need- 
less to soy. 

One very interesting part of 
today's Your Crazy program is a 

end to end it would reach... er 
ah... hand me that pencil and 
paper... now let's see, 1,035, 248 
plus 1,026,378 plus... oh well — 
the Crazy mail would make quite 
a heap, yes, quite a heap. 

P. S. — The timid reporter in 
Scene 1 was yours truly at the 
callous age of 19. 


Pag© 11 


RADIO VARIETIES herewith in- 
troduces three of the men who 
produce some of NBC Chicago's 
biggest radio shows. 


Most modest and unassuming 
of all members of the vast radio 
fraternity are those men who hide 
their manifold talents, their per- 
sonalities and their ambitions 
under what often amounts to 
a mask of anonymity — the 
title of "Director." Like their 
brothers of the movie industry 
they are almost completely un- 
known to the millions of fans 
for whom they labor. Yet many 
a proud star, basking in the adu- 
lation of the multitude, willingly 
admits that without proper direc- 
tion they might flounder helpless- 
ly in the sea of scripts which 
flow from the continuity depart- 
ments of networks and agencies. 
Many a singer and musician rec- 
ognizes the value of a directorial 
ear trained to bring out the best 
in any score as well as the best 
in individual or group performers. 

Just to get it straight, let's try 
to define a radio director as one 
who is ultimately responsible for 
everything that goes into a micro- 
phone and out on the air during 
the period to which he has been 
assigned. His is the responsibility 
for material, commercial, drama- 
tic, sustaining or what not. His 
also, the responsibility for per- 
formance, announcements, timing 
and the thousand and one other 
details which go to make up a 

• Among the producers at NBC 
Chicago who are responsible for 
network shows originating in the 
Merchandise Mart Studios are W. 
P. Wright, the production mana- 
ger and director- of General Mills' 
Arnold Grimm's Daughter, popu- 
lar NBC dramatic serial heard 
Mondays through Fridays over 
the NBC-Red network at 1:15 p.m. 

Wright has been associated 
with the stage and radio for a 
quarter of a century, making his 
debut as the member of a 1915 

Page 12 

(Top) George Voutsas, director who dis- 
covered Lillian Cornell. (Center) W. P. 
Wright, NBC's Production Manager and 
Director, guides Betty Lou Gerson, star of 
Arnold Grimm's Daughter thru the script. 
(Bottom) L. G. (Bucky) Harris who directs 
the National Farm and Home Hour. 

stock company production of "As 
You Like It." Born in Columbus, 
Ohio, on February 15, 1897, he 
attended schools in Michigan and 
later studied for the bar at the 
Detroit College of Law. In 1930, 
he organized a dramatic depart- 
ment for WWJ in Detroit, where he 

remained until he came to NBC as 
a director in April 1934 and to 
which he returned for a short 
time before becoming assistant 
production manager under C. L. 
Menser on January 1, 1939. 

In addition to attending to all 
his duties as head of the NBC 
Central Division production de- 
partment, Wright directs only the 
one daytime serial mentioned 
above. Those who work with 
him on that show find him one of 
the most agreeable yet stimulating 
directors on the NBC staff. 

Mr. Wright's assistant is L. G. 
(Bucky) Harris, former actor, 
newspaperman, announcer, con- 
tinuity writer and radio station 
manager. Listed on the musical 
side of the staff, Bucky is really 
one of the most versatile direc- 
tors in the Midwest. His record 
includes a year and a half as 
producer of floor shows for the 
Boyd - Prinz Company, several 
years as a minstrel man and in 
vaudeville and a record of six 
years as producer of the National 
Farm and Home Hour. Prior to 
being made assistant production 
manager on March 1, 1939, Bucky 
directed such shows as Today's 
Children, the Climalene Carnival, 
Teatime at Morrell's, Real Silk, 
the Singing Lady, Sinclair Min- 
strels and Al Pearce and His 

A native Missourian, Bucky at- 
tended the University of Missouri. 
Torn between his love for the 
theater and for newspaper work, 
Bucky finally entered radio when, 
as tri-state editor of the Mem- 
phis Commercial Appeal, he was 
asked to broadcast bulletins over 
WMC during the 1927 flood. Fol- 
lowed some months as announcer, 
continuity writer and Sunday Ra- 
dio Page editor before he be- 
came station manager. Jobs later 
came at WJJD, WBBM, KMOX, 
WIBO and finally in 1933 he 
joined NBC. At the present writ- 
ing he is director of "Beat the 
Band" as well as of the National 
Farm and Home Hour. 

Third on the present list of "men 
behind the men behind the mike" 
Continued on Page 24 



Chatting about Hollywood on 
the air three times a week for Sun- 
kist oranges and lemons gives me 
a terrific thrill — but sometimes 
there are stories to tell that defy 
time — and the timely news 
crowds them off the air. 

One of those stories is about a 
Hollywood personality who 
breezed his way to screen fame 
by way of radio; a personality 
who all the movie wise guys said 
was through a year ago. But 
Dick Powell said, "Watch me, 
boys!!," packed his bags, said 
goodbye to loving wife Joan 
Blondell, children Ellen and Nor- 
man, planed out of movietown 
for a personal appearance tour 
that knocked 'em dead all over 
the country. 

So began the successful battle 
that Dick fought to make a Hol- 
lywood comeback. Since the ex- 
citing radio days of "Hollywood 
Hotel" and musicals like "Naughty 
But Nice," Dick's voice hadn't 
been heard in anything worth 
while. Then Chicago, St. Louis, 
New York began discovering a 
new Powell all over again in spite 
of the wise owls in the plush 
chairs out here who couldn't see 
anything for the laughing boy 
but oblivion. 

Originally Dick had come up 
the hard way. Playing in bands 

— then branching into solo radio 
work he knew the microphone 

— and he knew audience reac- 
tion on the p. a. tour. Besides he 
was still a big movie name, for 
several years had been one of the 
top ten stars at the box office. 
And that's why he smashed rec- 
ords everywhere — ■ played to 
more than a million fans on that 
tour. When Dick played the k9y 
cities of the East, fans stormed the 
box offices to see him in the 
flesh; everywhere house records 
fell; he was held over a second 
week at New York's Paramount, 
broke a five-year record for that 
theater, pulled down one of the 
highest prices ever paid to a star 
for a personal appearance. 

Then the triumphant troubador 
marched proudly back to wife, 
kiddies, and the Hollywood mo- 
guls to announce firmly, "I'll do 



no more singing on the screen!" 
And why was it that the young 
man who owed his success to 
his voice — who had earned his 
living by warbling for lo these 
many years — suddenly turned 
turtle and refused to sing again 
on the screen? 

be Hamlet. Dick will always do 
pictures that hove plenty of com- 
edy — but also stories that have 
some dramatic rheaning. Take, 
for instance, the picture he's just 
finishing now for Paramount. A 
swell yarn about a big coffee 
concern called Maxford House, 


The reason for Dick's determi- 
nation to abandon music in pic- 
tures was that he wanted good, 
meaty dramatic roles — roles that 
would give him a new lease on 
life — with himself and with the 
public. He was confident he 
could do it — but type casting 
had killed him in pictures. He 
rebelled against being cast as 
the young boy who goes through 
a lot of refined Hell, always smil- 
ing, and comes out o.k. after do- 
ing four solos and a turn with a 
dance band. 

Don't worry, though, when I say 
Powell will do dramatic roles I 
don't mean his next picture will 

whose Java is "Great to the Last 
Gulp." Playing opposite Ellen 
Drew under the direction of the 
brilliant writer-director, Preston 
Sturges, who turned out "The 
Great McGinty," Dick gets full 
scope for his talents — and 
he's going to be swell. And 
you've all read about the one 
he just finished called, "I Want 
A Divorce," built around the 
familiar radio series. There'll 
be heart-throbs in that one — and, 
believe me, when you get a 
load of Powell and Blondell emot- 
ing opposite each other, you're 
going to get that little hitch in 
Continued on Page 24 

Page 13 

As chief vocalizer on the 
Texaco Star Theatre Wednes- 
day nites at 8:00 P. M. over 
5 Coast-to-Coast Stations 
Kenny's tenor voice shares 
the spotlight with Fred 
Allen on CBS 

Page 14 



Page 1 S 



John Lair, left, lays down the law to clowning Slim Miller 
in a pre-broadcast pep-talk at Renfro Valley, site of the broad- 
cast of Renfro Valley Folks at 8:30 p.m. CST over the NBC-Red 
network each Monday night. Left to right, rear are the 

Coon Creek girls, the Mountain Rangers, the Neighborhood 
Boys. Shorty Hobbs and Eller, A'nt Idy Harper and Little 
Clifford. Front, Judy Dell. Granny Harper, Slim Miller and 
Roland Gaines (kneeling) of the Mountain Rangers. 


Deep in Kentucky, about 140 
winding miles south of Cincin- 
nati on the famed Dixie Highway, 
motorists begin to realize they're 
in the Cumberland foothills. A 
couple of miles south of Dead 
Man's Curve, they come upon a 
modern-looking little settlement of 
34 buildings, the center of life in 
Renfro Valley. 

There, without sacrificing too 
many modern improvements, a 
short, stocky man named John 
Lair has managed to turn the 
clock back 50 years. It is from 
this settlement that every Monday 
at 8:30 p. m. CST, John Lair and 
his Renfro Valley Folks give 
listeners to the NBC Southern Net- 
work an idea of the hill life of 
,a half-century ago. 

Lair got the idea for this set- 
tlement eleven years ago, when 
he started in radio. He used to 
be an insurance man in Chicago, 
but he also had a hobby of col- 
lecting old songs. Those he heard 
on the air seemed to him to be 
unauthentic, for they were not 
sung the way he had learned 
them as a boy in the hills of Ken- 

So, in the summer of 1929, Lair 
went back to Renfro where every- 
body knows the down-home songs 
and where everybody sings or 
plays cm instrument. He brought 
some of the youngsters from Ren- 
fro to Chicago, had no trouble 
getting them on the air, and casu- 
ally went on the air himself. He 

But though he was in Chicago, 
the green valley of Renfro — 

which is named after the little 
creek that flows through the hills 
— remained in Lair's mind all the 
time. Did it remain in the minds 
of the kids he had taken away 
from there and brought to the big 

Not completely. "I found the 
kids lost something when they 
went into town," he recalls. In 
fact, he found you could take the 
country out of the boy when you 
took the boy out of the country. 
The boy started to lose his sim- 

Lair didn't want that to happen, 
so he started mulling over ideas. 
He finally decided on the ob- 
vious. Since something was lost 
when you brought the hills to ra- 
dio, he would bring radio to the 

A year ago. Lair finally got 

Page 16 



cffound to realizing his decade- 
old plan. All his money went 
into the Renfro settlement. He had 
accumulated the money through 
years of successfully-managed ra- 
dio programs and stage tours with 
hillbilly outfits. 

He believes that the Renfro Val- 
ley settlement will become a 
shrine of American folk music. 
He thinks it will recreate an at- 
mosphere of 50 years ago, when 
people lived a more simple and 
direct life. He feels he can take 
the old American songs out of 
the dusty unreality of an indus- 
trialized age, and put them back 
into the scene of their origin. 

The name Renfro Valley Folks 
exactly describes the NBC pro- 
gram which Lair now conducts. 
Renfro Folks constitute the talent 
for the program. Other Renfro 
folks helped erect the settlement. 
They built the lodge, where visi- 
tors can get dinners of country- 
cured ham and a lot of dishes that 
are exclusively hill menus. There 
was an old grist mill nine miles 
from the settlement, and they took 
the machinery from that and in- 
stalled it in a new mill, where 
corn meal for the restaurant will 
be ground. They built cabins, 
where travelers could stay over- 
night. They built a huge barn, 
for the Saturday night barn dance 
program aired over WLW. 
. Finally, they moved the old 
schoolhouse onto the settlement 
property. Lair attended school in 
this old log and plaster structure, 
and so did his father. It used to 
be located three miles west, up 
the valley in a red bud thicket. 
Nobody, not even the 80-year- 
old patriarchs of the valley, knows 
the age of this school building. 
Everybody in the valley went to 
school there at some time or 
other, or attended Sunday school 
or speeches or picnic suppers 
or the elections held there, since 
it was the only public meeting 
place in the neighborhood. 

Lair loves the schoolhouse, 
where he learned grammar, ge- 
ography, reading, writing and 
arithmetic. There were 13 pu- 
pils most of the time, and a 
pile of McGuffey books. There 
were no classes; half the kids 
were in "big arithmetic" and the 
rest in "little arithmetic." Nobody 
ever tried to trace the history of 
the building, but it was old in the 
days of the Civil War. 

Lair wanted the schoolhouse 
because more than anything else 
it represents the dignity, tradition 
and endurance of the valley 
people. So he had it moved, log 
by log, stone by stone, foundation 
and all, from the old location to 
the new one on the settlement 

And now the little schoolhouse 
is famous. As in the old days, 
it continues to serve as a meeting 
place, but now the schoolhouse is 
also a radio studio. They've set 
up a microphone and amplifier 
there, and the NBC broadcasts 
originate there every Monday 

It is probably the most unelab- 
orate broadcasting studio in the 
world. Two none-too-bright elec- 
tric bulbs provide the illumination, 
and the engineer keeps a flash- 
light on hand, just in case. Out- 
side, the katykids gnaw the air 
in the dark woods. Yellow light 
falls on the faces of a few people 
who have come down to peer 
through the open windows at the 
shindig within. Inside, these visi- 
tors see the Coon Creek Girls and 
An't Idy and Little Clifford, and 
Slim Miller and the Neighborhood 
Boys, and all the others. The visi- 
tors grew up with most of these 
people who are now on the air. 
They know Shorty and Filer, the 
Mountain Rangers, Dwight Butch- 
er, the Pine Ridge Boys, the Ran- 
dolph Sisters, Gene Cobb, Si and 
Fanny, Harmonica Bill Russell, 
Granny Harper and Homer and 

They're just Renfro Valley folks. 

How has Lair been able to 
achieve such success? Probably 
through his sincerity, first of all. 
Secondly, through his knowledge 
of his people, and of his subject, 
which is American folk music. 

Lair is believed to know more 
about American folk music than 
any other living man. 

Lair does a lot of personal re- 
search for his extensive collec- 
tion of this music. Ten years 
ago he went out to Kearney, Mo., 
just to talk to the descendants of 
esse James and discover the tunes 
the old reprobate liked best. He 
got the musical lowdown on Jes- 
se, even on the tune that was 
played at the bandit's funeral. 
He has a lot of music connected 
with Lincoln — ■ the first song the 
woodchopper learned as a child. 

a song he wrote and sang at his 
sister's wedding; "Hoosen John- 
ny," one of his favorite campaign 
songs, and the song Anne Rut- 
ledge sang to Lincoln while she 
was on her deathbed. It was 
called "Vain Man, Thy Fond Pur- 
suits Forbear." 

Much of this information comes 
to Lair from people who have 
heard him on the radio. Personal 
information he backs up with col- 
lections of songs. He has three 
famous collections — Grady's De- 
laney's and Hevermeyer's. 

He estimates he has well over a 
hundred thousand songs in his 
vast collection. Some of the song 
books are collector's items. He 
has Brigham Young's personal 
copy of the Mormon hymn book, 
with Brigham' s autograph on the 
hymns he happened to like best. 

Lair has no way of evaluating 
his collection, since probably no- 
body else in the United States is 
interested in it. The Library of 
Congress would like to have a 
few of the books, but Lair is hold- 
ing on to everything. He soys he 
wouldn't take $15,000 cash for 
the collection. 

Of the 24 people who take big 
parts and small on the Monday 
NBC broadcasts, only one act, 
the Crusaders, do not live within 
a radius of 15 miles of Lair's set- 
tlement. The Crusaders come 
from Seventy Six, Kentucky, a 
hamlet 80 miles from Renfro. 

The Coon Creek Girls, Lair 
suggests, are typical of the people 
on his show. They comprise Rosie 
and Lily May Ledford, who were 
born in Pitchem Tight Hollow; and 
Bertha, Irene and Opal Ambergy. 
Lair four years ago got Lily May 
a job in Chicago, then started his 
own company and gave them all 
jobs. When King George and 
Queen Elizabeth visited the White 
House, the Coon Creekers went 
there on invitation to sing. They 
were chosen as typical singers of 
pioneer American music. 

Lair is now in his forties, turn- 
ing gray in an iron sort of way, 
firm-jawed and earnest. He owns 
three farms, totaling 400 acres. He 
owns a beautiful set of tackle 
which he seldom uses, although 
Renfro Creek has plenty of good 
bass. He's too busy with his 


Page 17 


Imagine a man owing his job 
to bald heads and starched shirt 
fronts! Incredible, you might say, 
until you take a look at the many 
fantastic jobs which have mush- 
roomed in the radio industry since 
the days of the first crystal sets. 

High on the list must be men- 
tioned the man who barks like a 
dog — and gets well paid for it. 
And also the woman who cries 
like a baby to such good effect 
that a fat weekly salary check 
greets her efforts. 

Then we must not forget the 
pianist who nightly in the radio 
studios plays the works of the 
masters as well as popular com- 
positions — but never goes on 
the air! 

Add to the above list the man 
who watches clocks right under 
his boss' nose and gets paid- 
for it, and those strangest of all 
people — radio sound effects 
men — and it would seem that 
radio boasts the greatest collec- 
tion of queer jobs extant. 

Getting back to the man first 
mentioned. His official title might 
read something like this: "Offi- 
cial Separator of Stiff-bosomed 
Dress Shirts and Bald Pates." His 
raison d'etre is as follows. During 
the Fall symphony series at NBC, 
engineers at a Toscanini concert 
discovered that- the tone values, 
especially in the higher frequen- 
cies, were registering with un- 
usual sharpness. Investigation 
revealed that this was due 
largely to the fact that a great 
many gentlemen in the studio 
audience were wearing stiff 
dress shirts. 

Because of this particular dress 
9n the part of the gentlemen, the 
sound waves came bouncing 
back in a manner which caused 
a reverberation not present when 
informal attire was worn. Not 
that the difference was plainly 
perceptible, but it was sufficient 
to register on the oscillograph 
which tests acoustical conditions 
in the studio. 

Additional research along sim- 
ilar lines revealed other interest- 
ing facts about the delicate and 
tricky nature of sound waves. For 
example, large persons absorb 

sound better than small persons, 
■^imnly because their greater ex- 
panse of epidermis provides 
more of a target for sound waves. 
In like manner, a lady garbed in 
velvet will kill an echo much 
more quickly than one wearing 
silk or taffeta. 

Madeleine Pierce is a cry-baby. While 
this term is considered the apogee of 
opprobrium in some circles, (especially 
the younger ones). Miss Pierce is proud 
of the fact that she is the leading ex- 
ponent of the art of crying on the NBC 
networks. i he one-woman nursery 
plays everything from the smallest, 
sleepy sigh to the loudest, milk-hungry 

bradley Barker has taken the wolf 
from his door and put it to work before 
a microphone. A wolf's cry is only one 
of 40 animal voices which Barker sim- 
ulates in radio dramas. Half of his 
work, however, consists of Imitating 
dogs and cats. Barker began his unusual 
calling when he discovered that mechanl. 
cally-produced animal sounds often 
resulted in soprano lions, falsetto dogs 
and basso profundo cats. 

And, in case you didn't know 
it, bald-headed men are shock- 
ingly poor at absorbing sound, 
while hirsute individuals will 
tangle up the most athletic sound 

Now, when the engineers 
viev/ed these interesting pheno- 
mena, they didn't become unduly 

concerned. Program officials, how- 
ever, took the matter seriously. 
Pictures of whole sections of 
boiled shirts or bald heads, from 
which the sound waves would 
bounce and go will-nilly around 
the studio, haunted their mid- 
night dreams. Something had to 
be done, namely, to appoint 
someone to separate the starched 
shirt fronts and billiard-like 
domes and scatter them about 
the studio. 

So the job of "Official Sep- 
arator of Stiff-Bosomed Dress 
Shirts and Bald Pates" was creat- 
ed and entrusted to a keen-eyed 
young man who greeted visitors 
to the studio with tactful, "To the 
rights, Sir," "To the lefts. Sir" etc. 
We wonder how the census-taker 
listed that one! 

But while separating bald 
heads, etc., certainly ranks high 
up in the queer job category, we 
must not forget the woman who 
acts childishly. In most quarters 
this is frowned upon. But when 
it comes to radio, being profes- 
sionally babyish is well worth 

Madeleine Pierce is the leading 
exponent of the art of crying- like 
a baby, specializing in genuine 
baby gabble and not the falla- 
cious "muvva's ittle - cootums" 

The one-woman nursery can 
play an infant mood from the 
smallest, sleepy sigh to the loud- 
est, milk-hungry wail. Though 
she specializes in small infants. 
Miss Pierce also plays older 
boys and girls and mature 
women. Recently she played an 
infant, a 12-year-old boy, a girl 
of six, and a nurse — all on the 
same broadcasti 

Miss Pierce didn't have a 
thought for her particular talent 
for the squalls, whimpers and 
coos business, until friends prac- 
tically pushed her into the NBC 
studios for an audition. 

From baby's squeals to a 
repertoire of 40 animal voices, 
although about half his work 
consists of imitating dogs and 
cats, is the fantastic radio leap 
made by Bradley Barker, who, In 

Page 18 


truth, has taken the wolf from his 
door and put it to v/ork before a 

When Barker first turned to 
radio in 1926, after seventeen 
years as a vaudeville and motion 
picture actor, recorded sound 
effects were frowned upon, so 
animal voices were created me- 
chanically by means of resined 
rods drawn through holes in tin 
cans, etc. 

"The results," reminisces Bark- 
er, "were weirdly unpredictable. 
Often we heard soprano lions, 
falsetto dogs and basso profundo 
cats. When we tried to use live 
animals in the studio we always 
regretted it." 

A husky six - footer. Barker 
takes his work as seriously as 
any Metropolitan diva. Recently 
he spent several weeks with the 
Ringling Brothers so that he could 
learn to imitate Gargantua, the 
giant ape. Barker thought Gargi 
was a friendly fellow. 

And now radio's odd-job quest 
brings us to the champion clock 
watchers of this or any other 
era — men who impudently 
watch the clocks right under their 
boss' nose without danger of 
getting fired! 

The heroes of this saga are 
members of the NBC Maintenance 
Department. Their particular mis- 
sion in life is to keep the 291 
clocks at the NBC studios in 
Radio City right up to the split 
second. Equipped with chrono- 
meters, these unsung behind-the- 
sceners make numerous checks 
of the clocks. And a nice, easy 
way of not being able to see a_ 
clock is to ask one of the boys, 
"What time is it?" 

Sound effects men are really 
radio's greatest odd-jobbers. They 
make nature's greatest imitators 
— the African Grey parrot, the 
myna, the raven — look like a 
third-rate stumble bum matched 
with Joe Louis. 

To any of the thousand and 
one strange requests which come 
to them, from creating the sound 
of rolling a cigarette to the noise 
produced by a naval battle in the 
Norwegian fjords, these men have 
never said "It can't be done." 

While the growth of radio has 
witnessed greater complexity of 
scripts, resulting in the use of 


recordings for background effects 
to a large degree (NBC has on 
hand more than one thousand 
discs, capable of producing ap- 
proximately 4,000 different noises), 
the on-the-spot sound effect has 
lost none of its usefulness as 
sounds requiring exact cueing, 
such as door bells or a sudden 
blast of wind, ore best transmitted 
by the real thing or its synthetic 

One script for an NBC program 
called for the sound of a sewing 
machine. To the sensitive ears 

Herman F. Krausser plays more piano 
music than any concert artist in the 
NBC Radio City studios but — he never 
is heard by listeners. Krausser is NBC's 
official piano tuner, chief custodian of 
the 38 pianos used daily by artists. 
Krausser works while the city sleeps, 
during the hours the networks are off 
the air. 

of the sound effects men, how- 
ever, the sewing machine brought 
into the studio sounded like any- 
thing else than the real thing. 
And this is where odd-jobbedness 
paid. One of the tonal experts 
had had occasion to experiment 
with bells of all sort, for another 
program. He suddenly remem- 
bered that the sound produced by 
cranking the bell handle of a 
rural telephone — without the 
bell — had exactly simulated 
the sound required. A bell, or 
should we say, a bell-less tele- 
phone, was produced. Eureka. 
The solution was in hand. 

And now our tale nears on end 
with the story of H e r m a n F. 
Krausser, who, like the sound 
effects men, is a tonal expert of 
the highest degree and definitely 
superior to NBC's "squeak testers" 
— men who examine each of the 
folding chairs in radio studios to 
make sure they are free of all 

squeaks because a high-pitched 
squeak is easily picked up by 
the sensitive microphone. 

Mr. Krausser, a slight man, 
with sad eyes behind steel-rim- 
med glasses, takes his place at 
one of the studio pianos when 
the curtain rings down on the last 
show of the day from Radio City. 

With all the poise, the strength 
and sureness of a great artist, 
Mr. Krausser raps out a few 
vibrant chords. 

Then his fingers run surely 
through an arpeggio that covers 
the range of the keyboard. But 
with this brief performance the 
music ends and listeners from 
coast to coast will never savor the 
full flavor of it. 

The artist becomes artisan. 
Tools come out from his small 
black bag. At his touch , the 
piano comes apart with the ease 
of secret panels opening. Mr. 
Krausser, NBC's piano tuner, is 
on the job I 

Keeping the 38 pianos used 
daily by NBC artists at precise 
concert pitch — whether they are 
used for a syronhony concert or 
a red hot swing jamboree — 
calls for the loving attention of 
Mr. Krausser, who sadly men- 
tions that he has never met any 
of the artists who use the instru- 
ments. He knows them, though, 
he will tell you. 

"Frequently," he says, "I find 
some of their personal belong- 
ings hidden away inside the 
pianos. Compacts, handkerchiefs, 
fountain pens, pencils, hair pins, 
even keys and odd coins. I still 
can't figure out the loose coins 
though. Generally there is a 
penny or a nickel — never more 
than a dime! 

Krausser had his own musical 
ambitions as a young man but 
found it easier to make a living 
as the skilled artisan who keeps 
the pianos in pitch for others. 
But he loves music, sings a bit 
for church services and plays 
for his own amusement. 

As a parting shot, we told Mr. 
Krausser about the man who's 
job it is to separate bald heads 
and starched shirts. 

"That's no job," he exclaimed, 
a trifle indignantly. "There's no 
future in it." 

Page l9 

The Burns of Allen 
Does a Rhumba 

With George Burns learning the 
Latin branch of dancing at the 
point of Gracie Allen's finger, and 
ably assisted by Miss Anita Stone 
of the Arthur Murray Dancers, 
these pictures taken exclusively 
for Radio Varieties show George 
as the best rhumba dancer in all 
Mexico. Note the smile of pleasure 
and contentment in Grade's face 
(bottom right) as George goes thru 
his routines with Latin blood fairly 
oozing thru his veins. 

yitm- -^ 



II 1 1 1 1 1 1 III 1 1 1 1 II 1 1 li I 


(Top left) Back on the air, 
Ben Bernie, the old maestro, 
is heard as conductor of 
"Ben Bernie's Musical Quiz" 
(Top right) A native of 
Mexico and a favorite of 
New York cafe society, 
handsome Ramon Ramos is 
capturing the dancers of the 
beautiful Camellia House in 
the Drake Hotel with his 
sophisticated music. Listen 
in at 11:30 p. m. over CBS. 
(Bottom left) Wayne King, 
favorite of millions, is spon- 
sored by Colgate over WBBM 
each Saturday at 7:30 p. m. 
(Bottom right) Featured on 
Alec Templeton's show on 
NBC Ray Noble is heard at 
9:30 on Fridays. 




At The Fairs 

WLS, Chicago, regularly sends the 
famed WLS National Bam Dance to 
Milwaukee, Springfield and Indiana- 
polis as the opening night attraction 
for the annual State Fairs. This year 
they played their ninth opening at 
Indiana, shattering all past records, 
also played the Wisconsin opening. 
The opening of the Illinois fair had to 
be skipped this year, since it opened 
the same dory as Wisconsin. However, 
WLS stars entertained daily in the 
WLS-Prairie Farmer exhibit tent at all 
three expositions. 

Twelve thousand people iammed 
the new Coliseum at the Indiana Fair 
(top) to see the WLS National Bam 
Dance. AU seats were sold, and nearly 
two thousand persons stood throught- 
out the 4 '72 hour broadcast. 

The WLS Rangers and Grace Wislon 
(center photo) chat before boarding the 
Milwaukee Special. Left to right are 
Ozzie Westley. Grace Wilson, Clyde 
Moffett and Harry Sims. Note the 
illuminated sign on the back platform, 
identifying the troupe. 

WLS chartered special trains to carry 
the Hayloft Gang to the Milwaukee 
and Indianapolis Fairs. (Bottom photo) 
Here are Patsy Montana and Pat But- 
tram being checked onto the train for 
Milwaukee, also draw their expense 
allowances from WLS Production 
Manager Al Boyd (right). Last year. 
Patsy claimed she didn't get her ex- 
pense envelope. Boyd has proof she 
did this year. 

P. S. Patsy didn't get it last year, 
until several hours after the train 
pulled out 

Pictured here in the upper right cor- 
ner is part of the Hayloft Gang that 
lined up on the stage at the Indiana 
Fair to sing the opening theme for the 
WLS National Bam Dance. 

So the fairgroimds audience wouldn't 
have to sit through the Alka-Seltzer 
network hotir of the WLS National Bam 
Dance twice — once when it was done 
for the East and Mid-West and again 
when repeated for the Far West, WLS 
staged a one-hour stage show, not 
broadcast, giving opportunity for a lot 
of horse play not possible on the air. 
One of the stunts was shooting 465 
pomid Otto from a cannon. (Top photo) 
Pat Buttram drills his private army: 
Left to right, "Generalissimo" Buttram; 
Salty Holmes, whose uniorm lacked 
suspenders evidently; Orrie Hogsett 
(Joe Rockhold); Ramblin' Red Foley and 
Otto (Ted Morse). 

While the major portion of the Bom 
Dance cast was busy at the Wisconsin 
State Fair, others were entertaining 
visitors in the WLS-Prairie Farmer ex- 
hibit tent at the Illinois State Fair in 
Springfield. The Prairie Sweethearts. 
Essie and Kay, get a little help from 
Reggie Cross, of the Hoosier Sod- 
busters (center). Note the baimer. 
WLS and its parent company, Prairie 
Farmer, America's oldest farm paper, 
will celebrate its 100th birthday in 

The Wisconsin State Fair trip gave 
Cowgirl Patsy Montana (center right) 
opportunity to renew her friendship 
with Sponsor Jim Murphy's horses. 

With a number by the Prairie 
Ramblers (lower right) scheduled im- 
mediately after Pat Buttram's army 
drill. Salty Holmes had no time to re- 
cover his pants (and shins). The 
Ramblers (left to right) are Jack Taylor 
Chick Hurt, Salty and Alan Crockett. 

The Story of a Ck>meback 

Continued from Page 13 
the mid-section thcrt always comes 
when you see something good. 
And there's not a bar of music in 
it, except for background. 

So Dickie boy sewed himself a 
beautiful little patch of Hollywood 
clover all over again — and when 
those two pictures are released 
he'll be sitting on top of the world. 
And the radio lad who turned 
from the microphone to the silver 
screen — hit the top in pictures, 
started the old slide down and 
pulled himself up by his own boot 
straps, is back with us again 
stronger than ever doing screen 
parts with plenty of punch, and 
getting top billing on the Maxwell 
House Radio Show. 

All of which brings up an in- 
teresting point that there's really 
no foundation at all for the so- 
called "feud" between radio and 
the movies. They complement 
each other. Radio has given 
many stars to the screen, and cer- 
tainly many mxOvie people have 
made your radio hours a lot more 
entertaining. For years Gene 
Autry was one of the most popu- 
lar air personalities in America 
as "The Singing Cowboy": his 
fan mail topped any star in the 
business, he went from there to 
pictiires and became one of the 
movies' highest-paid stars with- 
out ever having one of his pictures 
showing in a first-rim Hollywood 
theater. Radio gave Dottie La- 
mour to the screen. All she learned 
about singing she learned while 
earning $18 a week ob a sustain- 
ing warbler for NBC. You all 
know the case of Don Ameche; 
and where would Orson Welles 
be today if it weren't for the mi- 
crophone? Personally, I have a 
tremendous lot of respect for ra- 
dio people. I did a picture re- 
'cently called "Cross Country Ro- 
mance" — a fast-moving, very 
smart little comedy with Gene 
Raymond; it was piloted expertly 
by Frank Woodruff, who produced 
and directed your Lux Radio 
Theater for many years. 

Yep — I cut my teeth on the 
stage, grew up in pictures, am 
spending my old age pleasantly 
hopping from my daily column, 
to the air, to the movie sets — 
and I say, as long as it's enter- 
tainment, it belongs — whatever 
the medium. 

Page 24 

Who Are the Men 

Continued from Page 12 
is George Voutsas, musically in- 
clined Beau Brummell who was 
born in Asia Minor, reared in 
New York City from his second 
year on and trained in the ways 
of radio broadcasting by none less 
than Dr. Frank Black, general mu- 
sical director of NBC. 

Voutsas is chiefly known in the 
NBC Central Division for his dis- 
covery of Lillian Cornell, NBC 
contralto who is now in Hollywood 
after making several movie ap- 
pearances in Jack Benny and 
Bing Crosby pictures, and for his 
further discovery of the Dinning 
Sisters, jitterbug trio heard on the 
NBC Breakfast Club and Club 
Matinee broadcasts and men- 
tioned by many music critics as 
runners-up to the famed Andrews 

Voutsas studied music under 
private tutors for 12' years and 
won a gold medal for his violin 
playing in competition in 1928. 
He was considering turning pro- 
fessional when he suddenly land- 
ed a job in the music library of 
the newly-formed National Broad- 
casting Company. He remained 
in the music library for loui years, 
meeting great musicians, artists 
and personalities who helped 
mold him into a brilliant research 
man, capable of building and pro- 
ducing almost any type of musi- 
cal show. In the last of his four 
years in the music library, he 
worked with Erno Rapee, Harold 
Sanford, Cesare Sodero and many 
others. He became Dr. Frank 
Black's assistant when the later 
came to NBC and remained in 
that post until Dr. Black insisted 
on his accepting a position as mu- 
sical director in the NBC Central 

While in New York, Voutsas as- 
sisted in producing and writing 
such shows as the NBC Sym- 
phony, String Symphony, Five 
Hours Back, the Magic Key of 
RCA, the Pontiac Program and 
the Sunday General Motors con- 
certs. In Chicago, he conducts the 
NBC Club Matinee, the Roy Shield 
Revue, all Chicago City Opera 
broadcasts over NBC and did con- 
duct This Amazing America at 
its inception. He is 5'H" tall, 
weighs 185 pounds, has dark 
brown eyes, black hair and a 
serious disposition. 

Music in a Majestic Manner 

Continued from Page 9 
azines and syndicates. One of 
the reasons for its popularity, aside 
from the high musical quality of 
the program, is the complete ab- 
sence of commercial fan-fare. 

Programs for the 1940-41 season 
will be conducted by such emi- 
nent conductors as Fritz Reiner, 
Reginald Stewart, John Barbirolli, 
Wilfred Pelletier, Eugene Orman- 
dy, Andre Kostelanetz, and Victor 
Kolctr. i 

The list of guest artists to be 
featured each week reads like a 
musical "Who's Who." Among 
the guests to be heard are Lily 
Pons, soprano; Richard Crooks, 
tenor; Jascha Heifetz, violinist; 
Grace Moore, soprano; John 
Charles Thomas, baritone; Jose 
Iturbi, pianist; Dorothy Maynor, 
soprano; Helen Jepson, soprano; 
Charles Kullmonn, tenor; Lawr- 
ence Tibbett, baritone; and Gladys 
Sworthout, mezzo-soprano. 

Another popular feature of the 
Sunday Evening Hour broadcasts 
are the talks by W. J. Cameron. 
Interest in these talks, which cover 
subjects of current interest, has 
grown to such an extent that over 
50,000 printed copies are mailed 
each week to listeners requesting 
them. Printed copies of the pro- 
grams, with brief biographies of 
the artists and descriptions of the 
music to be played, also are sup- 
plied to large numbers of listen- 
ers who write in for them. 

In 1934 the programs first started 
to broadcast from Orchestra Hall 
in Detroit which has a capacity of 
2,000 persons. Two years later 
the broadcasts were moved to a 
larger auditorium in Detroit and 
now some 5,000 persons attend 
every week. Each Sunday eve- 
ning the hall is filled to capacity 
by an audience of enthusiastic 
people who appreciate an oppor- 
tunity to hear a fine musical pre- 
sentation by one of the country's 
greatest orchestras and famous 
concert personalities and to wit- 
ness a major broadcast. 

Evidencing the important role 
played by the Ford Sunday Eve- 
ning Hour in musical education 
throughout the country are the 
many letters received each week 
from educational institutions ancT 
from individuals who use the pro- 
grams as a basis for instruction 
in music appreciation. 




Continued from Page 8 

can countries, old-fashioned vaud- 
eville still survives in its purest 
form. Because of the censorship 
of newspapers and their small 
circulations, current events are 
satirized on the stages between 
romantic songs and dramatic 
skits. Cuban and Mexican thea- 
ters present little farces based 
upon domestic politics, with the 
chief actors wearing masks to 
avoid possible prosecution by the 

Until a generation or two ago, 
the sketch survived as the one-act 
"curtain raiser" that was an ob- 
ligatory appetizer to the main fare 
of a full play, like the preliminary 
boxing matches. This was true 
in London and New York. 

John and Maggie Field, Ameri- 
can vaudeville headliners of 1873, 
brought the dramatic sketch to 
this country. In 1896, dramatic 
sketches had become the most 
popular fare of "standard vaude- 
ville" as played throughout the 
country. These acts formed the 
backbone of vaudeville up to its 
"death" a short time ago. Most 
stars of the legitimate stage 
played at least a few weeks in 
dramatic sketches while many of 
them played a whole season 
throughout the country. A few 
of the great "legit" stars who were 
dramatic sketch headliners were: 
Sarah Bernhardt, Ethel and Lionel 
Barrymore, Arthur Byron, Florence 
Reed, Irene Rich, Walter Huston. 
Comedy skits were the vehicles 
of such people as the Marx Broth- 
ers! Weber and Fields; W. C. 
Fields; Moss and Frye; Jimmy 
Durante; Victor Moore, and many 

Radio took a page from the his- 
tory of the stage, and repopular- 
ized the dramatic sketch, hiring 
star acting, directing, and writing 
talent. Eventually many vaude- 
ville artists in vaudeville's hey- 
day carried the sketch a step 
further by introducing sequels. 
Radio carried this idea on, making 
the sketch a daily running story. 

I believe that when television 
finally arrives in all its glory, the 
"dramatic sketch" with all the 
props and techniques of old-time 
vaudeville, plus new radio wrin- 
kles, will hold an important spot 
in this new form of entertainment. 


Radio is rich ia beautihil women as aay oUier branch of the entertainment industry and 
at the heap in the mattei of pulchritude is copper-haired Marian Shockley, who plays the 
of Nikld Porter, co-star of the popular mystery "Adventures of EUery Queen." 


Page 25 



wiie of Bill Stem of NBC 

I am a stranger to the radio 
audience but my husband is 
probably better known by you 
than he is by me — you see, he 
never comes home. 

When we were first married 
several years ago, I realized that 
it was like marrying a traveling 
salesman who was always travel- 
ing. But I never thought that my 
only look at my husband would 
be either in the early morning 
or very late at night. 

Long ago I gave up inviting 
people over for dinner. You see, 
I soon ran out of excuses as to 
why Bill was late. But please do 
not misunderstand. I love it! It's 

Pdqe 26 

like being on a merry-go-round 
and always trying for the brass 

Bill is busy morning, noon and 
night, but I, at least, have one 
advantage over other wives. All 
1 have to do is turn on the radio 
and I know at once where my 
wandering boy is tonight. Nor 
am I amazed any longer to find 
him on one coast of this grand 
country of ours one night, and 
on the air the next night from the 
opposite end. 

So much ' for the" complaint 
departMfent. • " 

You say; "Why do L stand it? 
Well that's easy to answer — 1 

just happen to love the guy. But 
seriously, it's not entirely as bad 
as I've painted it. True, Bill does 
work seven days a week, fifty- 
two weeks a year. But his work 
is so interesting that even I, who 
knew nothing about sports a few 
years back, am now all wrapped 
up in Joe DiMaggio, Joe Louis, 
etc. To me they've become real 
people instead of imaginary per- 
sons one might read about. 

Bill is always dropping in with 
some celebrity and casually say- 
ing: "Honey, I want you to meet 
Alfred Gwynne Vanderbilt or 
Alice Marble," depending on 
which sport he's describing that 
day. I like it, and I think all 
women would, too. Then, too, 
you should hear all the gossip I 
hear about famous people — it's 
wonderful. Sometimes I think 
Bill makes some of it up just to 
amuse me — but it's still interest- 
ing and I never let on that I know 
the difference. 

Bill's average week is like sorrie- 
one auditioning for a nervous 
breakdown. Each morning he's 
down at NBC by 9:30, getting his 
daily show ready; that is, Mon- 
days through Fridays. On Satur- 
days he has usually a football 
game, track meet or something 
else in the afternoon. 

All week long he is watching 
to see that NBC covers the right 
sports event, and making plans 
and arrangements for his broad- 
casts not to mention writing his 
material. In the evenings all he 
has are two M-G-M newsreels 
("News of the Day") to make a 
week which start at 9:00 in the 
evening and run through until 
3:00 the next morning. They are 
made on Mondays and Wednes- 

Hardly a week goes by that he 
doesn't work with Sam Taub on 
the fight broadcasts and Sunday 
evenings are filled with the Bill 
Stern-Sports broadcasts. (8:45 p. m. 
CDST, NBC-Blue). There are two 
of them you know, the second one 
is heard out West. 

Sounds terrible, doesn't it? But 
it isn't. It's fun — fun for him or 
he wouldn't be doing it, and as 
for me — well, I guess I kind of 
like it, too. 




By H. Johnston 

Pictured from left to right, little 
Joy Hull, her mother Mrs. Clair B. 
Hull, and baby Niki. This charm- 
ing group represents WDZ's fe- 
male announcing staff, and what 
a job they're doing! 

Joy, age six, is very serious and 
practical minded. Baby Niki, age 
two, a little scatter brained, mis- 
chievous and naughty, says 
Mother. Mothers are that way. 

The trio carries a half-hour mid- 
afternoon program and their mail 
pull is the envy of every WDZ 
artist. Their popularity with our 
listeners, proves that the home is 
without doubt, still America's 
number one institution. Broad- 
cast from the dining room of their 
home by remote control, theirs is 
strictly an informal program in 
which lovable personalities reign 

In a few days, Joy informs me 
they will be starting a new con- 
test. "Mother is going to give the 
commercial on Velvitize (a hair 
remover), Niki is going to sell 


baby shampoo, and I am going 
to advertize a beautiful blond 
make-up kit, she said. I ask 
her who she thought would sell 
the most. Her reply was, "Well, 
1 can beat Mother.. .but Niki's 
pretty good." 

What won't the next generation 

To listen to them is to love them. 

Sponsored by Schultz & Co. 


"Lespedesa", greener than the 
grass for which he is named, is 
featured with the Tennessee 
Valley boys over WDZ every 
week day afternoon at 12:15. 

Lespedesa, or Joe Forrester, has 
appeared over the Grand Ole 
Opry at WSM, Nashville. Then 
he joined the KVOO Saddle 
Mountain Round-up in Tulsa, 
Okla. Slow talking, a born come- 
dian, Lespedesa is already a 
favorite with the WDZ staff and 
audience. The picture shows 
Lespedesa stirring up a panic on 
the KVOO Saddle Mountain 


Recently acquired by WDZ to 
take over the sports job on the 
station is Jack Peterson. Comely 
fellow, this Peterson. When ap- 
proached by our reporter regard- 
ing his personality. Jack replied, 
"Peculiar, not nice; in fact an 
ugly personality at first impres- 
sion, but not bad if approached in 
the proper way." Jack's person- 
ality is really tops. He was 
picked for our sportscasting job 
out of 243 applicants and audi- 

Interested in sports always... as 
a youngster lived near Wrigley 
Field in Chicago and averaged 
some 30 to 40 games a season. 
In school took active part in foot- 
ball, basketball, and track. Has 
served the past six years as 
sports editor of the Daily Times 
Press in Streator, Illinois, and 
more recently with the Pontiac 
Daily Leader in the same capa- 

Page- 27 



The high rating of the 
show is not the only cri- 
terion of its popularity, for 
recently "Blondie" was 
voted the best comedy 
serial on the air by 1200 
drama students of Los An- 
geles City College. Final 
proof is that, after four 
months, "Blondie" had to 
give up her plan to an- 
swer requests for auto- 
graphs with pennies — she 
was getting 2000 requests 
a week. 

Arthur Lake 

Penny Singleton 

A year ago when radio enter- 
tainment was studded with spec- 
tacular guest stars, sensational 
piemises and lavish expenditures 
Camel Cigarettes diverted from 
convention to launch the "Blon- 
die" show, based on three words: 
"keep it simple." The formula of 
the "Blondie" program has never 
swerved from that brief theme. 

According to Ashmead Scott, 
who writes and directs the "Blon- 
die" airing, the "Blondie" shows 
are really just a compendium of 
people he's met or seen, or of 
stories about people which his 
friends have told him. 

"Everything that happens on 
'Blondie' is really picked from life. 
On the bus, in the theater, at the 
grocery, at graduation exercises 
— I'll note little things that people 
do and say, — mannerisms — 
vocabulary — and from these 

Page 28 

come the 'Blondie' scripts. Some 
of the incidents come from ob- 
servations of people in Eastern 
cities — some from villages in 
New England, or Mid-western 

"There's probably always some- 
thing on the broadcast which re- 
minds you of your Aunt Minnie or 
even yourself. And for all you 
know, we may actually be por- 
traying you or Aunt Minnie," 
Scott goes on to explain. 

Penny Singleton and Arthur 
Lake, stars of the program, are 
real life prototypes of Blondie and 

Penny is just as pert and viva- 
cious as the Blondie she portrays. 
And just as domestic. She cooks 
and sews and invents amazing 
household gadgets, such as de- 
vices to remove tightly stuck jar 
caps. They work too. Like Blon- 

die, Penny is generous almost to 
a fault. Out of her radio earnings 
she has established her mother 
and father in a beautiful home in 
Son Fernando Valley. But like 
Blondie, too, she's wise about fi- 
nances. Penny has established 
a substantial trust fund for her 
five-year-old daughter, DeeGee 
and made arrangements for the 
proverbial rainy day, even though 
it seems far distant. 

As for Arthur Lake — he's very 
apt to trip over his own shoe-laces. 
He spills coffee at buffet suppers 
and adores gigantic sandwiches. 
As a matter of fact, the favorite 
story his own mother, Mrs. Edith 
Lake, loves to tell on Arthur shows 
his early proclivities toward Dag- 
wood-like faux pas. Mrs. Lake 
was touring in stock in Georgia 
and she had Arthur and his sis- 
ter Florence with her. Came 


Christmas Day and the Lake 
pocketbook was not exactly bulg- 
ing. ^;put the three of them de- 
cided'** to splurge on something 
very gala for the holiday. Being 
in Georgia, they bought a luscious 
strawberry shortcake, heaped 
high with whipped cream and 
enormous berries. At the ap- 
pointed hour on Christmas Day, 
Arthur lifted the cake in a grand j 
manner and followed by sister 
Florence started to carry it in 
to present to his mother. Singing 
and laughing t h e little duo 
marched proudly forward until — 
Arthur stumbled and ended up 
lace forward through the whipped 
::ream and berries in the approved 
custard pie manner. 

It's no wonder the Hollywood 
post office has had to install a 
private box for Arthur since 80 
percent of his mail is addressed 
to 'Dogwood Bumstead." 

No,,cast ever enjoyed "doing a 
show" more than the "Blondie" 
crew. Penny and Arthur clown 
until time to actual dress rehear- 
sal. Then all is seriousness. The 

dress rehearsal is put on wax. penny Sirgleton, plays the part o 
Then the entire troupe sits down Arthur Lake, plays the ro!e of D 
at a long table in the studio with 
Ashmead Scott, and the record is 
played for them. 

A very careful study is made of 
every line and the timing of the 
speeches. A round-table confer- 
ence follows in which constructive 
criiirisms are made with the play- 
er'3 often their severest critics. The 
cast watch carefully for any diver- 
sions from character. When 
"Daisy" is written into the script, 
the pooch and her trainer stay 
close together, listening, too. 
Scott makes no substitutions for 
Daisy. The dog barks his own 
lines — on cue from the trainer. 
The puppy even has a varied 
repertoire of barks, controlled by 
the signs from the trainer. 

When Penny and Arthur are in 
production on one of the "Blon- 
die" picture series, the schedule 
gets pretty neavy, with the two 
stars setting their alarms for 4 a.m. 
to start picture work literally at 
the crack of dawn. They leave 
the set for early rehearsals of the 
broadcast, grab lunch, report for 
the final "polishing" radio rehear- 
sal at 1 p.m. They usually put in 
a 15-hour day on the Mondays of 
the airshow. 


?" ^ -> f/' '^ 

4 ' ?l^ 




M ^ 

. ^B^-^ j| 


^ ^ 




V : 




Blondie, Dagwood, Baby Dum,:rng and 
Daisy the dcg. 


To Dick Marvin of the William 

Esty Advertising Company goes 

'^^M ^^-® credit for dramatizing a comic 

strip that appeals to adults. 

Previous to the "Blondie" show, 

funny paper programs had been 

' intended for child audiences 

; alone, but the domestic situations 

■ of the Bumsteads have been uni- 

I verpai in their appeal. The light 

i homespun yarns have proved the 

sponsoi's theory of simplicity in 


The show has faced some tough 
situations since its inception. 
Twice the broadcasts were staged 
from the hospital — once when 
Arthur Lake was forced to the 
operotjng table for a tonsilectomy 
and again when Penny was in- 
jured in an automobile accident. 
The hospital attendants shook 
their heads mournfully over Pen- 
ay s severely lacerated leg. Her 
condition would not permit having 
the rest of the cast come to the 
hospital. So a triple hook-up was 
installed. One line carried eve- 
rything Penny said directly to the 
studio where the cast listened to 
her cues through earphones. The 
other carried what was said at 
the broadcasting station directly 
to Penny's earphones. The third 
line was simply a telephone hook- 
up so that the engineers at both 
places could talk to each other, 
if necessary. Despite the serious- 
nes.'^ of her accident, Penny and 
"Blondie" didn't miss a broad- 

Situations like those only serve 
to stimulate the ingenuity of reai 
troupers. And the "Blondie" casi 
is composed of just that. Penn^ 
and Arthur were practically bci 
in the proverbial theater trunks. 
And Ashmead Scott still maintains 
his own stock company, the "Mt. 
Gretna Players" in the East. 

There have been four weddings 
since the opening of the "Blondie" 
program. Joe Donahue, who for- 
merly represented Esty Co. on the 
coast, and Mary Eastman; Leone 
LeDoux, actress, and Ted Carter; 
hanley "Mr. Dithers" Stafford and 
Vyola Vonn; and Scott and "Tig" 
Turner, actress. 

It's quite evident that the "keep 
it simple" policy has won — ■ for 
the audience — the cast — and 
the sponsor. 

Page 2? 


Third Role and Going Strong 


Betty Lou Gerson, one of the leading players in the NBC Chicago 
studios, has added a new laurel to her growing list of triumphs by 
winning the title role in the widely-popular serial, "Story of Mary 
Marlln", heard daily over the NBC-Blue Network. She also has the 
leads in "Midstream" and "Arnold Grimm's Daughter." 

(Top) The Yodeling De Zurik Sistere left WLS 
for Hollywood to appear in Republic movie "Barn- 
yard Follieo." 

(Bottom) The Natonal Barn D&nce celebrated 
its seventh anniversary, so members of the cast in 
the garb of seven-year-olds gather for the festivities. 
Among them are Pat, Ann and Judy, and (bottom) 
Eddie Peabody, banjo luminary. 

A V A L N 


8:30 P. M. CST 

NBC Red Network 









9:30 P.M. CST 

NBC Red Network 








7:30 P.M. CST 
NBC Red Network 






Page 30 


Horace Heidt and his wife arrived in 
Hollywood by plane, where Heidt and 
his orchestra are making a picture 
based on his "Pot of Gold" program. 

An expert at playing sister roles, bonnie Bonita Kay owes her 
technique to an aunt's observation. "Brothers and sisters may 
fight," says Auntie, "but at heart they're proud of the relationship." 
That's what is behind Bonita's playing on the NBC serials, "Bud 
Barton", and "Arnold Grimm's Daughter." 









Page 31 

STARS from WLS, 
^ ^ ^ 

TJADIO stars from WLS. Chicago, are famous through- 
out the nation. When you're in Chicago, visit the 
WLS National Bam Dance broadcast. And when 
you're at home, listen to WLS, to the Barn Dance and 
all the everyday programs that feature these same 
Barn Dance stars. For greater enjoyment of your ra- 
dio, tune to WLS. Chicago — on 870 kilocycles. 

Right: WLS Rangers. Below left: Harriet Hester, who con- 
ducts "School Time" and "Homemakers' Hour"; right: the Wil- 
liams Brothers. Bottom: 12,000 people saw the WLS National 
Barn Dance at the Indiana State Fair. 

* * * 


iVEMBER 1940 








■iWO i . ntp .^//-' 




gIG NEWS of the month in record 
circles is the barrage of re-is- 
sues unleashed by Columbia. Jazz 
collectors ore in for the time of 
their lives with the large store 
of classics in tempo now available 
at bargain-basement rates. The 
traffic in original issues stands to 
lose much of its money value, as 
the result of the Columbia blitz- 
krieg on hard to get issues. 

George Avakian, Yale's erudite 
swing critic, and John Hammond, 
probably the best known authority 
on jazz in the covmtry, dug through 
musty matrice files in the cellar of 
Columbia's Bridgeport plant for 
hitherto unreleased items by such 
names as Fletcher Henderson, 
Louis Armstrong, Bessie Smith, 
Bix Beiderbecke, Red Norvo, Red 
Allen, Don Redman and others. 

The first release consisted of 
four albums and 15 singles, with 
plenty of interesting jazz emerging 
from the 62 sides. We especially 
liked the Fletcher Henderson al- 
bum. "Hop Off," resurrected from 
a dusty bin, proves one of the 
greatest Fletcher items in years. 
Recorded in November, 1927, it 
has Bobby Stark on trumpet; Cole- 
man Hawkins, tenor; Jimmy Har- 
rison, trombone; Carmello Jejo, 
clarinet and Joe Smith on comet. 
Other swell Henderson sides in 
the collection are "Sugar Foot 
Stomp", "Money Blues, Stam- 
pede" and "New King Porter 

Of the single records, you'll like 
Duke Ellington's "Ducky Wucky" 
and "Swing Low," Buster Bailey's 
"Call of the Delta" and "Shanghai 
Shuffle" and Red Norvo playing 
"I Surrender Dear" plus "Old- 
Fashioned Love." 

Chuck Foster's popular Chicago 
band has just begun to record for 
Okeh. First four sides are "All 
I Desire," "Sleepy Time Gal," 
"Spring Fever" and "Oh, You 
Beautiful Doll." The outfit leans 
heavily on the sweet side and 
provides good, listenable and 
danceable waxings. 

We don't understand why the 
Quintones haven't made more of 
a splash on the waxworks. They 
are surely one of the finest swing 
vocal groups in the coiintry. Per- 
sonnel: Four boys and a girl with 
the tone and rhythmic ideas which 

Page 2 

has made the critics and radio 
audience sit up and take notice. 
Hear their Okeh record of "Fool 
That I Am" for proof of their 
clean-cut superiority in the choral 

This might be a good time to 
call attention to a Paul Whiteman 
albimi of Decca records that 
should be in most libraries. It's 
called "Manhattan" and com- 
prises some of Louis Alter' s finest 
compositions on the teeming life 
of the big city. Whiteman does a 
thorough, musicianly job on all 
counts and the net results are dis- 
tinctly worth-while. Incidentally, 
by the time this column appears 
decision should have been made 
on the new commercial Paul, 
Andre Kostelanetz and Don Voor- 
hees are currently competing for. 
At this point it looks like a dead- 
heat, for all bands have been 
asked to make another audition. 

Columbia's Barry Wood, star of 
the "Hit Parade," has recorded 
Raymond Scott's clever "Huckle- 
berry Duck" with Ray's brother, 
Mark Warnow, supplying the mus- 
ical backing. Barry does a swell 
job on the lyrics which Jack Law- 

rence set to the tough melody. 
This is the tune that most bands 
decline politely — to save the rep- 
utation of their sax sections. 

Lanny Ross makes his entrance 
into the record field with "Moon- 
light and Roses." Lanny's pleas- 
ant voice has been a favorite on 
the air for years and he is a 
notable addition to recording 
ranks. Another new name on the 
labels is Claude Thornhill, for- 
merly Maxine Sullivan's pianist- 
arranger. Thornhill has a band 
which includes two clarinets and 
four saxophones for unusual reed 
effects. Rhythm and arrange- 
ments are excellent. Catch his 
discing of "Bad-Humor Man" from 
Kay Kayser's new picture, "You'll 
Find Out." 

Other discs: Fair, and only fair, 
is Ziggy Elman trumpeting "Bye 
'n Bye" and "Deep Night." Lar- 
ry Clinton comes through with 
a good pairing for dancing — 
"Dancing on a Dime," "I Hear 
Music." Duke Ellington's "Five 
O'clock Whistle" and "There 
Shall Be No Night" are up to the 
usual incomparable Ellington 


No. 3 Volume 1 1 


Patter off the Platter 


Fifty Years With Henry Burr 

Light of the World 

A Folksome Twosome 

I'm a Hollywood Farmer (by Bob Bums) 

Radio's Super Salesmen 

The WDZ Screw Ball Club 

They'll Make You Laugh! 

Join The Light Crust Dough Boys 

From Stage Boards to Bread Boards! 

Jane Alden, Fashion Stylist 

Quachita Roundup 

Page 2 









16 &17 




F. L. ROSENTHAL, Publisher 


Published at 1056 West Van Buren Street, Chicago, Illinois. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office; 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possessions, Sl.SO in Canada. Entered as second class matter January 
10, 1940, at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 


Wanted— Experience 

CBS' newscaster and 
presidential announcer 

Newscaster Bob Trout was a fic- 
tion writer who took a brief stab 
at radio ... for the experience. 
Now he tells you the experiences 
he's had in nine years of radio 

You might think that writing 
adventure fiction is a long way 
from reporting the world's news 
through a microphone. I used to 
think so. I don't any more. 

Writing stories packed with ac- 
tion was what I was trying to do 
nine years ago when I fell into 
radio. The first few days behind 
a microphone seemed to me like 
good experience on which to base 
more stories. Maybe some editor, 
somewhere, in an unaccustomed 
happy frame of mind, caught off 
guard, might even buy one some 
day. The first few months still 
seemed like good experience. 
The first few years ditto. I'm 
still getting experience. 

Microphones and I first became 
acquainted when I was just twen- 
ty-two years old. 1 think that's 
how old I was. Radio executives, 
who ore always where micro- 
phones are, at various times 
changed my age in an attempt to 
make me look older until I am 
no longer sure just how old I am. 
My insurance agent still writes 
me indignant letters, full of un- 
interesting statistics about the re- 
lationship of ages to premiums. 
The radio executives made me 
grow a moustache, too, to look 
older. Recently, I met one of 
these executives from the past. 
He said: "You can shave the 
moustache off now. You look old 
enough, at last." But now I've 
got used to the darn thing. 

All this started when I stumbled 
into the radio business in a little 
Virginia city near Washington, 
D.C. — after several active years 
spent in such strange occupations 
as collecting debts (no, I never 
DID collect any) for a firm that 
was supposed to collect debts, 
putting gasoline into automobile 


tanks and wiping off windshields, 
delivering messages for a bank- 
ing firm, driving a taxicab, acting 
as a laboratory assistant (or, 
rather, standing around and try- 
ing to act as I thought a labora- 
tory assistant should act), and best 
of all, working on a merchant 
vessel in the North Atlantic. You 
see, I did want to be a writer. And 
I thought that first I needed ex- 
perience. Of course, you may 

Bob Trout 

think that the search for experi- 
ence was just cm excuse, and I 
really did such things as sign on 
an oceangoing vessel just for 
the fun of it. And maybe you 
are right. 

In the intervals between these 
jobs, I pounded a typewriter, to 
the great vmconcern of practical- 
ly every edi-tor in the United States 
and its territorial possessions. In- 
cluding the Canal Zone. I still 
firmly believe that if I had kept 
steadfastly pounding my type- 
writer until the year 1940 I would 
now be earning my living by writ- 
ing fiction for the nation's big 
magazines. Some day I still wont 

to try it — seriously. But back 
in 1931, a microphone sneaked up 
and bit me in the back. The bite 
of a microphone is as far-reach- 
ing in its effects as the sting of 
the love bug. Sometimes it's 
even more permanent. 

This typewriter pounding oc- 
curred largely in New York's 
Greenwich Village. That, too, 
seemed like the right thing to do 
at the time. Then, one snowy day, 
I caught something which might 
have been a bad cold and might 
have been pneumonia. I decided 
it was pneumonia. That sounds 
like a good sensible reason to 
leave the snow behind and go 
south. Virginia was where it all 

A radio studio seemed to me to 
offer good possibilities as the lo- 
cale around which to plot a story. 
So I decided to see one. That 
was WJSV, Mount Vernon Hills, 
Virginia. At least once every 
month, these days, sometimes 
several times a week, I broadcast 
news over CBS from the studios 
of WJSV. But it is not Mount 
Vernon Hills any more. Now it 
is CBS' 50 thousand watt key 
station for the nation's capital, 
Washington, D.C. 

In 1931, WJSV's program direc- 
tor convinced me, on that evening 
I visited his station, that the big 
money was quicker — and big- 
ger — in radio than in the maga- 
zines. At least, I agreed mental- 
ly, in the magazines which were 
not buying my stories. Unani- 

After about two weeks of writ- 
ing radio plays, news, comedy 
sketches and other imdying liter- 
ature of a similar type for the 
local station, I counted up my 
earnings. This took a remarkably 
short time. So far I had enjoyed 
a gross income of zero dollars 
and zero cents. My net income 
was no better. I resigned. 

But in my second and final 
week as a script writer my fate 
had caught up with me. At the 
time, I didn't realize it at all. One 
evening at six o'clock, the repor- 
ter from the Alexandria, Va., 
Daily Gazette, oldest daily news- 
paper in the United States, had 
not appeared for his news pro- 
gram. There was a copy of that 
afternoon's Gazette in the studio. 

(Continued on page 4i) 

Page 3 

Radio's New Portia 


(Continued from page 3) 


Lucille Wall Is heard in the title 
role of Portia Blake, in the new 
dramatic serial "Portia Faces Life" 
over CBS at 3 p. m. CST Monday thru 
Friday, it is the story of a courageous 
woman attorney who battles the for- 
ces of crime, injustice and civic cor- 
ruption in a small American city. 
When Miss Wall made her first micro- 
phone bow in 1927, the then teen- 
aged girl was literally catapulted to 
stardom after a performance as lead- 
ing lady for Fredric March. Since 
then, the charming young "veteran" 
of over 500 roles, has appeared in 
almost every type of drama. 

Portia's ten-year-old son will be 
played by Raymond Ives, wellknown 
child actor who began his dramatic 
career at the age of seven by joining 
a Shakespearean Repertory Company 
for a three-year-run. 

Young Myron McCormick of film, 
stage and radio fame has been re- 
cruited to portray the fighting editor 
of Portia's town who is also the 
"heart interest" of the story. 

Political bosses, respected citizens 
and the city judge — all of Portia's 
town, Parkerstown — will be introduced 
as the serial progresses. 

so I picked up the paper and 
went on the air. It was a rather 
unpleasant experience. 

Of course, I had mike fright, 
which is just another way of say- 
ing that I was nervous. Then I 
hesitated to perpetrate such an 
outrage upon oiir unsuspecting 
listeners: I had never had any 
sort of voice training, and had 
always regarded my voice as the 
sort of disagreeable sound which 
is best used as little as possible. 
Telephone operators had consis- 
tently been unable to imderstand 
me, and elevator men had always 
asked me three times what floor 
I wanted. And then let me off 
at the wrong place. Less than 
ten minutes after I had finished 
my first news broadcast, the pro- 
gram director, who had been 
dining quietly at a nearby bar- 
becue stand, came running into 
the station. I didn't care parti- 
cularly. I was going to resign 

"I just heard the news show at 
the barbecue wagon," he an- 
nounced. "That fellow is much 
better than the reporter who has 
been doing the program. We 
ought to get him every day. Who 
was it?" 

He was surprised' when I told 
him. But nothing came of it lontil 
I had resigned as the station's 
script writer. Then a vacancy on 
the announcing staff developed, 
and I was offered the job. I de- 
clined. I was coaxed. I declined. 
I was argued with, at, and 
about. I wanted to be a writer. 
There was a meeting. I still 
wanted to be a writer. The hours 
wore on and the meeting grew 
more animated. My resistance 
wore down. They got me. The 
next day was Sunday, and 
promptly at eight o'clock in the 
morning I put a record on the 
WJSV phonograph and signed on 
the station. I was a broadcaster. 

It was a long crowded road 
from that day, when I began 
taking part in all the types of pro- 
gram known to radio, to the days 
several years later when I began 
specializing on news broadcasts 
and special events for the Colum- 
bia Broadcasting System. First 
in Washington, now in New York 
— and wherever the news is hop- 

Page 4 

pening. I could write a book 
about radio's part in the first hec- 
tic years when the New Deal 
came to Washington. Maybe 
some day I will. 

Since the days when Herbert 
Hoover was President of the 
United States, I have introduced 
the President to the radio audi- 
ence. I have traveled through 
every state in the Union to put 
on broadcasts, covered two Pres- 
idential Inaugurations, Republi- 
can and Democratic political con- 
ventions and campaigns, the Cor- 
onation of King George VI in Lon- 
don, the maiden voyage of the 
Atlantic Clipper from Long Island 
to France, taken my portable mi- 
crophone into campaign trains, up 
the outside of the Washington 
monument, into a submarine, and 
high in the Rocky Mountains. The 
list of famous people I have in- 
troduced to the listening audience 
reads like an international Who's 

Years ago I graduated from the 
role of radio announcer into the 
field of microphone news report- 
ing, with the emphasis on report- 
ing the news as it is happening, 
on the spot. And long ago I re- 
alized that all that experience I 
thought I was amassing as a 
reservoir of fiction plots has been 
invaluable in radio. I don't mean 
because the news of our time is 
so similar to fiction, although there ; 
is something in that, too. What . 
I do mean is that my pre-radio 
experience was gathered among 
real average people, the kind of 
American who listens to the ra- 
dio, and wants his radio to talk 
to him — and her — with under- 
standing, sympathy, and honest 
friendliness. You can't do that 
if you don't feel it. You can't do 
it if you don't know the people 
you are talking too, or if you don't 
like them. I think I know my 
audience, because I once worked 
on a steamship deck with them, 
filled their gasoline tanks, and 
drove them around in a taxicab. 
As I see it, I'm still working with 
them now. There is no trick in 
understanding the man in the 
street when you realize that you 
are one of the men in the street 


Fifty Years With 

G^ — ? 

Featured Singer 
on National Barn 

Dance Has 
Colorful History 

" Jl RE YOU the same Henry Burr 
we used to hear on our pho- 

This is the constant query put 
to Henry Burr, dean of ballad sing- 
ers on the Alka Seltzer National 
Barn Dance. 

The question is understandable 
because Henry Burr, bom Harry 
McClaskey, is a living tale of the 
history of the mechanical amuse- 
ment industry and a pioneer in 
radio broadcasting — his silvery 
voice has been heard from coast 
to coast for a half-century. 

Despite the years, Henry Burr 
has kept his popularity, as evi- 
denced by the heavy fan mail re- 
ceived each week. 

Each week also he receives in- 
numerable requests to sing songs 
he made famous from the Gay 
Nineties on. 

Henry Burr was bom in St. Ste- 
phen, New Brunswick, Canada, in 
1885. When he was five years 
old he became a boy soprano, 
singing in theaters, churches and 
community centers — and he's 
been singing ever since. 

For many years he toured the 
country with such artists as Her- 
bert Witherspoon, baritone and 
late director of the Metropolitan 
Opera Company. 

Then he became interested in 
the queer contraption invented by 
Edison in which the voice could 
be played back. 

So, in 1903, he was one of the 
first to make records for Edison 

and Columbia. 

"These were disc records," he 
explains. "I would sing into a 
number of horns each one of 
which was attached to a separate 
recording. And for each one I 
received the magnificent sum of 
fifty cents." 

Despite the frugal monetary re- 
turns, Henry Burr kept on. He has 
made more than nine million rec- 
ords. One, "Goodnight, Little 
Girl, Goodnight" sold more than 
three million copies. 

At the time of his initial record 
ventures. Burr was a soloist at a 
Madison Avenue chiirch in New 
York. Since record making was 
considered in the light of a toy, he 
was strongly advised to disconti- 
nue such nonsense. So he 
dropped his real name, Harry 
McClaskey, in order to continue 
the "nonsense". 

In 1912, he organized his own 
concert company, Eight Popular 
Victor Artists, touring the United 
States from Maine to California, 
with such men as Billy Murray, 
Frank Banta, pianist, and Rudy 
Wiedeoft, saxophone player. 

Then came radio, and Burr who 
had shown he was not afraid to 
fry new things, bravely ap- 
proached a crude microphone in 
1920 for his ffrst broadcast. 

The studio was in a doctor's 
laboratory in Denver. The micro- 
phone was a crude wooden bowl 
with an inverted telephone frans- 



Henry Burr 

Immediately after the broad- 
cast, Burr left for California, find- 
ing upon his arrival that the fact 
that his voice had been heard 
from Denver to San Francisco via 
the ether waves had made front- 
page headlines up and down the 
West Coast. 

In the years following he per- 
formed on such programs as the 
City Service Show from New 
York, the Maxwell House pro- 
gram, and Goodrich Zippers. 

Six years ago he joined the Al- 
ka Seltzer National Barn Dance 
where his silvery voice still car- 
ries on. 

Burr is five feet, nine and one- 
half inches tall, weighs 205 
pounds, has a fair complexion, 
gray hafr and blue eyes. He 
has been married to concert sing- 
er Cecelia Niles since 1910. 

Of his listeners he says: 

"I have fans who've been fol- 
lowing my records and listening 
to my broadcasts since the begin- 
ning. They're my friends, and 
each time I approach the micro- 
phone I sing to them." 

But each time he approaches 
the microphone, Henry Burr has 
an attack of "mike fright" — de- 
spite the fact that he's been doing 
the same thing for twenty years. 

Henry Burr is heard on the 
National Barn Dance each Satur- 
day evening at eight o'clock (CST) 
over the red network of the Na- 
tional Broadcasting Company. 

.Page $ 

Light of the World 

Director of "Light of the World" 

Radio wiseacres claimed it was 
impossible to direct a daytime 
show adapted from the Bible, but 
Basil Loughrane has made "Light 
of the World" one of the most 
notable shows on the air. 

Our aim in presenting these 
radio versions of the Bible is to 
make the listener feel that he — 
or she — is hearing about real 
things happening to real people. 
If we succeed in doing this we 
feel that we are achieving our 
primary purpose. Listeners of all 
religions and sects have given us 
an enthusiastic response, from all 
parts of the country. Perhaps the 
greatest compliment we have re- 
ceived is that our broadcast has 
spurred the sale of Bibles. 

When I first took over the as- 
signment of directing "Light of 
the World," the wiseacres in the 
radio business pulled long faces, 
and were generous in their sym- 
pathy for me. 

"Poor Basil," they commiser- 
ated, "he's got one tough assign- 
ment! Directing a daytime show 
adopted from the Bible! Poor 
Basil, he won't know what to do 
about it!" 

Well, without any boasting, I 
think I can frankly say that "Light 
of the World" is one of the notable 
shows on the air, and that we 
have put it on without either of- 
fending sensibilities or pulling 
dramatic punches. 

The first daytime radio show 
based upon the Bible, and 
the only serial drama to "tran- 
slate" Scripture into modern 
broadcast serial terms, "Light of 
the World" was looked upon with 
mingled fear and hope in the ra- 
dio world when its airing was first 
announced. For many years we 
radio people looking around 
for basic sources of dramatic ma- 
terial had been drawn to the 
Bible, and its wealth of story and 
dramatic content. But prejudice 
. and fear was against us. True, 
sporadic attempts had been made, 
here and there, to put on por- 
tions of the Bible, however, these 
bits of the Bible were heavily gar- 
landed with music and tense dra- 
matic material so that the spirit 
of the Scriptures, if not lost, was 
at least concealed. 

"Light of the World" takes the 
Bible, and puts it on in unadorned, 
simple terms, letting the eternal 
stories of the Book stand on their 
own feet as tales of emotional and 
symbolical value to all of us. 

Paqp 6 

Drowned in the wave of popu- 
larity that has met "Light of the 
World," and resulted in its re- 
newal, fear has gone. 

Perhaps one of the reasons for 
the popularity of this Bible series 
lies in the care with which it is 
prepared for the air. Under the 
leadership of Dr. James H. Mof- 
fatt, eminent Scripture authority. 
Professor at Union Theological 
Seminary, and author of numerous 
books on Biblical topics, a relig- 
ious advisory board was formed. 
This advisory council consists of 
representatives of the leading 
faiths. We work closely with 
these men and they are as keen 
as we are to see to it that the 
Bible is spread to millions of 
listeners through the medium of 
the radio. Their knowledge and 
experience is a guarantee that 
the eternal truths of the Bible re- 
main unimpaired in the radio 

The importance of religion and 
the Bible today is sharply demon- 
strated by the public reception to 
"Light of the World." Unsettled 
world conditions have emphasized 
the eternal values of the Bible. 
There is no begging the fact that 
the halo surrounding The Book 
has obscured for many of us the 
truth, beauty, and drama inherent 
in the Scriptures. In the medium 
of radio, we do our humble best 
to present these tales so that they 
relate a continued dramatic story, 
and are freighted with the eternal 
messages of the Prophets. Writ- 
ten most poetically and dramati- 
cally, many Bible passages lend 
themselves easily to broadcasting 
technique. Other passages have 
to be adapted so that they retain 
the original story and message, 
but form consistent dramatic uni- 

Considering the use made of 
the Bible in other arts, it is odd 
that radio should have come so 
late to this source. Painting, 
sculpture, and architecture have 
stemmed directly from attempts 
to depict the stories in the Bible, 
and emphasize their moralities for 
mankind often in terms as con- 
temporary to their period as ra- 
dio is to this age. The Italian 
and Flemish artists, for example, 
painted from models with features 
and clothes of their time in de- 
picting Bible scenes, remaining 
faithful to the essence of the sto- 
ries. The novelists, including 
such diverse writers as Kingsley, 
Anatole France, and George 
Moore, have been ceaselessly fas- 
cinated by the Scriptures. Play- 
wrights ranging from the anony- 
mous authors of the mediaeval 
Morality Plays to Eugene O'Neill, 
George Bernard Shaw, and Jerome 
K. Jerome, have coped with some 
of the tremendous dramatic situ- 
ations enacted in the Scriptures. 
Some of the more ambitious mo- 
tion pictures hove been based 
upon Biblical incidents. It is high 
time for this radio interpretation 
of the Book ... a Book that has 
affected all mankind for thou- 
sands of years and shaped the 
form of human society. 

We find that our radio Story of 
the Bible, "Light of the World," 
has endless fascination for our 
listeners, the same fascination 
that held enthralled the first men 
and women who heard the Bible 

"Light of the World" is heard 
daily Mon.-Fri., 1:00-1:15 p.m. 
GST on NBC, sponsored by Gen- 
eral Mills, Inc., for Softasilk Coke 




Woody Guthrie and Margaret "Honey Chile" Johnson sing real 
old-time folk ballads on the CBS network show, "Back Where I Come 
From," heard on Monday, Wednesday and Friday at 9:30 P.M. CST. 
Woody hails from Oklahoma and "Honey Chile" got her southern accent 
in the state of Texas, but the folksongs they sing come from the four 
corners of the continent. If "Honey Chile's" face looks familiar to you, 
you may have seen it in a magazine ad — she^s also a professional model. 

Page 7 

I'm a Hollywood 

By Bob Burns 

(As told to Joe Alvin) 

It must have been an Uncle Fud story 
that made this mule Hee-Haw. 

Farmer Burns just shows one of his sugar beets In- 
stead of bragging about them — Like everything else in 
Hollywood, they're colossal. 

T WANT to tell you how it feels 
to be a Hollywood Farmer. A lot 
of folks think that being a farmer 
in the same town with Hedy 
Lomorr and Madeleine Carroll is 
awfully funny. They even say 
that movie and radio folks buy 
themselves ranches in San Fer- 
nando Valley so the people would 
think they're real. Well, I'll tell 
you. When I get through with 
my work on the Kraft Music Hall 
Thursday night and drive up to 
my ranch house in Canoga Park 
thirty minutes later, it almost 
makes a poet out of me. It's just 
about sunset time, and the peace 
of twilight is spreading over the 

Page 8 

land, every acre of it mine. It's 
just too wonderful for ordinary 
words. It makes me feel almighty 
thankful that I'm alive and just 
plain glad that God gave me the 
talent with which to earn the 
money to invest in land. 

I've wanted to be a farmer all 
my life, and farming is right in 
my blood. Like every boy in the 
world, I've had my share of 
wanderlust. I've bummed and 
worked around the country and 
I've done my shore of travelling 
all through the east and west. 
I've worked at odd jobs in small 
and big towns, I've . tried the life 

of a soldier with the U. S. Marines 
and I've done my share of troup- 
ing in the show business. But all 
that couldn't take the hankering 
out of me to get back and dig in 
the soil like we used to do when 
I was a boy in Von Buren. It 
wasn't until I finally got to Holly- 
wood and got settled working in 
radio and in pictures that I got 
right down to brass, tacks and 
realized what I really wanted out 
of life. I had a nice home that 
was plenty comfortable and 
peaceful but in Stone canyon. 
There was room enough for all 
of us, and there were trees and 
movmtains around, but there was 


Acres and acres of sugar beets ready for harvest are 
plenty compensation for Bob's toil. Bob uses mules for 
most of the farm work, and has a thorough knowledge of 
how to harness them. 

something missing. It took me a 
long time to figure out, and when 
I did, I wondered why it took me 
so long when it was so simple. 
What I really wanted was land, 
land that I could dig into and 
plant things in and then watch 
them grow. 

I began buying land, acre by 
acre, in what I think is the prettiest 
spot in this section of the county. 
It's a district called Canoga Pork, 
thirty minutes by car from Holly- 
wood, close enough to get to the 
NBC or movie studios in a hurry, 
but far enough from the city and 

studio atmosphere to make us 
completely at ease. There are 
trees and mountains all around 
and there isn't a dull spot on the 
whole horizon. And I wouldn't 
be lyin' if I said it's as pretty as 
a picture. But there was a better 
reason why I decided to buy in 
Canoga Park. The land was rich 
and productive. 

Maybe it's because down 
where I come from in Arkansas 
we had to make a living out of 
the soil, like farmers everywhere 
have to do unless they're gentle- 
man fanners, but I just ain't got 

any use for land you can't grow 
things on. As much as I like land 
and soil, I wouldn't give you a 
dime for land that dcn't produce. 
Land to me is like a living thing 
like a human being. It's get to be 
useful. It's got to give a man oack 
something for his sweat and his 
pains. Now, I don't mean to say 
that there aren't fine human be- 
ings who don't produce. Maybe 
they never had a chance. Land 
is like that too. It won't prcduce 
unless it's given a chance. 
Well, I took that land of mine 

(Continued on page 23) 



'wr-!^»^jc\-.',-«««5j|, _. ^ 

This is Bob Burns' new ranch home in California with modern out buildings. It's a dream house Bob began to 
think about way back in Van Buren County, with a few Hollywood touches thrown in. 



Page 9 

Among the wordmen at the NBC Central Division are the above pictured gentlemen, 
rear left to right: Durward Xirby, Cleve Conway, Verl Thomson and Norman 
Barry; Seated, left to right: Lynn Brandt, Fort Pearson, Bob Brown and Charles Lyon. 

Radio's Super Salesman 

By Dan Thompson 

Salesmen of a modern age are 
the announcers of a radio pro- 
gram. Adept at voicing the 
written sales arguments of the 
.many sponsors of radio shows, 
these men know rules of accent, 
syllabification, proper breathing, 
pause and color as intimately as 
actors and singers. As a matter 
of fact many of them have had 
training on the stage. Few of 
them ever reach the networks — 
which correspond to the big 
leagues in baseball — without 
having served time in the minors 
— i. e., small radio stations. 

Let's look at the record of the 
eight NBC announcers pictured 
above. Kirby. for instance, was 
born in Kentucky and came to 

Page 10 

NBC via WBAA at Purdue and 
Indianapolis and Cincinnati sta- 
tions. He made his radio debut 
as a singer at Purdue. Blue-eyed 
and blonde, he is 6 feet 4 inches 
tall, weighs 185 pounds. He was 
bom August 24, 1912 and, in ad- 
dition to being heard as Ransom 
Sherman's stooge on Club Mati- 
nee, announces Lone Journey and 
the W E N R 10 o'clock final 
Walgreen show. 

CONWAY, whose real name is 
Kleve Kirby, gave up his legit- 
imate name because of Durward 
Kirby' s priority claims at NBC. As 
Kleve Kirby, Cleve Conway 
served "time" at WWL, New 
Orleans, before coming to NBC in 
April 1940. You can hear him on 
the Roy Shield Encore and Sach's 
News programs. 

THOMSON entered broadcast- 
ing as a singer over W C F L, 
though he had broadcast prior to 
that as an amateur over WFAT 
in Sioux Falls in 1923. He has 
also worked at WXYZ, at KSOO- 
KELO as program director, and 
WIND. He came to NBC in 1937. 

BARRY, newscaster for Man- 
hattan Soap, and one of several 
Club Matinee announcers, is 31 
years old and an ex-sailor. He 
was a bass baritone for a time 
with Don Irwin's orchestra, 
worked at WIBO and came to 
NBC in 1934. He is grandson of 
Mother Lake, considered one of 
greatest platform lecturers in her 
day. He is 6 feet 2 inches tall, 
weighs 175. 

(Continued on page 23) 

The WDZ Screw Ball Club 

DADIO'S biggest little band, "The 
WDZ Screw Ball Club", pro- 
vides entertainment that delights 
the young and old alike. 

They are pictured above just as 
they appear in the studio each 
afternoon for their rollicking jam 
session and informal discussion of 
the most whimsical events of the 
day. The band was organized 
here at WDZ less than a year ago 
by Dippy Johnston (seated on the 
piano), who came to this station 
as Musical Director, after a career 
in the music business with some 
of the biggest band leaders in 
the country, plus a Chicago band 
of his own, which he organized 
and directed in 1933 and 1934. 

According to Dippy, their win- 
ter schedule Includes a great deal 

of dance and show work outside 
their regular radio activities. 

Curly Bray, competent bass 
player, better known to the Screw 
Ball fans as "Dog House Cur ley", 
is the possessor of a very pleas- 
ing Irish tenor voice. 

Ciorl Poulton, jovially referred to 
as ' Six String Gerty" on the show, 
was born in West Virginia, a hill- 
billy as exemplified by his com- 
positions, "When It's Lamp-Light- 
in' Time In The Valley", "We'll 
Rest At The End Of The Trail", 
and his most recent release, pub- 
lished by Broadcast Music, Inc. 
"There's An Old Easy Chair By 
The Fire Place". Curt's rendition 
of his own niimbers is a welcome 
addition to the versatility of this 




splendid organization. 

Bashful Bob Mills, Pianist and 
staff Accordionist is a thorough 
musicicTP. and fills that position 
most competently. 

"Fish Horn Buddie", Bud Carter, 
his real name, hails from Southern 
Illinois where he claims he learned 
to play saxophone as the line of 
least resistance. Bud weights only 
96 pounds and takes considerable 
pushing around both verbally and 

The Screw Ball Chib is truly a 
program of merit in that it is en- 
tirely different from any show yet 
devised, and its ten thousand paid 
members bespeaks the value of 
such a program on any radio sta- 

Page 1 1 







. (■ 












ami 4l^4 ' . 



l^: /;;/ 

A Star Is Made 

The Talent Scouts and Publicity 
Dep't of NBC Artist Service 
Build the Stars of Tomorrow 

"Old-fashioned! '.' said c;ne 
critic looking her over from head 
to toe. "Not enough poise," re- 
marked a second sage. "She 
simply lacks that certain some- 
thing," was the verdict of obser- 
ver number three. 

Eyeing the pretty, raven-tressed 
lass who had just trilled the last 
notes of a stuffy operatic aria, 
the talent scout shook his head. 
"For the present", he replied, "You 
may be right. But I like that feel- 
ing in her voice. And her looks 
and figure aren't exactly to be 

During her radio days when Lillian 
Cornell posed for pictures, the Chicago 
Cubs were photographed the same day. 
Her managers dreamed up the Idea of 
Lillian posing as the mascot of the 
Chicago Cubs baseball team. As a result 
of these pictures Lillian gained national 

sneered atl No — we'll keep her. 
And just wait'll we put a warble 
in her voice and a spark into her 
personality! Wait'll the build-up 
begins! She'll wow 'em! Mark 
my words — someday Lillian Ma- 
chuda will be a name known to 
every radio and movie fan in the 

Well, the talent scout's actual 
prophecy is impossible now, for 
the first action taken by Lillian's 

Page 14 

managers, the NBC Artists Ser- 
vice, was to change her name 
trom Machuda to Cornell — the 
one we know her by today. 

And after deciding her voice 
was fashioned for popular music 
rather than the classics, the next 
step in their campaign to make 
Lillian Cornell famous was to dis- 
patch her to a voice teacher ex- 
perienced in light musical veins, 
who taught her the intricacies of 
popular rhythms. 

Soon the time arrived for her 
first real step up the ladder of 
success. Artists Service assigned 
Lillian to a few local radio spots 
where the songstress acquired the 
"mike technique" experience es- 
sential for a network debut. Then 
spots on two popular Chicago 
programs, the NBC Jamboree and 
Club Matinee, were obtained for 
her to display her talents. 

Meanwhile two powerful "build- 
up" forces were working for Lil- 
lian Cornell. The contract she. 
had signed with NBC Artists Ser- 
vice to manage her career cov- 
ered more than mere business 
routines. Clothes, friendships and 
recreation all called for their 
knowing counsels. The right 
places had to be frequented and 
the right people met. Clothes had 
to be streamlined to her personal- 
ity — all in all, everything de- 
signed to type her as a glamor- 
ous radio songstress was stren- 
uously plugged. 

The piiblicity departments of 
Artists Service and NBC mean- 
while had also swung into action. 
One of their first actions was to 
photograph their charge from 
every concievable angle and in 
scores of different costumes. Ac- 
companied by fitting sheafs of 
publicity copy, photos of Lillian 
Cornell posing as the ideal ten- 
nis player, the typical mermaid, 
the college boy's dream, ad in- 
finitum, flooded newspaper and 
magazine offices throughout the 
nation. Lillian's managers even 
arranged to have her picture taken 

as mascot (fully uniformed!) of 
the Chicago Cubs! 

While all this was going on, 
Lillian was appearing on more 
and more sustaining radio pro- 
grams. As her fan mail rose and 
her personality became etched on 
the public mind, she began to re- 
ceive top billing with greater fre- 
quency. Eventually her break 
came — in form of a bathing-suit 
picture, published in a radio fan 
magazine, which created quite 
a stir amongst HoUywoods movie 
producers, and led to urgent de- 
mands for auditions. 


Dorothy Lamour, made famous by a 
scanty piece of colored cloth — the sarong. 

Since Lillian's radio commit- 
ments in Chicago prohibited a 
personal Hollywood appearance, 
her managers arranged a cock- 
tail party in the movie mecca, at 
which an audition of Lillian's voice 
was heard by special wire from 
the Windy City . . . The rest is his- 
tory. The large public following 
of the songstress plus her looks 
plus her figure plus her singing 



and acting talent led to an im- 
mediate contract with Paramount, 
and a few months later Lillian 
Cornell appeared high up in the 
Dramatis Personae of "Bucky Ben- 
ny Rides Again!" 

Although our heroine has not 
yet reached the "star" class, she's 
definitely on the way. Rapidly, 
too. Her movies, as they appear, 
will win her larger and loyaler 
audiences, as her series of sus- 
taining assignments did for her 
radio career. She has already 
appeared in four pictures, soon to 
be released, since "Buck Benny": 
"Dancing on a Dime," "Rhythm 
on the River," "Kiss the Boys 
Goodbye" and "Touchdown." 

All of which isn't to say that 
anyone with talent can be "built 
up to Lillian Cornell's proportions. 
For mere ability abounds today in 
the entertainment world. 

But one of the most elusive 
things in the world of talent is cm 
individuality that appeals to the 
public. That is what the scout 
has to keep his eyes peeled for 
in addition to personality, physi- 
cal charm and voice. Arresting 
individuality. That's what the 
talent scout perceived in Lillian 
Cornell with the clairvoyance that 
only successful scouts possess. 
Then, once the catch was made, 
began his real job: to sharpen 
that individuality and through 
continual radio spots and an ac- 
companying flood of publicity to 
etch her personality deep on the 
public's collective mind. 

All of which is a trying, pain- 
staking task, calling for canny in- 
sight inio fickle public tastes and 
understanding of the panics and 
brainstorms of the show business. 
Anyone from NBC's Artists Service 
Bureau — the men who discover 
and develop divas, ballerinas, tap 
dancers, mystery writers, cowboy 
singers, symphonic conductors, 
diaJecticians, ad finitum — will 
vouch for that. 

Although night clubs, hotels and 
theatres are sources offering a 
vast amount of talent to radio, 
the biggest slice of radio's bigtime 
talent comes from small stations 
around the country. When a 
rarticu-arly fine voice is heard by 
a scout, its possessor is investi- 
gated, and if the necessary abi- 

lity and individuality is there, he 
(or she) is taken to Chicago, Hol- 
lywood or New York's Radio City 
for an audition. Then, if the re- 
sults are successful, begins the 
"typing," the press campaign, the 
whole general buildup. Movie, 
radio and gossip columns are 
plugged. New fashion styles are 
watched, and sometimes the ar- 
tist's manager con even get a 
new style named after his charge. 
In some cases, even a color is 
named after a star, witness Gene- 
vieve Blue — after the party bear- 
ing that monicker on the "Amos 
claims: "Heavens, look how So- 
And-So came from nowhere and 
jumped suddenly into stardom!" 
— we hope you'll know the an- 
swer. For looking back over the 
case histories given, it is obvious 
that the management of radio ar- 
tists figures extensively in their 
lise from obscurity to the cream 
c-i the vast radio crop. 
and Andy" program. 

Dorothy Lamoijr is an outstand- 
ing example of a radio artist who 
benefitted immeasurably by an 
extensive build-up. Artists Ser- 
vice "found" her while she was 
singing with a Chicago bond, 
placed her under contract, and 
planned her career with the re- 
sult that she eventually became 
one of the most outstanding screen 
and radio personalities of our 
day. Lamour's publicity centered 
around her breathtaking glamour, 
and she was billed as the 
"Dreamer of Songs." 

The history of Lucille Manners 
sounds like a Horatio Alger story. 
Sometimes the vital role played 
by the artist's manager is over- 
looked in cases of her sort. A 
fifteen-doUar-a-week stenographer 
in Newark, Miss Manners missed 
many meals in order to pay for 
her coveted voice lessons. Even- 
tually she landed a spot on a 
local New Jersey radio program 
and later an audition at NBC, 
where she was given an assign- 
ment on a small sustaining pro- 

Meanwhile the Artists Service 
Bureau was building her up 
through guest appearances with 
popular concert orchestras. In 
1933, this build-up, together with 
Miss Manners' natural talent, 
qualified her as the summer sxob- 

stitute for the Cities Service Con- 
ceits. A few years later. Miss 
Manners became the regular Fri- 
day night soloist for the Cities 
Service Concerts! 

Wonder why the blonde sopra- 
no is referred to as Miss Manners? 
Well, it's a result of her build-up. 
Just as people associate the words 
Dorothy Lamour and sarong (they 
ore inseperable, aren't they?), they 
synonymize Lucille Manners, in 
their mind's eye, with good man- 
ners, satiny evening gowns and 
a personality sweet and sedate. 
Each Friday night she appears 
before the studio audience gor- 
geously gowned. Colored spot- 
lights play on her face. The at- 
mosphere is permeated with aus- 
terity. And well knowing that he 
must perpetuate the piiblic con- 
ception of his client, Lucille Man- 
ners' manager sees to it that her 
photos convey the same impres- 
sion of sweet dignity. 

An entirely different approach 
is being used in building up a 
songstress you'll hear a mighty 
lot about before long. Her name 
is Yvette, and she sings French 
and American tunes in a pert and 
saucy manner. Petit, blonde and 
vivacious, Yvette lives the part 
she plays on the air. For NBC 
Artists Service, realizing that they 
have created an arresting perso- 
nality different from all others as 
well as one that has caught the 
fickle public's fancy, will see to 
it that Yvette stays that way! 

Dinah Shore is another yoimg- 
stor clambering up the success- 
ladder. Dinah was brought to 
Radio City from a small Nashville 
station where she sang while stud- 
ying at Vanderbilt University. She 
was developed by her Artists Ser 
vice into the dreamy Southern 
type. Langour, not glamour, was 
her groove. First she was given 
a sustaining spot on NBC, and at 
present her wisteria-laden croon- 
ing is making her a favorite with 
network audiences. She sings 
every Sunday afternoon now with 
"The Chamber Music Society of 
Lower Basin Street." Unless all 
signs fail, she will star one day on 
a topflight commercial program. 
When that happens don't plant all 
the credit on her pretty head. Save 
a kudo for her builder-upper man- 


Page 15 


YES, THE Doughboys hob-nob 
with the luminaries of stage, 
screen and radio and why not? 
They've made many stage ap- 
pearances themselves and every 
day their studio in the Burrus Mill, 
seven miles north of Fort Worth, is 
jammed with folks who have 
heard their shows on Station 
WBAP and Texas Quality Net- 
work. As for screen endeavor the 
gang, led by tall, dark and hand- 
some Parker Willson, has ap- 
peared in such jumping tintypes 
as "Oh Suzannah" and "The Big 
Show." They backed up Cinema 
Star Gene Autry in more ways 
than cne in these pictures. And 
as far as radio is concerned the 
boys have been singing and 
playing for the electric ears of 
radio since 1923. 

The Doughboys own and op- 
erate a streamlined sound truck 
in the neighborhood ot a city 
block in length. It's air condi- 
tioned and serves as a studio 
when the boys are on the road. 
Western Electric' s latest sound 
equipment is used throughout. Not 
so long ago, the Doughboys, all 
seven of them, took to tne air 
literally as they chartered Bra- 
niff's largest airliner for a jaunt 
into Oklahoma. It seems as 
though their bus wasn't fast 
enough and the gang voted on 
the ether highway route full well 
knowing that their leader, Parker 
Willson, suffers air sickness even 
while standing atop a Texas 

Last year Texas' own Mary 
Martin came to town. Mary had 
just stepped from the silver screen 
showing of "The Great Waltz". 
Did she apoectr with the local 
Town Hall Grouo? Did she sing 
•with the Fort Worth Symphony? 
Absolutely not. Much to every- 
one's surprise, including Mary's 
own pretty surprise, she found 
herself singing popular ditties w'th 
Parker Willson's "Bring-Em-In- 
.^live" gang. 

Last September Samuel Gold- 
wyn's gigantic, s u p e r - colossal 
spectacle, "The Westerner," star- 
ring Gary Cooper, Doris Daven- 
port and Walter Brennan, had its 
world premiere in Fort Worth. 
Plans for entertaining the visiting 
stors had been laid for many 

Page 16 

Join the Light Crust 

Dough Boys 
— and See the World 

Well, not exactly, maybe, but 
anyway if you're a member of the 
Burrus Mill & Elevator Company's 
Doughboy musical combination 
you'll cover a lot of territory. And 
when not going to Hollywood or 
the East coast various and sundry 
notables who compose the more 
illustrous citizenry of these re- 
gions — visit the Doughboys. 



\ lEmntK 

Gary Cooper does his bit for the Light Crust Dough- 
boys' audience as Parker Willson, Doughboys' mentor, 
looks on approvingly from the right. 


Here we see Film Star Charlie Ruggles with Publish- 
er Amon Carter in white hat. 

Bob Hope, Pepsodent's ether salesman, speaks his 
part while the slightly baldish gent on the left looking on 
is Samuel Goldwyn. 


weeks ahead. The entire recep- 
tion crew of Ideal dignataries 
were on hand to greet the three 
airplanes and their platinum- 
plated contents. Texas Rangers 
sat astride their steeds with alert- 
ness while the mayor and his 
company hung on to their steeds 
for dear life and hoped for the 

Did the movie kings and queens 
follow the police escort straight 
into the waiting sport mcdel lux- 
ury liners? Did the flicker heroes 
and heroines escape via the Air- 
port's Administration Building and 
its side door? Absolutely not! 
Gary Cooper, Walter Brennon, 
Bob Hope, Bruce Cabot, Doris 
Davenport, Charlie Ruggles, 
Edward Arnold, Lillian Bond, etc., 
headed by Producer Samuel Gold- 
wyn, were corralled by "Jessie 
James" Parker Willson and his 
merry bond of Light Crust "out- 
laws" and steered for the Dough- 
boys bus. From this point the 
airport broadcast originated and 
was carried by Station KGKO, 
5,000 watt little brother to WBAP, 
it's Fort Worth Star-Telegram 
50,000 watt big brother. 

Along about noon-time of this 
same September day, the most 
eventfull in Fort Worth's visiting 
celebrity history, Amon Carter, 
genial Star-Telegram publisher, 
dined the notables at the fashion- 
able and exclusive Fort Worth 
Club. It was an invitation affair 
with few invitations. Only the 
"really somebodys" passed 
through the Club's sacred pre- 

When 12:30 p. m. rolled around 
and the guests had filled their 
illustrous tummies, up popped — 
not Yehudi — but a whole crew 
of Yehudi's in the form of Willson 
and his Doughboys. In less time 
than it takes to run down another 
pedestrian Gary Cooper and his 
crowd were speaking their bits 
for the Light Crust audience from 
the Texas caprock in the Lone 
Star State's Panhandle to the 
Gulf's silvery sands. Some folks 
murmured: "Such crustl" 

Master of Ceremonies Willson 
never missed a word of the script 
as he cast this aside: "Yes ladies, 
it's good old Light Crustl" 

Page 17 

Page 18 


From Stage Boards 

to Bread Boards! 

From stage boards to bread boards 
might seem a broad iump, but it has 
been no feat for versatile Doris Bich- 

II S DORIS MOORE, home econ- 
omist and commentator, she 
points out to women listeners that 
home baking is easy, simple and 
economical. Her vivid descrip- 
tions of piping hot Parker House 
rolls fresh from the oven, or cin- 
namon rolls dripping with hot 
butter and sugar, both made with 
fast, granular Maca yeast, have 
started many a housewife run- 
ning to the kitchen to surprise her 
husband with the almost-forgotten 
rolls "like Mother used to make." 

As Doris Rich, daughter of the 
founder of the Boston Women's 
Symphony orchestra, and a vete- 
ran musician while still in her 
teens, she lived in a trunk or 
stage dressing room lontil she set- 
tled down to radio work in Chi- 
cago two years ago. 

Having a permanent home for 
the first time in her life, she set 
out to make it charming, expres- 
sive of her personality — the sort 
of home that every woman with 
a spark of individuality dreams 
of. Miss Rich found her self-ex- 
pression simple — an indulgence 
in antiques. 

Her transformation to home 
economist has not been confined 
to her role on the air. She has 
become an expert on breadmak- 
ing and hostess whose Italian 
spaghetti and Chicken Tetrazin- 
ni, served in her antique copper 
Russian milk pan, along with Ital- 

ian breadsticks, are famous in 
radio circles. 

Inaugurated last spring as a 
local test-program, "Songs of a 
Dreamer" has gone notional, with 
WLS and a series of stations from 
coast to coast broadcasting the 
show. Prime purpose of the pro- 
gram is to accelerate the "back 
to baking" trend in American 
homes. Gene Baker, baritone, 
weaves bits of home-spun phil- 
osophy into his poetic narrations, 
roimds out his songs with a 
"thought for the day." A musical 
background fitting each perfor- 
mance is provided by Larry Lar- 
sen at the organ. 

Miss Rich's background in dra- 
ma and music is more than ex- 
tensive — it occupies a life time. 
Her father, Henry H, Rich, had 
her studying piano at seven years 
of age, and the flute at nine. He 
was determined that his daughter 
should become a musician. At 
1 5 she was playing with the Roch- 
ester Symphony orchestra. Miss 
Rich recalls that she was 1 1 years 
old when she earned her first 
money — six dollars for a two- 
hour performance on the flute, 
and which she promptly spent for 
a front-lace corset. This was be- 
cause a young lady whose figure 
she admired had told her that 
she owed her own splendid curves 
to such a garment. 

At seven Doris Rich had a role 
in a benefit play, and was struck 


iDoris Rich, home economist known as Doris Moore on the 
""Northwestern Yeast Company radio show, "Songs of a Dream- 

er," on WLS, Chicago, and other stations, and expert on Maca bread- 
making, demonstrates a test that determines whether bread has properly 
risen. She presses her finger into the dough. If the dough holds a dent 
without springing back, it is "ready." Miss Rich uses art antique bread 
proofing box from colonial days for raising her dough. 

with stage fever. In spite of pa- 
rental objections she entered some 
years later the American Acad- 
emy of Dramatic Arts, determined 
to become an actress. That she 
attained her ambition is obvious in 
a glance at a record o^her roles 
in the succeeding years. 

She was Prudence in "Camille," 
in both the Jane Cowl and Eva 
LeGallienne productions; Maria in 
Jane Cowl's "Twelfth Night"; 
Clytemnestra in "Electro" with 
Blanche Yurka. She played Ib- 
sen with LeGollienne on Brood- 
way, and on the road. In "The 
Constant Wife" she appeared 
with Ethel Borrymore, and in 
Broadway productions starring 
Margaret Anglin, Pot O'Brien and 
Spencer Trocy. Her lost appear- 
ance in Chicogo in the legitimate 
theater was with the Lunts in "The 
Taming of the Shrew." 

For ten years, off and on, she 
had radio ports in such ploys os 
"Rich Man's Darling," and "Loren- 
zo Jones," and for 26 weeks she 
played over the oir on Ethel Bar- 
rymore's series, "Great Ploys." 
Then two years ogo she settled 
down to radio permanently as 
Houseboat Hannah, and subse- 
quently was selected to ploy Dor- 
is Moore for Northwestern Yeost 

She has mode o hobby and a 
home collecting Early English and 
American Colonial antiques. Her 
particular prizes, among o well- 
bolonced collection that hos 
caught the eye of more than one 
antiquarion, include an old linen 
press, used now as o toble — 
a spice box which hangs on the 
woll — on English tea table of 
1790, complete with locks — a 
sailor's sea safe with a tiny, but 
efficient combinotion lock — o cob- 
bler's bench — o Lozy Susan tea 
toble — a rosewood music stond 
— and o small but fine China 
collection of Edward VIII pieces. 
Her Russian milk pan is just one 
of a large collection of antique 
cooking vessels of bross and cop- 

The only note from Broadway 
is o miniature theotricol collboord, 
tucked owoy in on out-of-the-way 
comer of her oportment, v^here 
several old press notices are dis- 
played. Among these ore two 
about Sarah Bernhardt. 


Page 19 

Jane Alden 


This ioimer 4-H Club girl from an Iowa farm has 
attended European salon style openings, attends all 
the American openings, and as a leading American 
stylist today interprets personal and home styles for 
the radio audience over WLS, Chicago. 

QNCE UPON a time, and not so 
long ago, either, "well-dressed 
women of America thought fash- 
ions might come from anywhere, 
but style — ah., style — that had 
to come from Paris I 

That is what Jane Alden 
thought, too — ion til she took a 
trip to Paris. She knew that the 
American girl had a style of her 
own, and believed she should 
have a style of dress of her own. 
So she returned to America and 
embarked on a career of inform- 
ing American women on style. 

Jane Alden was bom on a farm 
in Iowa and engaged as a girl in 
4-H Club activities, like so many 
girls living on forms today. But 
Jane Alden has vision; she wanted 
to bring style to the girls on the 
farms of America. She, too, went 
to Paris, to observe the fine points 
of style, and today Jane Alden is 
known to millions as the woman 
who dresses the farmer's daugh- 
ter. And certainly, thanks to radio 
and motion pictures, the farmer's 
daughter today wants to be 
dressed in up-to-the minute fash- 

As stylist for the Chicago Mail 
Order Company, Jane Alden con- 
ducts her own radio program over 
WLS, Chicago, at 10:30 A. M. 
Tuesdays, Thursdays and Satur- 

Miss Alden's gay, chatty talks 
have proved inspiring to many 
housewives, since her down-to- 
earth advice on personal care and 
charm, as well as on good groom- 
ilig for the home are practical and 
workable on limited budgets. The 
secret of her appeal is the bold, 
straight-forward way in which she 
blasts through the snobbishness 
of staging which characterizes 
many presentations of Paris, New 
York and Hollywood designers. 
Miss Alden talks in the plain, Mid- 
Western manner, picks out the 
styles she thinks practical for 
American women. She is smart 
and clever, but her attitude toward 
styles is refreshingly direct. 

In her broadcasts, entitled 

Page 20 


"Fashions for Living", Jane Alden 
discusses the fashion ideas/ of 
famous and interesting personal- 
ities whom she has interviewed 
especially to report to her radio 
audience. Among those whose 
interviews are to be reported are 
Kate Smith, the Grand Duchess 
Marie, Antoinette Donnelly, Or- 
chestra Leader Griff Williams, 
Prince Obolensky, Mrs. Eleanor 
Roosevelt and Joan Blaine, the 
radio actress. 

When Jane Alden interviewed 
Joan Blaine, they found they had 
a lot in common, for they grew 
up on neighboring Iowa farms. 
Miss Alden lived on a 500-acre 
farm near Fort Dodge, wnere she 
grew up with her five sisters. She 
still remembers the cold Iowa 
winters, how when the men would 
come in the girlsi would yell 
"Close the door," and hurry to put 
the rug back against the crack 
between the door and the floor, 
where the wind and snow whis- 

tled in and sent icy shivers up 
their backs. 

She well remembers how, on 
rainy days she and her lour sis- 
ters would cut out and color the 
paper dolls in the magazines. But 
it was the fine weather little Jane 
Alden really liked, the days when 
she could be out on her Shetland 
pony, romping over the rolling 
farmland. It was, however, best 
to stay away from the farmyard 
with her pony. For whenever Aunt 
Sally saw her in such boyish pur- 
suits. Auntie would call her in for 
a lesson in mending or darning 
socks, with a warning that she 
had to learn to be a lady. It was 
Aunt Sally, too, who gave her 
one of her first lessons in styling. 

Another early lesson, too, came 
from Aiont Sally. Jane was fas- 
cinated by the variety and beauty 
of a neighbor's clothes. She chat- 
tered away to her Aunt about 
them. But wise Aunt Sally only 
nodded her head and answered: 
"She should have nice clothes. 
Every cent she has, she puts on 
her back. But you ought to see 
her house." 

And today, Jane Alden, stylist, 
gives a large part of her broad- 
cast time to discussion of home 
furnishing, as well as to clothes 
style and personal charm. 

This Iowa farm girl has grown 
to be a style leader, a true sophis- 
ticate. She attends all major style 
openings in this country, and 
before the war, all those in Eu- 
rope, including the openings of 
the swank salons along famous 
Parisian boulevards. 

But for all her smart style, Jane 
Alden is still a home girl, prac- 
tical and unspoiled. One of her 
pet peeves is the heavy smear of 
lipstick some women use — then 
leave most of it on the rim of a 
glass or coffee cup. And Jane 
Alden still loves to get back to the 
home farm in Iowa, to rest and 
visit with her sisters and to talk 
with 4-H Club girls about their 
dress problems. 


The regulars oi the Ouachita Roundup, heard from KTHS, Hot Springs, each Tuesday night. From 
left to right: with leis around their necks, the Easterlies:; standing, Carl, Lulubelle, Truman, Pee 
Wee and Cotton, the Skyliners: second from the right, Ed Appier. The remainder are members 
of Cowboy Jack's Prairie Pals. In addition to the regulars, from fifteen to thirty guests appear on 
the Roundup each week. 


the successor to a barn dance- 
type of show which has been 
featured on KTHS, Hot Springs, 
weekly for the past thirteen years. 
Originally scheduled as a Barn 
Dance, the program was first con- 
ducted by Campbell Arnoux in 
1929 and was broadcast from the 
studio of KTHS until the spring 
of 1938 when the show was re- 
named the Country Store and 
moved to the city auditorium. 

During its colorful existence the 
feature has presented many not- 
ables and practically all the out- 
standing hillbilly and cowboy acts 
of the Southwest. 

At one time, the Country Store, 
as it was then called was deluged 
with rabbit's feet. During a per- 
formance one night, Ed Appier, 
who then served as master of 

ceremonies, made great formality 
of hanging a rabbit's foot on the 
microphone. Within a month he 
had received rabbit's feet from 
thirty states. The collection in- 
cluded every size bunny tootsie 
from the tiny red rabbit in Georgia 
to the great Snowshoe rabbit. The 
response wasn't entirely limited to 
the feet of rabbits. A bass fiddle 
was adorned with two mule-sized 
ears from a Texas jack for many 

In the spring of 1938, the Coun- 
try Store had grown to such pro- 
portions that acts were run into 
the studio for broadcast in relays, 
so the stage of the city auditorium 
was set to simulate a Country 
Store and the show moved there 
with the public invited to attend. 

Shortly afterward, in an effort 
to give the program a distinctive 

name it was renamed the Ouachi- 
ta Roundup after the Ouachita 
National Forest near which Hot 
Springs is located. The setting 
now includes a campfire, a chuck 
wagon and bales of straw. 

Everett Kemp succeeded Ed Ap- 
pier as master of ceremonies and 
Pee Wee Roberts took over in 
1939. The Ouachita Roundup, one 
of the oldest shows of its kind 
on the air, has moved from night 
to night and had many changes 
in talent, but it continues to attract 
a nationwide audience. Frequent- 
ly cards are received from listen- 
ers who have never missed a 

The Ouachita Roundup is cur- 
rently heard from KTHS, Hot 
Springs, at 9:05 P.M. Tuesday 
nights. ■ 



Pag- 2! 

Tommy Dorsey (right) NBC's "Sentimental Gentleman of Swing," 
goes over the script of his new series with his featured vocalists Connie 
Haines and Frank Sinatra. Tommy and his popular gang are heard over 
the NBC-Blue network Thursdays In a musical show called "Fame and 

Charles Penman in the dual role of director and leading man "John 
Fairchild" in CBS's "Stepmother" serial gives a bit of advice to Barbara 
Fuller (Peg Fairchild) and Janet Logan (Kay Fairchild). 

Poge 22 

Statement Of The Ownership, Man- 
agement, Circulation, Etc., Required 
By The Acts Of Congress Of August 

24, 1912, And March 3, 1933. 
Of RADIO VARIETIES published monthly 
at Chicago, III. for October I. 1940. 

State of Illinois,, County of Cook — ss. 

Before me, a notary public in and for the 
State and county aforesaid, personally ap- 
peared F. L. Rosenthal, who, having been 
duly sworn according to law, deposes and 
says that he is the Publisher of the RADIO 
VARIETIES and that the following is, to 
the best of his knowledge and belief, a true 
statement of the ownership, management 
(and if a daily paper, the circulation), 
etc., of the aforesaid publication for the 
date shown in the above caption, required 
by the Act of August 24, 1912, as amended 
by the Act of March 3, 1933, embodied in 
section 53 7, Postal Laws and Regulations, 
printed on the reverse side of this form, 
to wit: 

1 . That the names and addresses of the 
publisher, editor, managing editor, and 
business managers are; 

Publisher — F. L. Rosenthal, 1056 Van 

Buren Street 
Editor — Wilton Rosenthal. 1056 Van 

Buren Street. 
Managing Editor — None. 
Business Managers — None. 

2. That 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 own- 
ing or holding one per cent 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 firm, company, or other unin- 
corporated concern, its name and address. 
a.5 well as those of each individual member, 
must be given.) 

F. L. Rosenthal, 115 S. Illinois Ave., Villa 
Pk., III.; Wilton Rosenthal, 3270 Lake 
Shore Drive, Chicago, 111. 

3. That the known bondholders, mort- 
gagees, and other security holders owning 
or holding 1 per cent or more of total 
amount of bonds, mortgages, or other 
securities are: (If there are none, so state.) 

4. That the two paragraph's next above, 
giving the names of the owners, stock- 
holders, and security holders, if any, con- 
tain not only the list of stockholders and 
security holders as they appear upon the 
books of the company but also, in 
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, is given; also 
that the said two paragraphs contain state- 
ments embracing affiant's full knowledge 
and belief as to the circumstances and con- 
ditions under which stockholders and se- 
curity 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; and this 
affiant has no reason to believe that any 
other person, association or corporation 
has any interest direct or indirect in the 
said stock, bonds, or other securities than 
as so stated by him. 

Sworn to and subscribed before me this 
24th day of October, 1940. 

(Seal) Notary Publ» 

(My commission expires Dec. 6, 1940.) 


rm a Hollywood Farmer 

(Continued from page 9) 

and began to plant on it. i nave 
361 acres in all so I cultivated a 
third of it and put it in sugar beets. 
I did a lot of the work myself, that 
is, as much as I could with movie 
and radio Work. And my very 
first harvest turned out just dandy. 
I not only paid my expenses, but 
turned a little proht. The next 
season was even better as I got 
to know more about sugar beets 
and how to raise them. I never 
raised sugar beets before, you 
know, though I did have my share 
cf farm work, both in Van Buren 
and on my uncle's farm in Okla- 
homa during my wanderings. I 
began thinking too about diver- 
sifying my crops. I planted some 
barley and black eyed peas and 
lima beans and had luck with all 
of them. And it was about that 
time that I decided to give up the 
house in Stone Canyon and build 
a home of my own right there on 
the land. 

Well, let me tell you, folks, I've 
never been so nappy in oil my life 
as I've been since we moved into 
the house. Why, time there passes 
so fast that when I get to the 
broadcast on Thursday it seems 
just like the day before that we 
did last Tnursday's. And that's a 
pretty sure sign a fellow's happy, 
1 guess, when times begins to fiy 
that fast. There ore so many things 
to do around the farm it keeps 
every one of us busy from morn- 
ing till night. I've got six hands 
now who live on the ranch per- 
manently, and 1 hire as many as 
fifteen at harvest time. And there 
isn't a cne of them that's idle. I 
guess they like the soil as much 
3S I do. 

Of my 351 acres, there's only 
six that aren't planted. That's the 
six I built the house on. It's not 
of them "style" houses, just a 
plain, white ranch house with 
eleven rooms, and believe me, we 
need every single one of them, 
what with the help and the Missus 
and the kids. By the time you 
read this, there'll be onotner one 
too, (and we've been prayin' hard 
everything turns out all right), 
bom right in the house. All the 
other children were bom in hos- 
pitals, but we didn't want this one 
to come anywhere but in the 


house. 1 was born in a house and 
so was everyone else in our fam- 
ily back in Van Buren, and I wont 
at least one of my kids when he 
grows up to be able to point to 
our house and scry, "That's the 
house I was bom in." 

We do all the iana work and 
all the hauling ourselves. 1 own 
two tractors now, and two trucJcs, 
and ail the farm implements we 
need. I also have two mules to 
do some of the work we can't do 
with tractors and when it comes to 
putting on the harness and hitch- 
ing them to the wagon, I'm just 
like a kid. We also hcrve a cir- 
cular saw with which we cut all 
the wood we need around the 
place. We build our own fences 
and sheds and I have two big 
bams in which to store aifaJa. 
I've started growing my own cufal- 
fa already with the iaea in mind 
cf going into cattle raising next 
year. I've put 140 acres into 
aifaifa, and I'm going to buy up 
some of the lean and hungry 
pasture cows around here and 
fatten them up for the market. 1 ex- 
pect to m a k e a prcLt on it, cf 
course, but nothing will give me 
a bigger kick than to see these 
cows dig their noses into the 
alfalfa and eat till they bulge. All 
my cattle will be beef catde. I 
never did core for show cattle. 

Well, so far we've worked hard 
and we've made the ranch pay 
for itself. I even flatter myseif, or 
maybe it's just the truth, that I 
could quit radio and movie work 
right now and live off that form. 
What's more it wouldn't make me 
unhappy. But don't get me wrong. 
Being a radio and picture come- 
dian is my line. I'm in it because 
I like it and I aim to keep on try- 
ing to entertain you as long as 
you'll let me, even if it's 'till I'm 
so old I can't blow the bazooka 
any more. If anything, that farm 
of mine has made me work harder 
as a comedian than I ever did 
before. It's made everything in 
life seem more substantial and 
worth while. Maybe that's why 
God gave all of us way down 
deep in our hearts a hunger and 
a love for land. And I don't know 
of anything else but land that a 
fellow con still use after he's dead. 


(Continued from page 1.0) 

BRANDT was born Brandt 
Bloomquist at Lynn, Mass., 
September 28, 1907, but was 
educated on the other side of the 
continent at the University of 
Washington. An orchestra leader 
in his school days, he became 
first violinist on Station KOMO in 
1921. Was chief announcer at 
WROK for 4 years and came to 
NBC in August 1936. A perfect 
blond, he is 5 feet 10^2 inches tall 
and weighs 165 pounds. He is 
conductor of the gossip column 
of the air known as Radio Parade. 

PEARSON, another ex-radio 
singer, sang in his sparetime over 
a Shreveport, La., station while 
working as a bank teller. He 
worked later in radio at Port 
Arthur, Texas, and on KPRC, 
Houston. He came to NBC in 
June 1935. Born in Chattanooga, 
Tenn., on May 3, 1909, he now 
may be heard as announcer on 
The Guiding Light for Procter & 
Gamble, on General Mills' Beat 
the Band, on Miles Laboratories' 
Quiz Kids, on R. J. Reynolds' 
Uncle Ezra and on the Fitch Band- 
wagon . 

BROWN, another ex-singer, 
admits he's a disappointed 
baritone. His early training 
pointed towards a vocal career, 
but he left the Cincinnati College 
of Music to study civil engineer- 
ing at the University of Buffalo. 
Instead of following engineering, 
he took a radio audition at WGR, 
later moved to WLW in Cincin- 
nati. He came to NBC in Chicago 
in 1932. Is 5 feet, 11 inches tall, 
weighs 140 pounds. Is regularly 
heard on The Story of Mary 
Marlin for P & G's Ivory Soap and 
on Backstage Wife. 

LYON, like Norman Barry, is 
an ex-sailor. He is also an ex- 
actor. He played juvenile leads 
in Cameo comedies in Hollywood, 
later joined Stuart Walker Stock 
Company in Cincinnati, played ■ 
in "The Poor Nut" on Broadway 
and entered radio as an an- 
noimcer at WTAM in Cleveland. 
He is 5 feet 9V2 inches tall and 
weighs 145 pounds. Shows on 
which he appears as announcer 
ore Sach's Amateur Hour on 
WENR, Girl Alone for Kellogg, 
Uncle Walter's Dog House and 
Plantation Party . 

Page 23 


brings you the best there 
is in radio entertainment, 
eighteen hours a day. 


offers you the best there is in 
protection against the uncertain- 
ties of life, 365 days every year. 

There is a Shield Man 
in your community 
who represents this 
Company. He will be 
glad to advise with 
you on any matters 
regarding your 
Life Insurance. 

.5^ National Life and 
Accident Insurance Cclnc 

r * C. A. CRAIG, Chairman of the Board lifflaBCa/ C . R. CLEMENTS, President • 7 

4-s ■ ViJSwPSy'/ I ' y 



DECEMBER — 1940 







. 1#„„ 

■ > n 




Ll. :;;-iiJ| 

1 J!^4 

_ 1 




BENNY GOODMAN is back and 
all's right with the orchestra 
worid! The clarinet virtuoso began 
recording again for Columbia last 
month and started his new band 
on a round of one-nighters through 
the East. The records are swell 
and the band is certainly the 
finest outfit Benny has ever 
fronted. Take "Wholly Cats" and 
"Royal Garden Blues", two Sextet 
numbers. Both feature the amaz- 
ing trumpeting of Cootie Williams, 
formerly Duke Ellington's ace 
growl trumpet man. Then there's 
Count Basie's piano tricks for real 
thrills. On tenor sax, Benny is 
spotting Georgie Auld, who had 
his own outfit for a time and is 
rated one of the all-time greats on 
his instrument. Charlie Christians 
plays a sparkling electric guitar 
and bassist Artie Bernstein shares 
rhythm honors with drummer 
Harry J. Yaeger. Through both 
sides, of course, runs the exciting 
clarinet of maestro Goodman. 

With his big crew, Benny disced 
"Henderson's Stomp" and "No- 
body" on conventional 10-inch 
platters and stepped into the 12- 
inch field with a super coupling 
of "The Man I Love" and "Benny 
Rides Again." The latter pair re- 
present the high point of modem 
jazz, especially in Goodman's 
clarinet takeoffs with drum back- 

Eddie Sauter and Fletcher Hen- 
derson ore to be congratulated for 
their brilliant arranging feats for 
the ensemble. Getting 15 top- 
flight soloists to sound well play- 
ing together is a task but Benny 
and the arranging staff have done 
a marvelous job. Lend an ear 
to Helen Forrest, one of the nicest 
and the best, of today's girl 

Welcome back, Benny — there's 
nobody to fill your placel 

That lovely Hildegarde, star of 
stage, radio, theaters, nightclubs 
and any other amusement field 
you might mention, has turned out 
a Decca album which deserves 
mention. Heldegarde sings Ver- 
non Duke composition in a lovely, 
eloquent voice that grows more 
pleasant with each hearing. The 
haunting "April in Paris" receives 
fresh beauty once more and 

"What Is There To Say" doubles 
the enjoyment. You'll like every 
disc in the collection. 

Boogie- Woogie harpsichord has 
another expert in Artie Shaw's 
pianist John Guamieri, heard to 
good advantage in "Summit 
Ridge Drive" and "Cross Your 
Heart." The Gramercy Five con- 
tribute some exemplary chamber- 
music jazz to this coupling. Lanny 
Ross doubles "Crosstown" and 
"Maricmna Annobelle" for a neat 
twosome. Hal Kemp's dcmceable 
music grows more mellow through 
the years. Try "The Moon Fell In 
The River" and "Lady With Red 
Hair" for proof. (Victor.) 

Raymond Scott continues his 
sweet series with "Yesterthoughts" 
and "Strangers" with A-1 results. 
We still like Dave Harris' tenor 
sax though against any soloist 
Ray has had since the days of his 
first big band. (Columbia). 

"Beat Me Daddy, Eight to the 
Bar," seems to be the nation's 
theme these cold Winter days and 
Woody Herman thrums his way 
through another exciting version 
of the boogie - woogie thriller. 
Reverse is "There I Go" and 
features excellent Herman vocal. 
Of course, if you've missed Will 
Bradley's waxing of "Beat Me 
Daddy" — you just don't live right. 

Beatrice Kay's "Gay Nineties" 
album really started something. 
Tommy Tucker disced an interest- 
ing version of "Oceana Roll" and 
now the King Sisters harmonize 
"Don't Go In The Lion's Cage 
Tonight." Neither Tommy nor the 
King Sisters come up to Miss 
Kaye's hilarities with the tunes 
but we can heartily recommend 
them anyway. However, we can't 
recommend E r s k i n e Hawkins' 
tooting "Norfolk Ferry" and "Put 
Yourself in My Place." 

CHATTER: Look for Barry 
Wood's first Victor discs... Irene 
Beasley with a new idea in 
children's records... Andre Koste- 
lanetz' new album... Edward Kile- 
nyi as the newest and brightest 
name in the classical field. 


No. 3— Volume 12 

December 1940 

Patter off the Platter Page 2 

WMMN In the SpotHght 3 

Information Please 4 

Quick, Watson— the Needle! 5 & 20 

Dick Powell Builds Dime Stores 6. 7 & 16 

Louise Massey and the Westerners 8 

Meet Mary Ann 9 

What I Think of Swing 10 

Guiding Light Cast 11 

Down on the Farm 12, 13 & 21 

Lets Not Be Matter of Fact About Radio ' 15 

Housebcat Hannah Cast 17 

Letters From a Flying Cadet 18619 

F. L. ROSENTHAL, Publisher 


Published at 1056 West Van Buren Street, Chicago, Illinois. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possessions, $1.50 in Canada. Entered as second class matter lanuary 
10, 1940, at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 

Pago 2 



RED permission to go 5.000 watts 
nig]: t as well as daytime, and 
stoi-ted on its increased 21 hour 
per day service on Nov. 1st. It is 
planned to give a mixed program 
of both popular and Hill Billy 
music starting every morning at 
3 o'clock. One of the station's 
featured singers of songs, Buddy 
Starcher, will be heard early in 
the mornings for the first few 
weeks. This increase in power at 
night, gives WMMN, 5.000 watts 
day and night. 

most popular singers ever at 
WMMN, returned to the station 
early in October. Blaine left 
WMMN two years ago and was 
heard over WLS, Chicago for one 
year after leaving WMMN. On 
his return, Blaine brought a com- 
pany of five people, featuring the 
Davis Twins, "Honey and Sonny" 
who are fast winning popularity 
with their songs. Blaine Smith 
and his "Home Folks" are heard 
over WMMN every afternoon at 

TER known as the "Sagebrush 
Sweethearts" now, are a recent 
addition to the talent staff at 
WMMN. The sisters, a blonde, a 
red head and a brunette, came to 
WMMN from a Youngstown Ohio 
station, and their sweet harmony 
singing has already stamped 
them as one of the outstanding 
radio acts at this station. 

a Youngstown O. station, is an- 
other recent addition to the an- 
nouncing staff at WMMN. Joe has 
also been appointed chief pro- 
ducer of the "Sagebrush Round- 
up" a week jamboree show that 
WMMN presents every Saturday 
night at the Fairmont, Armory. 

DIRECTOR of station WMMN, 
Fairmont, W. Va. has been just 
about the busiest man on two legs 
the past thirty days, what with 


the election and scheduling new 
radio acts, plus his other work. It 
might be added here that Foxy 
has just about settled down to a 
contented, happy married life, 
and we rather expect that many 
cold winter nights he will be at 
home toasting his "Tootsies" in- 
stead of being at the station work- 
ing until the week small hours. 

started his "Uncle Nat's Kiddie 
Club" program on WMMN a year 
ago, will soon celebrate his first 
Kiddie Club anniversary. During 
the year he has taken into the 
club more than 11.000 paid up 
members. The program is a 
regular weekly feature, being 
broadcast every Satiorday morn- 
ing at 11 A. M. 

improvements made at station 
WMMN, is the new recording 
equipment which was installed 
this summer. It is just about the 
last word in equipment, and 
enables WMMN to make trans- 
criptions, at a minutes notice. The 
recording equipment is under the 
supervision of Roy Heck, chief 
engineer of station WMMN. 

ROUNDUP, a Saturday night jam- 
boree show celebrated its third 
birthday, on November 16th, in 
the Fairmont Armory, Fairmont, 
W. Va. where it played to almost 
fifteen hundred paid admissions 
for the one show. The "Sage- 
brush Roundup" was started three 
years ago at WMMN as a studio 
presentation but soon became so 
popular that it moved into the 
National Guard Armory in Fair- 
mont, and later made several 
personal appearance tours which 
brought capacity houses every- 
where. Consisting of practically 
every member of the talent staff 
from WMMN, The Roundup fea- 
tures vaudeville skits, hill billy 
and western music and songs, 
with lots of excellent novelty 
thrown in for good measure. Each 
Saturday night at the Fairmont 

Armory brings visitors from Penn- 
sylvania, Maryland, and Ohio, 
some of whom travel more than 
two hundred miles to see this 
popular jamboree show. Joe 
Edison is producer. 

WMMN announcers, is the proud 
father of a bouncing ten pound 
four ounce boy, christened David 
Patrick Moran. Mother and child 
are up and doing fine. Pat was 
one of the first announcers on 
WMMN, and had been with the 
station almost continuously since 
its inception. Pat says he will 
make a football star out of the 
boy some day. 

new editions to the talent staff at 
WMMN, coming here two weeks 
ago. They work with Buddy 
Starcher, and are expected to 
make personal appearances short- 


been a WMMN feature for several 
months, left for St. Louis, Mo. on 
November 1 5th, to become a mem- 
ber of Pappy Cheshire's radio act 
there at one of the leading station. 

most popular radio personalities 
to appear at WMMN, has given 
up making personal appearances 
due to his health, but we are 
happy to say that he is improving 
rapidly, and so far seldom misses 
his daily broadcast. 

ROOM, something new for station 
WMMN, has been added just 
recently, and the radio acts as 
well as other members of the staff 
when off duty can be found quite 
often playing ping pcng, table 
tennis and other games arranged 
for their pastime. Joe Wright, 
head keeper of the recreation 
room, is even learning to play 
ping pong between songs which 
he writes occasionally. 

Pag« 3 

These are the "regulars" of the "Information Please" board of experts and their quizmaster. Left 

to right, top: John Kieran, Franklin P. Adams; bottom, Oscar Levant, Clifton Fadiman, quizmaster. 


Quick, Watson — the Needle! 

Radio's favorite sleuth Sherlock Holmes, portrayed by Basil Rathbone. 

TF sir Arthur Conan Doyle were 
writing today, he would have 
an easier job describing Sherlock 
Holmes to his readers than he did 
at the turn of the century. Instead 
of a careful inventory of Holmes' 
physical characteristics, ne could 
have passed the description off 
v/ith a single sentence. 

"Sherlock Holmes", he might 
have said, "was a tall, spare man 
with piercing eyes, a resonant 
voice, a vibrant personality — in 
short a Basil Rathbone with a 
flair for criminology". 

Dr. Watson would be easier. 
"Picture Nigel Bruce", our pre- 
sent-day Doyle would say. "Give 
him a battered doctor's bag, and 
dull his sense of humor, and you 
Vv'ould see Dr. Watson as he was 
when he shared rooms at 221 
Baker street with Mr. Sherlock 

The physical resemblance 
between Basil Rathbone and 
Sherlock Holmes, and betweeii 
Nigel Bruce and Dr. Watson start- 
led even Denis Conan Doyle, son 
of the famous writer of the Sher- 
lock Holmes stories, when he 
visited NBC's Hollywood Radio 
City recently and saw a radio 
performance of one of his father's 
mystery thrillers for the first time. 
"Admirable, absolutely admir- 
able", Conan Doyle commentated 
as he watched Rathbone and 
Bruce in action. "I have never 
seen a better portrayal of Holmes 
— and I have seen many. Bruce 
and Rathbone resemble almost to 
perfection my father's conception 
of the characters." 

There is more than physical 
similarity between the NBC actors 
and their fictional counterparts. 
Holmes absorbed Sherlock Holmes 
during his childhood and youth 
in England, and he knows the 
people Holmes knew, and the 
country where many of the cases 
described in Conan Doyle's books 
were set. He has wandered 
London's back streets, the Down 
country, and the bleak moors 
where Holmes and Watson 
tracked down "The Hound of the 

As for Nigel Bruce, his Scottish 
ancestry and his English educa- 
tion combine to give an authentic 
(Continued on pcge 20) 

Page 5 



r)ICK POWELL, star of NBC's 
TIME, is the Hcllywood actor who 
builds dime stores for million 
dollar babies to work in. He 
doesn't do it for publicity, even if 
he did stage the world's first pre- 
miere cf a five and ten cent store 
in Long Beach, California, this 
year. Dick does it because h.3 
gets a kick out of it; because he 
likes to see buildings come up 
where there was only a vacant 
let before; because he likes to see 
homes cluster and grow around 
a business establishment and 
form the nucleus of a new com- 
munity; and last but not least, 
because he likes to make money. 
So, you find Powell building dime 
stores for million doliar babies 
besides singing about them. You 
find him building other store 
buildings and homes he hopes to 
sell at a profit. 

An actor in years gene by 
wasn't supposed to have any 
business sense. Many of them 
didn't, like the old screen stars to 
whom Hollywood owes so much 
today for the lesson they taught 
it. The old stars had expected 
their big earnings to go on forever, 
but they didn't put anything away 
for the future. When their pop- 
ularity began to dim, when the 
public turned to other favorites, 
they found themselves broke, 
jobless and in many instances, 
even homeless, in a world which 
owes a living to no one. Those 
Hcllywood actors were the 
pioneers in a new profession and 
their hardships taught those who 
followed a tremendous lesson. 
That fabulous salaries of Holly- 
wood are almost as short-lived as 
the rainbow, and that the actor, 
who like the squirrel, doesn't store 
away some of "the nut", is cer- 
tain to face the prospect of a 
dreary winter of future. 

Here is the way Dick Powell 
Icoks at it: 

"I consider myself very for- 
tunate for the opportunities that 
brought what talent God gave me 
to the attention of the public, and 
I am grateful for the compensation 
that talent has brought me. And 

Page 6 

Dick Powell cuts the ribbon that officially opens his dime store in Long 
Beach while NBC stars, including Warren Hull, Irene Rich entertains 
the crowds — sign autographs. 

for that, if for no other reason, 1 
would consider myself a fool to 
squander the money 1 earn. 
Money often has been called 
Power. And that's what it can 
be, a power sometimes used to 
destroy, as in war; or a power to 
create, as by and large the human 
race has used it in times of peace. 
1 am using money to create things 
that weren't in the world before — 
neighborhood stores that save the 
housewife tiring trips to do her 
shopping downtown — places that 
serve a purpose and fill a need." 

Powell doesn't pretend to be a 
crusader flying a banner of ser- 
vice. He expects to earn a fair 

return for the time, effort and 
money he puts into one of his real 
estate projects. He's not ashamed 
of turning an honest penny or an 
honest dollar for profit. Besides 
being an actor and a real estate 
man, he is also a husband and a 
father. He wants to be able to 
provide for his family when the 
time comes in the future when his 
screen or radio earnings stop. He 
wants his children to get a proper 
start in life and be able to meet 
the complex and bewildering 
world of today. He wants to 
provide for the best education their 
minds can absorb. If such motives 
are selfish, then those are the 



Dick entertains at gala opening of the drug store which leases his 

selfish motives behind Powell's 
efforts to make wise investments. 
There is something else too, the 
satisfaction he gets out of bus- 
iness deals. 

"As far back as I can remem- 
ber, even in my boyhood days in 
Arkansas, I always got a kick out 
of selling or trading things," said 
Powell. "I suppose it was nothing 
more than a top or a jack-knife 
in those days. But that instinct in 
me was almost as strong as the 
love for music. Not many of the 
boys who worked with me in the 

band in Indianapolis, early in my 
career, knew that in my spare 
time I was selling life insurance 
on the side. The business world 
always has intrigued me and 
figures were never a bore. For 
many years, however, I did noth- 
ing much about it except for side- 
lines like the insurance job in 
Indianapolis. Then, after breaking 
into motion pictures and settling 
down to a fairly regular life in 
Hollywood, I decided to build a 
home. I bought twenty-two acres 
in Toluca Lake, and got it at a 



good price. That was before 
Toluca Lake became the residen- 
tial district it is today. I built my 
house on two acres, and by that 
time, the neighborhood began to 
bcom. Property went up in value. 
I was made an offer for my other 
twenty acres. The offer was too 
good to turn down. So good, in 
fact, that the profit en those twenty 
acres paid for my house." 

To make a long story short, that 
was the beginning of even space 
Powell's activity in real estate. He 
began building houses and selling 
them. "Maybe I v/as lucky or may- 
be I used my head." Dick told me. 
"I'm not sure. But so far, I've built 
nine of them and haven't lost any 
money yet." He didn't make any 
Florida boom profits, of course. 
The important thing was, he d.dn't 
lose any money. Yet, as mterest- 
ing as he found this Ling into the 
ccnstruction gam.e, it wasn't really 
what he wanted. He wanted to 
build something that would serve 
as a long-term investment. If you 
ever had money to invest, you can 
appreciate what a problem it can 
be to invest it wisely. What fi- 
nally gave Powell the idea of 
putting it into store buildings and 
ccmmunity business blocks was 
a trip to his home town of Little 
Rock, Arkansas. 

There isn't a one cf us who 
doesn't remember every store on 
Main Street and even the name 
of every owner during the boy- 
hcod days when we roamed up 
and down the street in search cf 
adventure — or trouble. Walking 
up and down Main Street in 
Little Rock during that visit, he 
became curious to find out how 
many of the old stores were still 
there and how many were under 
the same management. He found 
most of the old store fronts gone. 
Some of them were left. Those 
that were left were... dime stores, 
drug stores and department stores. 

"It occurred to me," explained 
Pcwell, "if that type ot store was 
the type that remained in the 
community longest, then that was 
the type that represented the best 
long range investment in real 

(Continued on Page 16) 

Page 7 

Louise Massey and the Westerners 

Louise Massey and the Westerners have four shows every 
week on WLS, Chicago. Principal among these is their half- 
hour prcgram which opens the WLS National Barn Dance at 
7 p. m. each Saturday night. Their other programs are at 6:45 
p. m. on Tuesdays, Thursdays and Fridays. Left to right are 
Larry, Milt, Curt, Louise and Allen. 

West3rners, who are heard four 
times each week en WLS, Chica- 
go, ore practically a family group. 
First, cf ccur?e, there's Louise her- 
self. Then there's her husband, 
Milt Mabia, v/ho plays bass fiddle 
in the act; her two brothers. Curt 
the vi'linist and Allen the guitar- 
ist. And the fifth member is an 
outsider v,ho works so well with 
the group that one might think 
he'd been raised with them; he 
is Larry Wellington, acccrdionist. 

Page 8 

Louise Massey' s birthday is 
August 10, and like Curt and 
Allen, she was born in Midland, 
Texas. She is five feet five inches 
tall, weighs 128 pounds, and has 
black hair, brcwn eyes, and olive 

Milt Mabie was born on one 
June 27 in Independence, Iowa, is 
six feet tall, weighs 185 pounds, 
and has brown hair, blue eyes 
light skin. 

Dott Curtiss Massey celebrates 
his birthday on May 3, is six feet 

two inches tall, weighs 195 pounds 
and like Allen, has the same 
coloring as Louise. 

Allen's birthday falls on Decem- 
ber 12 and he is the same height 
and weight as his brother-in-law, 

Larry was born in Oxnard, 
California, one February 15. He 
is five feet eight inches tall, 
weighs 160 pounds, and has light 
brown hair, blue eyes and fair 



Meet Hary Ann 


This is the story of Mary Ann 
and her ambition. For Mary Ann, 
although only 21 years old (and 
barely that), has already achieved 
her goal, fulfilled her life's ambi- 
tion. Four years ago when she 
first started singing and yodeling 
her songs over the airwovers, 
Mary Ann set her goal — to be 
on the staff of WLS, Chicago. 

And since September of this 
year, that is just where Mary Ann 
has been — at WLS in Chicago. 
She is heard regularly on Smile- 
A-While 5 to 6 A. M. daily; with 
the Prairie Ramblers at 6:30 A. M. 
on Tuesdays, Thursdays and Sat- 
urdays; on Merry-Go-Round at 2 
P. M. Saturdays and on the WLS 
National Born Dance every Satur- 
day night. 

Her full name is Mary Ann 
Estes, and she was born in Cres- 
cent, Ohio, on November 10, 1919, 
making her 21 years old less than 
a month ago. She is really a 
small town girl who has made 
good in the big city, for her home 
town of Crescent has a popula- 
tion of only 300. Mary Ann went 
to grade school there, but since 
there was no high school, she 

continued her education at Bridge 
port (Ohio) high school, commut- 
ing from her home via school bus. 

Mary Ann was really not a 
stage struck youngster. She 
learned to play the guitcrr and 
sang because she liked to. People 
liked her music and she enjoyed 
herself; so it was only natural 
that she made a number of ap- 
pearances in amateur entertain- 
ments. This led to her being in- 
vited to participate in a minstrel 
show at Wheeling, West Virginia. 

One of the other acts in the 
minstrel show was a quartet, the 
Rhythm Rangers, who were broad- 
casting regularly on WWVA in 
Wheeling. They were intrigued 
by the singing of this cute little 
brunette and demanded to meet 
her. They suggested cm audition, 

Mary Ann was at Wheeling for 
three years, with a few months off 
here and there while she worked 
at several Ohio and West Vir- 
ginia stations. It was like old 
home week at WLS when Mary 
Ann arrived. She came to Chica- 
go from Fairmont, West Virginia, 
where she worked with Joe Rock- 
hold, Smiley Sutter and Jimmie 



James, all three of them now with 
WLS in Chicago, 
and with hopes none too high, 
Mary Ann approached the studio. 
She was accepted as soon as she 
had sung her first number, and 
the Rhythm Rangers then and 
there became a fivesome. 

Already her old friends have 
started teasing her about an old 
weakness — Mary Ann's fondness 
for dill pickles and home-made 
bread. She really does like them 
— better than any other foods, 
she says — but being kidded 
publicly about them was net her 
idea. She has not objected, how- 
ever, for in the past, the kidding 
has paid big dividends. Every- 
time she made a personal ap- 
pearance at a theater or picnic or 
fair when she was working in the 
East, some listener would come 
back stage with one or more 
leaves cf home - made bread; 
another would scon follow with 
a big jar cf pickles — and it 
might go on like that for an hour. 
That's when Mary Ann is her 
happiest — getting to know her 
listeners intimately — and in- 
cidentally getting a sufficiency of 
dill pickles and home - baked 

Mary Ann herself is quite a 
cook, but her kitchen repertoire, 
she admits, is somewhat limited. 
What she does cook, she cooks 
exceptionally well, and no one 
ever turns down an invitation to 
one of Mary Ann's periodic feasts 
of Hungarian goulash. Another 
"guest" dish that brings them 
back is Mary Ann's beef stew. 

She makes no pretense of being 
a gocd cook however, admitting 
only that she can "cook a little." 
Information on her culinary 
delicacies had to be obtained frcm 
friends who hove been her guests. 
But from Mary Ann herself, one 
learns that the one thing she likes 
to cook above all others is pork 
chops — fried pork chops. "1 
like the smell," she explains; 
"they smell so good when they're 
frying that it's just like eating pork 
chops for half an hour at a time. 

And that's the story of Mary 
Ann, small town girl who made 
good in the big city — a girl who 
fulfilled her lifetime ambition 
before she was 21 years old — 
an awfully cute little girl who 
has become a favorite of the WLS 
audience in only a few short 

Page 9 


What I 

Think of 


By Glenn Miller 

"VJhai do you think of swing?" 

'A personable young repre- 
sentative of the genus jitterbug ap- 
proached me between dance num- 
bers at a college hop recently 
and pinioned me v/'ith that ques- 

It was like asking Babe Ruth 
v/hat he thinks of baseball or 
Rcscoe Turner how he feels about 
flying. Paraphrasing an old bal- 
lad 1 gave her the obvious an- 

"It made me what I am today." 
In justice to swing I coulcn't 
honestly paraphrase more than 
the opening line of that venerable 
tearjerker — "The Curse of an 
Aching Heart," I think it was 
called — for swing hasn't "dragged 
ME down 'til hope within me 

Quite the contrary. It has lifted 
my orchestra into the top bracket 
cf dance bands and brought me 
a modest measure of fame and 
fortune — which I hope will not 
be too fleeting. 

Page 10 

Glenn Miller, the Iowa farm boy who recently signed a movie contract with his band for 
$IGO,ODO. His BEuebird recordings place him in the tcp spot as America's favorite band. 

There is more to it than that 

If there is one thing 1 like, it is 
good music. I have never had 
enough of it. And swing is good 
music — when intelligently played. 

Two of my pet "hates" are (1) 
bad music and (2) people who 
detest swing. The first is usually 
responsible for the second. 

Perhaps I should be more tol- 
erant of people who don't like 
swing, for there have been a lot 
of musical crimes perpetrated 
in its name. 

Some misguided musicians 
seem to feel that to swing g num- 
ber it it necessary only to "give 
until it hurts." Their prime objec- 
tive appears to be to smash be- 
yond hope of repair the eardrums 
cf the defenseless customers. 

You must have a good basic 
melody before you con success- 

fully swing it. It can be sad or it 
can be gay — but it must be tune- 
ful. And to produce real swing, 
the band has got to give out some- 
thing more than deafening sound 
and fury. 

Experience has convinced me 
that even the most rabid alligators 
prefer their tom-toms muffled by 
other sounds of the jungle. Rhyth- 
mic dissonances send shivers 
down' the spine but when they are 
blatantly poured out in unre- 
strained volume, the resultant 
effect can be completely paralyz- 

Swing fundamentally is jungle 
music. While I don't Pelong to 
the Explorers' Club, I'm reason- 
ably certain that our foremost 
jungles have more to offer in 
pleasing sound effects in their 
warbling birds' songs than in the 

(Continued on Page 14) 

Guiding Light Cast 


Members of the cast of the Guiding Light, 
which is broadcast IVIondays through Fridays at 9:45 
a.m. and 4:30 p.m. CST over the NBC-Red network. 
The setting of the serial is in the mythical melting 
pot community of "Five Points." Left to right, 
front row: Ruth (Rose Kransky) Bailey; Gladys 

(Torchy Reynolds) Heene; Dr. John Ruthledge; 
Mignon (Mrs. Kransky) Schreiber; Muriel (Frede- 
ricka Lang) Bremner; Betty (Iris Marsh) Arnold. 
Back Row: Bill (Charles Cunningham) Bouchey; 
Paul (Jack Felzer) Barnes; Phil (Ellis Smith) Dakin, 
and Seymour (Jacob Kransky) Young. 

THE LIVES of half-a-dozen people 
color the pattern that is the 
Guiding Light, now in its fourth 
year as an NBC network serial. 
Dr. John Ruthledge, kindly minister 
of the mythical melting pot com- 
munity of Five Points, is the central 
character actor, made his debut 
and his gentle, understanding in- 
fluence, the various personalities 
and plots revolve. 

Dr. Ruthledge is portrayed by 
Arthur Peterson, who nas tilled 
the role since the show was first 
inaugurated. Peterson, a talented 
character actor, made his debut 
reciting "pieces" in Sunday 
school. Oddly enough, when he 
matriculated at the University of 
Minnesota, that school's vocation- 
al guidance department recom- 
mended that he study for the 

Although Peterson once served 
as junior superintendent of a Sun- 
day School, the grease paint tradi- 
tion is strong in his family — both 
grandparents on both sides, his 
parents, uncles, aunts and his 
wife were all connected with the 
theater. Some of them still are. 
So it was more than natural that 
Arthur follow their lead. 

Born in Mandan, North Dakota, 
Peterson was graduated from the 
University of Minnesota. He had 
the theater as his goal from kinder- 
garten days onward, cmd, by the 
time he received his sheepskin, 
he already had 900 performances 
to his credit. He went directly 
into stock and repertory theaters 
and from there to Chicago and 

Currently, in the serial, the plot 



most intimately touching Dr. Ruth- 
ledge's life is centered around his 
secretary-church organist, Laura, 
added to the parsonage after the 
marriage cf Mary, the Doctor's 
daughter. The discovery that 
Laura is a kleptomaniac has 
driven away Ellen, the house- 
keeper for many, many years. 

The Doctor's daughter is now 
the wife of Ned Holden, a young 
man reared in the parsonage. The 
marriage has been brought about 
recently, after many trials for the 
young people. Once, just before 
their wedding, Ned discovered 
that his father was a thief and a 
blackmailer; that his mother, 
Fredericka Lang, had shot her hus- 
band rather than let him influence 
her son's life. The discovery 

(Continued on Page 19) 

Page 11 

Down on the Farm 

By Clark Gable 

FARMER IN THE DELL (upper left) 
C4ark Gable "rakes the meadow sweet with hay" as he perches precariously 
atop the hurricane deck of a land-lubbing clipper on his new twenty-acre 
Encino ranch. 

AT HOME ON THE RANGE (upper right) 
Farmer Clark Gable spends his days idly playing with his dog, or pet turtle, 
inspecting his trees, riding his horses, in his workshop, "fixing up" the place 

H FTER ALL these years, here I 
am right back where I started 
from — down on the farm. 

As I ride my bucking tractor 
over my newly-acquired few acres 
out here in California, I am carried 
back to the beginning of these 
reminiscences which, in compar- 

ison with life on the farm today, 
is unforgettable proof that times 
do change. 

My earliest recollections of farm 
life goes back to the shores of 
Conneaut Lake in Pennsylvania. 
My mother had died when I was 
seven months old, so I spent my 

earliest years on the farm of my 
grandparents, Charles and Nancy 
Gable, near Meadville. About all 
that I recall now of those farm 
days is that I led a lonely life for 
a child. 

The active years in many varied 
occupations have erased the more 

WHEN A SPADE'S A SPADE (lower left) 
Clark Gable's answer to that one is, "When you've got to turn dirt with one." 

IT'S "FARMER GABLE" NOW (lower right) 
Joctkey to a tractor is but one of the many chores engaged in by Gable on 
his ranch. 


Farmer Clark Gable has a real equine friend in "Tony," one of the finest Palomino 
colts In America. Together they roam the new twenty-acre ranch at Encino, in Cali- 
fornia's San Fernando Valley, where Gable lives with his bride, Carole Lombard. 

unpleasant memories of the form 
back in Ohio, and the brighter 
side of life on the farm still 
remains in my memories. In 
recent years, the desire to return 
to the solitude of the country has 

been growing stronger and 

Well, there's the yam. I'm back 
on the farm and, I hope, for the 
rest of my life. Out here, every- 
body else calls a patch of dirt fiom 

a half acre on up in size a ranch. 
1 have no ranch. It is a farm and 
that is the name of it over the 
gate, "The Farm." 

My farm is fourteen acres in 
(Continued on page 21) 


Page 13 


(Continued from Page 10) 

irascible roars of their prowling 
lions. And when a great ope 
pounds his chest and goes boom, 
uttering the meat cry or the mate 
cry, as the case may be, it's a 
safe bet he's so far up the jungle 
mountainside that the echo is just 
©a-rie background for the soughing 
of the night wind through the trees. 
Granting that swing then, is jungle 
music, let's keep it authentic. 

They regard me as a fence 
straddler in the field of swing be- 
cause I like to blend the sweet 
with the hot. 1 believe in dressing 
up my jungle savage in smooth- 
ly-tailored tails and top hat and 
moulding my Hawaiian hula danc- 
er into one of those sleek, form- 
fitting dinner gowns from a smart 
Fifth Avenue shop — "encasing 
solid, suggestive jungle sounds in 
a smooth, mellifluous jacket." 
That's the way some lad summed 
it up who swings his adjectives 
the way I like to think 1 swing my 

Something old-new-borrowed- 
blue, I've found to be a winning 
combination on a swing program. 

Have "Sweet Leilani" blow 
"Smoke Rings" "Under a Blanket 
of Blue" by the "Waters of 
Minnetonka." Call the medley 
"Bcogit" and you've got something 
sweet and torrid. 

Take a lovely old ballad like 
"Sweet and Low" or "My Darling 
Nelly Gray," dress it up m modem 
style and you've got a number 
that lends itself to some equato- 
rial sending. 

And, if you would put your 
listeners distinctly in the groove, 
let them cut the rugs to the ac- 
companiment of a hot arrange- 
ment of "Prelude in C Sharp 

I believe swing is here to stay. 
But the bands that are going to 
have the popular following will be 
those whose arrangements subor- 
dinate the jump stuff and exagger- 
ated jive to sonorous tonal quali- 
ty. They must give out quality 
rather than quantity of tone effect, 
resisting the temptation to blast 
full-lunged upon a world already 
shell-shocked by too much "blitz- 

Page 14 

Singing Sisters 

Though they look enough alike to be triplets, four years 
separate the oldest from the youngest in this comely team of 
radio singers, the Mullen Sisters, heard Friday evenings on 
Columbia network's "Kate Smith Hour." Left to right, they are 
Mary Margaret, the oldest; Imelda Rose, the youngest; and 



Rosemary DeGamp helps Dr. Christian (Jean Hersholt) light up as they relax at rehearsal of CBS's serial "Dr. Christian." 

By Jean Hersholt 

TX7HEN I WAS a youngster in 
Copenhagen, Denmark, my 
father and mother appeared in 
many ploys at the Royal Theater 
in that city. Under the stage there 
was a long dark room fitted with 
benches. Persons from the Blind 
Institute were welcome to sit in 
that room during performances. 
In that way, they could hear the 
play and follow its progress al- 
most as well as if they were out 
in front. 

That room and its benches has 
a direct relationship — in my 
mind — with radio today. 

This is my third season with 
CBS as Dr. Christian, the country 
doctor of "River's End," and dur- 
ing these three years I have sel- 
dom gone on the air without think- 
ing about those Danish blind 
persons and the similarity of that 
stage arrangement to radio. 

Back in Copenhagen, I often sat 
underneath the stage with the un- 
fortunates, and I used to think how 
nice it would be if it were possible 
for all of the blind persons in the 
world to be able to hear plays. By 

means of radio, not only the blind, 
but shut-ins of every description 
can hear the best in entertainment 
by simply turning a small dial. 

I know that I'm not saying 
something new, something that 
most of us don't already realize — 
but I think we have all developed 
a matter-of-fact attitude about 
radio. Today we seldom stop to 
realize what a boon it has been to 
mankind, and especially to the 
unfortunates who cannot afford 
other entertainment. 

That's why I'm taking this op- 
portunity to say what I'm saying 
— even at the risk of being repe- 

Of course, radio is a two-way 
proposition. The public should 
be grateful for radio. But those in 
the radio industry should also be 
appreciative of the listening public 
because it is they who make the 
high grade of radio •ntertainment 
in this country possible. 

Radio in the United States is on 
a much higher plane than in al- 
most any other country, simply be- 
cause such a large proportion of 
the population supports it. When 

I think that millions of persons 
listen to our production each week 
over CBS, it never ceases to 
amaze me. 

That is probably more people 
than all of the stars on Broadway 
— before radio became popular — 
would play to during their entire 
lifetimes. This one fact alone in- 
dicates the tremendous scope of 
radio and should make us, who 
are working in the industry realize 
what an extremely serious respon- 
sibility we have toward our lis- 

The trend of programs in the 
past few years indicates tnat radio 
IS aware of its responsibility. As 
merely one person in a vast field 
of entertainment, I know that we 
of "Dr. Christian" recognize our 

It is a far cry today from those 
blind friends of mine beneath the 
stage in the Copenhagen theater. 
Mental sight has been brought to 
the many instead of the few. 

As long as radio here in the 
United States continues to be a 
factor of enlightenment, we all 
have a strong ally working for 
our personal welfare. 



Page 15 


(Continued from Page 7) 

estate, and gave the people of a 
community the kind of service that 
kept them patronizing the same 
stores year after year. When I 
returned to Hollywood, my invest- 
ment plans were made. I went 
into the real estate business, 
building store buildings and leas- 
ing them to dime store, arug store 
and department store tenants. 

for a drug store tenant in the Cren- 
shaw district. His Long Beach 
and Los Angeles buildings 
represent an investment of $175,- 
000 each — every penny of which 
Dick earned himself. His New 
Mexico and El Centre Investments 
are much smaller. He also owns 
an automobile sales agency in 
Beverly Hills, which is operated 

1 ^m^Hi 




9L'^ ^^^^^^^^^SB^fl^lP* *^B^^^ 


Dick Powell samples the soup In the kitchen of his leased drug store 
store officials look on. 

Another camera shot of Dick singing for the crowds and radio audience as 
his store opening is broadcast. 

Today Dick Powell owns and 
leases store buildings in a small 
town in New Mexico, in El Centro, 
California, in Long Beach, Califor- 
nia, and in Los Angeles, where he 
has just staged a grand opening 

under a firm name. From each 
of these investments he expects 
to receive a nominal but long- 
range profit. And as time goes 
on. he may add other mterests. 
Right now, he's thinking about 

going into farming. If he does 
acquire a ranch, it won't be until 
next year. He's lived on a form 
and has done farm work — and 
would enjoy doing it again. But 
real estate is his first love in 
activities off the air and screen. 

"I have faith in real estate," 
Dick declared. "My interest in It 
has broadened me, I feel as on 
actor. It has given me a new kind 
of experience and a new kind of 
thrill; greater vision and greater 
interest in my responsibilities as 
a citizen and an American. It has 
made my life fuller through the 
satisfaction that comes from prac- 
tical creative contribution to the 
lives of my fellow human beings 
and to the practical every-day life 
of a community. It has made my 
life fuller with the knowledge that 
at the same time I have not 
squandered my earnings in idle 
schemes but have provided a 
greater measure of future security 
for myself and my family. By 
being personally interested in my 
tenants and visiting the buildings 
after they moved in and opened 
for business, I have made many 
new friends in new communities. 
I have discussed their problems 
and learned their points of view 
on local, national and world 
problems. For all those reasons, 
I feel that because I'm a real 
estate man, I am a better man to 
my profession, to my family, and 
to my country." 


Please send me RADIO 
VARIETIES for 1 year starting 
with the issue. 

Attached is $1.00. 

Name . 




New subscriber □ 
Renewal D 

Page 16 



Houseboat Hannah Cast 

moored in Shantyfish Row 
along the West Coast, under com- 
mand of Hannah O'Leary and her 
husband, Dan. Once, the O'Learys 
were comfortably happy in a 
small, white cottage inland. Then 
1 canning factory accident 
ncapacitated Dan so the family, 
including nephew Clem, moved 
to the houseboat and became 
lobster fishermen. Hannah sells 
the catch, which she calls "Green 
Shamrock Lobsters." 

Currently, Hannah has become 
a crusader for clean politics and 
for the welfare of Shantyfish Row. 
The big city boss, Hughey, has 
been defeated by Hannah's Fu- 
sion Party and his henchmen from 
now on will have to let Shantyfish 
row alone. Dan has been elected 
alderman and the little community 
settles down to peace and quiet. 

Hannah finds new outlet for her 
energies in the love story of 
Barbara Hughey and Jim Nichols, 
a dissillusioned writer who has 
cut himself off from his former life. 
Barbara worked against her 
father in the political campaign 
and Hughey complicates her 
life by deciding to disappear. 
feeling that his career as boss has 
alienated her completely. At one 
time, Hughey also tried to scuttle 
the Barbara-Jim romance. Jim 
has tried to show Hughey that he 
wants to be friends but "The 
Boss" can't believe it and carries 
out his plans to go into hiding. 

The romance is further com- 
plicated by Jim's realization that 
he is simply drifting along, cher- 
ishing his cynicism and clinging 
to the memories of a former 
disastrous love affair. It's up to 
Hannah to straighten out the three 

Doris Rich former Broadway 
actress, plays the part of Hannah. 
Educated in New York, Miss Rich 
studied dramatics at the Amer- 
ican Academy for Dramatic Art. 
She appeared in productions with 
Jane Cowl, Ethel Barrymore, Eva 
LaGallienne, Blanche Yurka, Mrs. 
Pat Campbell, Alfred Lunt and 
Lynn Fontanne. 

Norman Gottschalk, who has 
played the role of Dan since the 
show first made its appearance 
on the air. is a former stationary 
engineer and jewelry manufac-. 
turer who went into radio back in 
1932 when he wrote a program, 
auditioned it, and got a job WAth 
Station WLW in Cincinnati. 

Currently, it is broadcast from the 
Chicago NBC studios at 9:00 a. m. 
CST over the NBC-Red network. 

Members of the cast of the popular serial as they appeared during a recent 
rehearsal. Left to right, front row: Les (Jim Nichols) Damon; Doris (Hannah O'Leary) 
Rich; Norman (Dan O'Leary) Gottschalk. Back row: Billy (Shamus O'Leary) Rose; 
Gilbert (Clem O'Leary) Faust; Louise (Ellen O'Leary) Fitch; William (Boss Hughey) 
Amsdell; Beverly (Barbara Hughey) Younger; and Francis (Kevin O'Leary) Derby. 

Letters From a Hicks Field 
Flying Cadet 

Left to right: Bill Arms, Letter reader; 
Gene Reynolds, production director; Tee 
Casper, announcer; Maj. B. S. Graham, 
Hicks Field Director, and Cadet "Speedy" 
Scott, technical assistant. The ship is a 
Fairchild Primary Training plane used by 
the U. S. Army Air Corps for Cadet training. 


CEVERAL months ago a new- 
series of radio programs took 
the air over Station WBAP, Fort 
Worth. The new series was known 
as "Letters From a Hicks Field 
Flying Cadet." It became imme- 
diately popular. It's still going 
strong and may be found at 800 
on the dial at 5:15 p. m. every 
Sunday afternoon. 

Page 18 

When WBAP followers learned 
that a radio tie-up with Hicks 
Field, 12 miles north of downtown 
Fort Worth, was contemplated, the 
idea was ridiculed. Many folks 
stated: "That's a U. S. Army field 
and the Air Corps won't permit 
such a series." Others stated: 
"It can't be done!" 

But t h e "Can't-Be-Don'ers" 
failed to reckon with the WBAP 
personnel who usually get what 

they go after — and "Letters" took 
flight over the ether channels 
October 6. 

Now there are many ways to 
present a program in connection 
with an army project. Most ways 
we've heard ore somewhat dry in 
subject matter and lacking in 
showmanship or appeal. So the 
program department set about 
doing this show in a new and 
different manner. 


First, using the sane judgement 
of Maj. B. S. Graham, Hicks Field 
director, a young cadet actually 
undergoing flight and ground 
school training, was selected to 
assist in writing the script. He 
was, under Army regulations, to 
receive no pay nor publicity for 
his personal reactions tO' a young, 
red-blooded American undergoing 
flight training in Uncle Sam's 
Flying Cadets. A lad by the name 
of "Speedy" Scott was selected 
for this advisory capacity, Scott 
having done some newspaper 
work before forsaking riches for 
his country's service. 

Second, a unique method of 
presentation was worked o u t 
under the guidance of "Woody" 
Woodford and Gene Reynolds, 
production men at WBAP. The 
show opens with a bang — or 
more truthfully — a roar; the roar 
of a fast Army pursuit ship doing 
a steep maneuver. This is calcu- 
lated to lift Mr. and Mrs. Casual 
Dialer right out of their chairs. It 

Bill Arms, WBAP announcer- 
dramatist, fresh from local theat- 
rical triumphs, reads the flying 
cadet's letter during each show. 
This is done with recorded mu- 
sical bridges and sound effects. 
Toward the end of the letter the 
cadet, who has been writing the 
letter in the barracks at the close 
of day, hears the distant, nostalgic 
sound of a bugler sounding 
"taps." Even Major Graham's 
auburn-haired secretary admits a 
tear or two every time this part of 
the show is reached. 

To secure authenticity in the 
writing of the show and its 
production the WBAP personnel 
handling the show makes regular 
trips to Hicks Field to watch 
ground and aerial classes in 
action. They dine in style in 
Hicks' modern cafeteria, talk with 
the cadets and flight instructors 
and get a first-hand "feel" of the 
life of a flying cadet. 

Here's a typical letter read 
during a recent show: 

"Dear Mom and Dad — 

Today was the most moment- 
ous one in my career as a Flying 
Cadet for our Uncle Samuel. I 
rolled out of bed at 5:30 a. m., ate 


a big breakfast that reminded me 
of our own breakfast table back 
home, and was on the flying line 
at exactly 6 a. m. There were 30 
sleek training ships drawn up in 
a perfect line with their noses 
sniffing the rising Texas sun. 
Beside each ship was an instruct- 
or. Yes, an instructor. Now these 
fellows are really swell to have 
around except when your darling 
foo:tball hero makes a rough land- 
ing or banks a ship too much. 
But my instructor was Lieut. Bill 
Allen and he's reputed to be the 
toughest man in the school here. 
Well — after we had made a 
sloppy landing or two — with 
your son John at the controls — 
we pulled up near a front hanger 
and the Lieutenant clambered 
out. 1 started to follow. 

'Where are you going. Mister?' 
he snapped. "Stay in that ship 
and take it up again. I'm staying 
right here to watch you.' 

"Yes, mom, I made it or 1 
wouldn't be writing you — but 
don't worry about my getting hurt. 
Texas is so large and there's al- 
ways a handy pasture nearby for 
forced landings. — And just think, 
we have our own little church here 
and I went to services this morn- 
ing. They played "Rock of Ages" 
and all the cadets sany. 

"It was just like our little church 
in Pleasant Valley — only I 
missed dad's bass voice and sister 
Mary's contralto. — All of the 
boys feel the need ol spiritual 
devotion. Flying high above the 
bustle of ordinary activity we 
seem suspended on some mighty 
chain anchored to the Heavenly 
Throne itself. It brings one closer 
to spiritual things and I believe 
all those who fly feel about the 
same as we do — well — I hear 
"taps" now — I've fifteen minutes 
to get in bed — so goodbye — 
love and kisses — and save some 
for the girl friend — Margaret — 
your loving son • — John." 

Needless to say the local news- 
papers are keenly interested in 
this show and several hundred 
fans wrote in on program Number 
One wanting to know how they 
might enter the U. S. Army. Air 
Corps. Needless to say — Major 
Graham informed them I 


(Continued from Page 11) 

drove Ned to repudiate Fredericka 
and flee to the West Coast, where 
he married Torchy Reynolds, 
young waterfront girl. They were 
eventually divorced, so that Ned 
and Mary could marry. Ned is 
now reconciled with his mother. 

Another thread in the story 
concerns the lives of the Kransky 
family. Rose, the daughter, once 
loved Charles Cunningham, 
wealthy publisher. She became 
the mother of his child and figured 
sensationally in a trial when 
Cunningham's wife divorced him, 
naming Rose as co-respondent. 
Now Charles wants to marry Rose 
but she is engaged to her present 
employer. Jack Felzer, prominent 
young attorney. 

Ellis Smith, an artist who calls 
himself "Mr. Nobody from No- 
where," is another important port 
of the story pattern. Ellis, blinded 
when he rescued Fredericka from 
a tenement fire, has recently 
regained his sight. Torchy, now 
a famous night club and radio 
singer, loves him; so does Iris 
Marsh, a young woman who has 
left her husband and little son to 
build up a new life of her own. 
Ellis isn't sure of his own heart and 
is currently planning to leave 
Five Points and start life over 
again. Although he has long been 
a verbal antagonist of Dr. Ruth- 
ledge, the artist has his own cyn- 
ical way of spreading kindness 
through the little community. 

Mary Ruthledge Holden is 
played by Sarajane Wells; Ned 
Holden, by Ed Prentiss; Mrs. 
Kransky is Mignon Schreiber; 
Rose Kransky, Ruth Bailey; Jacob 
Kransky, Seym.our Young; Torchy 
Reynolds, Gladys Heen; Frede- 
ricka Lang, Muriel Bremner; Irish 
Marsh, Betty Arnold; Ellis Smith, 
Phil Dakin; Charles Cunningham, 
Bill Bouchey; Jack Felzer, Paul 
Barnes; Laura Martin, Gail Hen- 

The serial written by Ima 
Phillips, "Radio's No. 1 Author, 
was inaugurated January 25, 1937. 
It is broadcast Mondays through 
Fridays at 9:45 a.m. and 4:30 p.m. 
CST over the NBC-Red network. 
The show is produced by Howard 
Keegan, for the agency, and 
announced by Fort Pearson. 

Pago 19 

Quick Watson, The Needle 

(Continued from page 5) 

flavor to his interpretcriion of the 
bluff doctor, Holmes' friend, as- 
sistccnt and biographer. 

Even the long-time friendship 
which bound Holmes and Watson 
together is duplicated in the real- 
life stories of Basil Rathbone and 
Nigel Bruce. When World War I 
was raging, Rathbone and Bruce, 
both rising young British actors, 
served in their country's army. 

that might not look well in print. 
We've never shared rooms in 
Baker street, but if we had, I think 
we might have got along about 
as Holmes and Watson did. 
Willie claims a better sense of 
humor than Watson — but that's 
purely his opinion". 

That's the opinion of most of 
Hollywood, too — including Rath- 
bone, who does not believe his 

Sherlock Holmes and Dr. Watson, his assistant, put their 
heads together to solve another spine chilling mystery on 
NBC's Adventures of Sherlock Holmes. 

When the war was over, Bruce, 
in spite of the effects of a serious 
wound, returned to the stage, and 
there renewed his friendship with 

"Long ago, we arrived at the 
point where we can insult each 
other with impunity", Rathbone 
says. "1 call him Willie, or 
Walrus. Usually Willie. It's 
simpler. And he calls me things 

own slanderous implication. 
Conan Doyle tells us that Sher- 
lock's custom, in moments of re- 
laxation, was to play his violin, 
or to listen to good music. He 
doesn't say much about Watson's 
lighter moments. But both Holmes 
and Watson, in the persons of 
Rathbone and Bruce, are practical 
jokers in their more relaxed 
moods on broadcast days. The 

boisterous humor of Bruce and 
the pointed wit of Rathbone are 
used to advantage on each other, 
and sometimes on long suffering 
Tom McKnight, who produces the 
Sherlock Holmes series. 

Members of the cast of Sherlock 
Holmes have caused Rathbone 
some worry of late, because they 
insist upon taking his portrayal of 
Sherlock too seriously. 

It all began when a small 
powder factory on the Pacific 
Coast was blown up. When Rath- 
bone arrived for a rehearsal Sun- 
day at NBC's Hollywood Radio 
City, every member of the support- 
ing cast was waiting for him, and 
everyone had the same clipping, 
a complete story of the disaster. 
In chorus, they demanded, "Solve 
this, Mr. Holmes". 

Rathbone escaped that one, but 
he couldn't get a way from the 
story. As further information ap- 
peared in the papers, it was 
collected by the actors, with the 
connivance of Bruce, and saved 
for the next week's show. 

Faced with a showdown, 
Rathbone shrugged, and said, 
"Not a case for Holmes at all. 
That was simply an accident". 

The newspapers, of course, 
carried the opinions of inves- 
tigators, and their opinion was — 

But Rathbone can't evade 
Holme's reputation. He still 
receives newspaper clippings of 
unsolved crimes, with requests for 
their solution. Not all are jokes 
from the cast. Some are serious. 
But, although he is a serious 
student of Holmseiana, Rathbone 
confesses he is no Sherlock in the 
matter of deductive powers, and 
so the cases will remain unsolved, 
unless the police do the work. 

First heard on NBC in their 
"Adventures of Sherlock Holmes" 
series in 1939, Rathbone and Bruce 
now are in their second season 
on the air. Edith Meiser is author 
of the radio adaptations of the 
stories. Her treatment of. the 
Holmes stories is heightened by 
the unique musical score, written 
and directed by Lou Kosloff, and 
interpreted by an instrumental 
group which makes use of the 
bassoon, French horn, electric 
organ, violin and trombone to 
produce the weird tonal quality 
which is an essential part of the 

Page 20 


twimiauju—iw. - lujjj i ji iipi j iii __ ^ 

So sings Farmer Clark Gable as he rides on the grador drawn by faithful farm animal 
to improve the road leading from the main highway up to his new twenty-acre ranch 

Continued from Page 13 

size, which may bring a laugh to 
the toilers of the earth back East. 
But out here, on fourteen acres, 
we can grow anything and more, 
too, than can be grown on a 
quarter section any place else. 

On my farm, 1 have a six room 
farmhouse with two bedrooms 
and not even a guest room. The 
barn is large enough for ten 
horses, but 1 have only five 
horses in it. The orchard has 900 
specimen citrus trees. Two and 
a half acres are in grapes. So 
far, I have 500 chickens and six 
white turkeys in my poultry pens. 
Later on, I may raise pheasants. 

The truck garden provides all 
the fresh vegetables for our table. 
I grow all my own alfalfa for my 
stock and still there is an ample 
pasture for the horses to graze in. 
With the help of one farmer, my 
only hired hand, I do all my own 
farming. For him and his wife 
1 have built a small farmhouse in 
which they live. 

We start out at six in the morn- 
ing, when I'm not busy on a 
picture and keep right at it until 
supper time — and you'll notice 
I said supper-time and not dinner. 
That's real farm talk. Of course, 
it is hard work, but I have learned 
to ecrt it up. Besides, farming to- 
day isn't as tough as it was when 

I was a kid back on my Dad's 
farm. The job is lightened by the 
tractor, which is my pet, the 
modern rakes, harrows and 
ploughs, and painting the sheds 
and fences is a pleasure with the 
automatic spray. 

More than once I've been 
chased away from the supper 
table to wash my dirty hands 
and change my dirty overalls, 
but that all goes with farming. 

Another thing, you won't find 
a swimming pool or badminton 
court on my farm, which makes 
me a sort of an outcast among 
the Hollywood farmers — or, ranch- 
erios, as I should say — around 
this part of the country." 



Page 21 


with presents the second in 
series of articles designed 
to acquaint its readers with 
some of the directors of NBC 

By Dan Thompson 

WHAT DOES it take to he a 
radio director? Too often the 
work of a radio director is taken 
for granted, like sunshine, rain 
and electromagnetism — that sine 
qua non of radio. Essential ds 
the radio director is, he and his 
work ore almost equally myste- 

NBC Director Frank Papp 

rious to the average radio listener. 
Yet there is glamor in the radio 
director's life — glamor and 
human interest. In an effort to 
find out what kind of men radio 
directors really are and what 
talents and aptitudes they must 
possess, we interviewed Harold 
Bean, a musical director in the 
NBC Central Division, and two of 
his dramatic colleagues — Frank 
Popp and Ted MacMurray. 

Bean, who directs some of the 
NBC Club Matinee and National 
Farm and Home Hour broadcasts, 
the Roy Shield Revue unO many 
of the broadcasts featuring such 

Page 22 

singers as Wayne, Van Dyne, 
finds practical experience as a 
singer or with some musical 
instrument — preferrably profes- 
sional — the number one require- 
ment in a musical director. "I say 
'preferrably professional,' " Bean 
explained, "because the profes- 
sional is not quite as biased as 
the amateur who is likely to con- 
fuse his individual likes and dis- 
likes with those of his audiences. 
"As an example of the impor- 
tance of this experience, it is only 
necessary to point out," Bean 
continued, "that all our musical 
directors in the NBC Central 
Division have had practical ex- 
perience. Albert Ulrich, director 
of the Hymns of All Churches, for 
instance, was a member of the 
Chicago Symphony Orchestra and 
the Ravinia Opera Company 

NBC Director Harold Bean. 

Orchestra for 14 years. Bob White 
was tenor soloist over a Detroit 
station before becoming an an- 
nouncer, actor and producer in 

turn. George Voutsas and I have 
fiddled at one time or another. 
Arch Scott and L. G. Harris were 
musical comedy and minstrel 
men on the stage and Tom Hargis 
was a radio singer in Houston, 
Texas, before coming to Chicago. 
Jules Herbuveaux, former man- 
ager of the production depart- 
ment and now program manager 
of the NBC Central Division, was 
an orchestra leader at one time, 
and Rex Maupin, who now con- 
ducts an NBC orchestra, turned 
director several years ago and 
then reverted to conducting again 
two years ago. 

The value of experience on a 
local radio station was stressed 
by Mr. Bean, who compared such 
training to that a newspaperman 
gets on a small town paper. 
"Working on a small radio station 
gives a director a comprehensive 
idea of the problems that hove to 
be met in radio and makes him 
fully aware of the important place 

NBC Director Ted MacMurray 

radio now holds in community 

Granted then that a musical 
director for a network should have 
practical musical experience and 
a small station background, what 
else is needed? "He must have 
some record of originality in 
building programs, a sense of 
loyalty, an agreeable personality 
and polish enough to be able to 
meet all kinds of people." 

Turning to the dramatic side of 
radio, Frank Papp, director of the 
Story of Bud Barton and Cameos 
cf New Orleans, believes a good 
dramatic director must have had 



legitimcrte experience in all phases 

of showmanship. "Writing, design- 
ing, directing and acting are all 
essential," he soys, "and a 
musical background is highly- 
desirable even in a dramatic 
director because many serials 
make constant use of incidental 

"It is probably obvious to say 
that a director should know 
dramatic literature of all nations 
and should know how to handle 
people. The importance of know- 
ing one's actors may not be so 
apparent to listeners, but it is 
nevertheless true that a director 
often finds it burdensome to direct 
a person with whose personal 
background he is unfamiliar. 
When it comes to stardom, best 
results are obtained when director 
and star know each otner quite 

Ted MacMurray, whose small 
town background made his under- 
standing of Vic and Sade especial- 
ly fine and which now helps him 

in Li'l Abner, agrees with Papp 
that a good dramatic director 
should know every phase of show 
business. He adds that "every 
phase of life is the director's text- 

"While a director may draw 
upon his imagination in sequences 
with which he is totally unfamiliar 
by experience, Ted says, "he can 
do much to heighten suspense 
and achieve verisimilitude if he 
actually knows something about 
the particular bit of life he is try- 
ing to mirror. Writing experience 
is valuable because every good 
director is called upon from time 
to time to write a page or so of 
dialogue; travel is helpful in 
many ways and has been espe- 
cially helpful to me in enabling 
me to recognize dialects. For in- 
stance when casting Li'l Abner 
we auditioned over a hundred 
men for the title role before find- 
ing one who had just the right 
dialect and who didn't confuse 
the hill-billy dialect with the 

Southern Negro accent." 

Turning to the bicgraphical, we 
found that Bean is a g.aduate of 
the University of Illinois. He start- 
ed his radio career at WFBM in 
Indianapolis and came to WBBM 
in Chicago in 1930 and to WMBD 
in Peoria as program director for 
three years before joining the NBC 
Central Division staff in 1939. 

Papp was born in Chicago and 
educated at the University cf Chi- 
cago. He was trained profes- 
sionally in violin and began his 
career by reading manuscripts 
for publishers in New York City. 
For a time, he taught public 
speaking. Later he became pur- 
chasing agent for a distributor of 
foreign films in America, casting 
director and play reader for a 
New York producer, and finally 
a free lance actor, director and 
producer for agencies. He joined 
NBC in 1939 and is married to 
Mary Pcrtton, beautiful NBC star 
who is heard as Marie Martel in 
Arnold Grimm's Daughter. 

NBC Prepares for Music Change 

K GREAT expansion of activity 

is seen around the NBC Central 
Division Music Library as NBC 
music officials prepare for Jan- 
uary 1, the day when ASCAP 
music becomes unavailable for 
broadcasting. Several new em- 
ployees hove been added to the 
music library staff, bringing the 
total number of employees in the 
library to 14, exclusive of two 
free-lance copyists who are called 
upon fairly regularly. 

Also, in anticipation of the 
change effective January 1, the 
physical equipment of the music 
library has been enlarged. A 
client's program service room, has 
been set up adjacent to the 
music library and already is 
being used to provide a ready 
consultation service on musical 

Photostatic equipment, play- 
back recording machines and on 
additional piano also have been 
acquired by the music library to 
expedite the work. The new set- 
up is under the direction of Don 
Marcotte, NBC Central Division 
music supervisor. 

A check of the theme songs of 

programs originating in the NBC 
Chicago studios reveals that 18 
commercial shows will not be 
affected by the ASCAP situation, 
while the themes of 21 will be 
changed. Among the programs 
which are not affected are Tom 
Mix Straight Shooters ("When the 
Bloom Is on the Sage"); Knicker- 
bocker, Playhouse and Wings of 
Destiny (both original man- 
uscripts); Arnold Grimm's Daugh- 
ter ("Poor Little Cinderella") and 
Hymns of All Churches ("Andante 

Shows and musical themes 
affected include Mary Marlin 
("Clare de Lune"); Vic and Sade 
("Chansons Bohemienne"); Guid- 
ing Light ("Aphrodite"); Quiz 
Kids ("School Days" and "Play- 
mates"); Alec Templeton Time 
("Humming Blues" and "The Very 
Thought of You"); and Fitch Band- 
wagon ("Smile for Me"). 

Almost all sustaining network 
programs originating at NBC Chi- 
cago will change their themes by 
November 15, if not already 
changed, according to Marcotte. 
Included in this category are Club 
Matinee, Doctors at Work and 



Uncle Sam's Forest Rangers 
(heard on the National Farm and 
Home Hour) with new themes by 
Rex Maupin, NBC conductor. Roy 
Shield, Central Division music 
director, will provide a new theme 
fcr the Farm and Home Hour. The 
NBC Breakfast Club has four 
themes, two cf which have always 
been non-ASCAP. 

All commercial prcyiams now 
using ASCAP themes are plan- 
ning changes. In some cases only 
a new arrangement of the theme 
in use is necessary, since a num- 
ber of the melodies are not restric- 
ted, but an ASCAP arrangement 
is being used. 

One of the first NBC network 
dramatic programs to discard its 
former theme was Girl Alone 
which introduced a new departure 
in thematic music in the form of 
a so-called "Girl Alone Suite" 
composed by Marcotte. The new 
music for this show not only 
includes opening and closing 
themes, but also motif music which 
serves to describe the leading 
characters and to introduce these 
characters in script sequences. 

Page 23 

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JANUARY— 1941 


Minnie Pearl— The Giil With the Big Future at WSM (See Page 19.; 

^i • 

^ 22 mi .' i 



The Waltz Kings of the 19th and 
20th centuries meet in Johonn 
Strcaiss' "Wine, Womctn and 
Song," now played by Wayne 
King, best known popular inter- 
preter of three quarter time. King 
adds to the Strauss music a new 
tang and warmth, achieved 
through the perfect blend of his 
saxes and strings. The coupling 
is the waltz sensation of the early 
twenties, "That Naughty Waltz," 
featuring the maestro' s own 
golden sax. (Victor 27264) 

Larry Clinton styles the lilting 
new "Moonlight and Tears" (from 
Warner Brothers' "Four Mothers") 
in a smooth and effective arrange- 
ment reminiscent of "My Reverie." 
Peggy Mann sings. The reverse 
is another film tune, "You Forgot 
about Me" from RKO's "Let's 
Make Music," featuring a clari- 
net quartet and vocal by Terry 
Allen. (Bluebird B-10984) 

"Fats" Waller offers "Everybody 
Loves My Baby" in a fashion that 
makes us wonder why he didn't 
record it long ago. The song is a 
natural for the Waller style and 
"Fats'-' rides the keys and the 
mike for a torrid performance. The 
companion piece, "Scram" was 
written by Leonard Feather, the 
English jazz cmhority, and com- 
prises instrumental variations on 
a tricky little riff. (Bluebird B- 10989) 
One of the most striking 
swing arrangements to come our 
way in a long time is Glenn Mil- 
ler's "Anvil Chorus" which has 
created a storm of applause at 
each airing. Glenn has now re- 
corded the number. Parts I and II 
on both sides of a ten-inch record, 
making 20 inches of driving, solid 
swing. There's little we can say 
(?bout it that hasn't already been 
said. The pace is fast and fur- 
ious; the orchestration and solos 
tremendous. This is a must for 
any swing fan. (Bluebird B-10982) 

As of this writing, "Yes, My 
Darling Daughter" was enjoying a 
sunny spot high on the best sel- 
ler list, thanks entirely to the ef- 
forts of Miss Dinah Shore who 
introduced the number and car- 
ried it single-handed. Now Glenn 
Miller steps aboard and next week 
you will probably see other or- 
chestras lining up on the right. 

Glenn swings the tune at a bit 
faster tempo than Miss Shore's 

vocal arrangement and brings to 
bear his unison saxes and trom- 
bone quartet. Lyrics are handled 
by Marion Hutton who, if we may 
say so, does the best job she has 
ever done on any record. The 
reverse is another top tune, 
"Along the Santa Fe Trail" from 
the Warner Brothers film of the 
same name. This is in slow, 
pulsing rhythm with Ray Eberle 
at the microphone. (Bluebird B- 

"Your Dream" (Hammerstein II 
— Harbach — Kern, from Univer- 
sal's "One Night In The Tropics") 
is one of the most delightful mel- 
odies to come out of the film fac- 
tories for some time. Leo Reisman 
gives it a velvet and cream setting 
complete with vocal solo by the 
musical show favorite, Phil Duey. 
The coupling, "Remind Me" from 
the same picture, is in rumba fox 
trot tempo, clean cut and rhyth- 
mical. (Victor 27237) 

The old Benny Goodman band 
(Harry James, Dove Matthews and 
Buddy Schutz) beat out a tremen- 
dous double on "Farewell Blues" 
and "Margie," a pair of favorites 

straight from New Orleans. This 
was the brand of playing that 
first brought fame to the Swing 
King, full powerful brass, solid 
rocking beat and plenty of unbe- 
lievable horn from both B. G. and 
Harry James. (Bluebird B- 10973) 

The famous all-star Chicago 
session which produced "Blue 
For You Johnny," and "Ain't Mis- 
behovin' " yields another double 
of pure jazz, "Save It, Pretty Ma- 
ma" and "Stompy Jones." This 
was the date with Sidney Bechet 
on soprano sax and clarinet; Rex 
Stewart, cornet; Earl Hines, pia- 
no; John Lindsay, bass; and "Ba- 
by" Dodds, drums. Ellington's 
"Stompy Jones" is the faster of 
the two, but both show tremen- 
dous driving force and inspired, 
smoking solo work. (Victor Swing 
Classic 27240) 

From Poromount's new film, 
"Second Chorus," Victor just re- 
leased a 12 inch disc of Artie 
Shaw's, "Concerto for Clarinet," 
in two parts. This two sided 
platter contains plenty of "clari- 
net calories" for devotees of Ar- 
tie's licorice stick. 


No. 4, VOLUME 1 

JANUARY- 1941 


Patter Off the Platter 2 

First Lady of the American Theatre 3 

"We Take You Now to Mitchell Tower" 4 

"Cokes" for the Cast of Girl Alone 5 

Jack Benny — the New Champ 6&7 

Kostelcinetz Predicts 7 

The Shadow at Home 8 

Chaplin Praises CBS / 9 

Cantor Looks at Radio lO&ll 

Radio Varieties Gold Cup Award 12 

Alec — the Music Box Collector 13 

Let's Look at WLS 14 

Watch the Birdie! 15 

Radio and U. S. Defense 16 & 17 

Daddy Hanley Stafford 18 

F. L. ROSENTHAL, Publishei 


Published at 1056 West Van Buien Street, Chicago, Illinois. F. L. Rosenthal, Publisher. 
New Yoik Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Sijigle Copies, ten cents. Subscription rate SI. 00 per year in the 
United States and P'ossessions, $1.50 in Canada. Entered as second class matter January 
10, 1940. at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses lor such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 

Pag© 2 



Helen Hayes at her piano in the music room of 
her beautiful Victorian home in Nyack, N. Y., where 
she finds comfort and relaxation between her dramatic 
radio shows. Miss Hayes is heard in her own radio 
playhouse — "Helen Hayes Theater" — on a 63- 
stotion coast-to-coast Columbia network. Mark 
Warnow conducts the orchestra and Harry Von Zell 
announces. Dramatic material for each Sunday 
evening series is selected from originals, motion 
picture hits, magazine stories and novels. "Helen 
- Hayes Theater" is sponsored by Thomas J. Lipton, Inc., 

in behalf of Lipton's Tea and is heard at 9:30p. m. CST. 


We Take You Now to Mitchell Tower" 

Every Sunday — for longer 
than most listeners can re- 
member — this phrase has 
introduced the oldest educa- 
tional network broadcast in 
radio: The University oi 
Chicago Round Table. 

TN 1931 WHEN the Round Table 
made its debut on WMAQ Chi- 
cago the idea of three professors 
discussing a current problem 
before a microphone was neither 
exciting nor n3v/sworthY. It was 
an experiment. They used no 

ceived and directed the program 
in its infancy. 

Less than two years later, in 
1933, the Round Tajale became an 
educational feature of the NBC 
Red Network — the first network 
broadcast produced without script. 
Its popularity as a local feature 
soon was eclipsed by the interest 
it commanded before a national 
audience. At first heard only in 
the East and Middle West, the 
program later became a "coast-to 
coast" feature, with an audience 
of nearly a million listeners. By 

Emily Post to the contrary, elbows are decidedly in order on the University 
of Chicago Round Table and the idea is to keep the speakers in microphone 
position. L. to R.; W. Laves, political science professor, U. of C; H. Deutsch, 
history professor, U. of Minnesota; and H. M. Cole, military expert, U. of 0. 

script, had no rehearsal, and held 
no conclusion to drive home. 

In radio, however, this was a 
dangerous precedent, an unheard 
of privilege. There could be dy- 
namite in a program wJiich de- 
pended for its content on the whim 
or judgment cf the three speakers. 
Besides, the topic of the first dis- 
cussion was highly controversial: 
The Wickersham Report on Prohi- 

It is a far cry to that bunday in 
1931 when the three professors sat 
around a card table and analyzed 
the Wickersham report for a few 
hundred thousand listeners. But 
production of that first broadcast 
remains a tribute to the farsighted 
judgment of Judith Waller, then 
manager of WMAQ, and now 
educational director of NBC in the 
Middle West. For Miss Waller 
and Allen Miller, then radio 
director of the University, hod con- 

1935 there were more than fifty 
stations in its network, and the 
audience grew steadily. 

Today the Round Table stands 
at the top of all discussion pro- 
grams in educational radio. With 
a network of nearly ninety sta- 
tions, more than five million 
listeners are tuned each week to 
the discussions. 

At first the Round Table trios 
consisted only of University of 
Chicago professors. Usually two 
experts on the topic presented 
their facts to a third professor who 
played the role of "intelligent lay- 
man," protecting the audience 
from experts who might cloud the 
issues in technical jargon. 

In 1938 new horizons were sud- 
denly opened to the Round Table. 
The Alfred P. Sloan Foundation, 
newly endowed for the dissemi- 
nation of economic knowledge, 

made a grant to the University of 
Chicago for experimentation in 
radio education and expansion of 
the activities of the Round Table. 

For the first time the Round 
Table was equipped to bring re- 
cognized authorities from any 
part of the country to discuss im- 
portant problems before its micro- 
phone. In special instances the 
mountain went to Mohammed — 
to Henry Wallace, Thurmcm 
Arnold, Clifton Fadiman, who 
were unable to come to Chicago 
but whose contributiona were es- 
sential to an authoritative discus- 
sion of the scheduled topics. 

For the first time the insistent 
public demand for printed copies 
of the discussions could be met. 
In a little more than two years 
listeners have written for more 
than a quarter of a million copies 
cf Round Table discussion. Today 
there are nearly four thousand 
regular subscribers, and single 
broadcasts have brought requests 
for as many as thirty thousand 
transcripts, which are sold on a 
non-profit basis. 

With a network continuing to 
expand and an audience that has 
grown steadily throughout the 
"summer lull" the Round Table 
celebrates its seventh network 
birthday on October 13. Ranked 
as one of the outstanding pro- 
grams devoted to the discussion 
of issues of national and interna- 
tional importance t h e Round 
Table exemplifies the American 
traditions of freedom of expression 
and communication. The Round 
Table has never been otticially 
censored because inherent in its 
three-speaker set-up are a fair 
treatment of conflicting points of 
view and a diligent attention tO' a 
balanced presentation of contro- 
versial subjects. 

At a time when civil liberties 
elsewhere in the world are being 
restricted by authoritarian govern- 
ments the Round Table stands as 
a monument to the democratic 
guarantee of those liberties. The 
constantly widening audience for 
the program demonstrates the 
practical possibility of stimulating 
awareness and understanding of 
important national issues through 
educational broadcasting. 

Page 4 


"Cokes ' for the Cast of Girl Alone 

Members of the cast ot NBC's 
Girl Alone, heca-d Mondays 
through Fridays at 4:00 p. m. 
GST over the N B C - R o d 
network, take time out for 
refreshments between shows at 
the NBG Round Table at the 
Merchandise Mart Restaurant. 
Left to right around the table: 
Herbert (Ziehm) Butterfield; Lau- 
rette (Virginia Richman) Fill- 
brandt: John GFrankie McGinnis) 

Larkin; Betty (Patricia Rogers) 
Winkler; Pat (Scoop Curtis) 
Murphy; Joan (Alice Ames 
Warner) Winters; Frances (Ruth 
Lardner) Cctrlon and the vacant 
chair would hove been for June 
Travis, who plays Stormy 
Wilson Curtis. Standing, 1. to 
r.: NBC Director Charles 
Urquhort, Frankie (Jack) Pacelli 
and Henry (Scotson Webb) 


Paga 5 


Jack Benny, star of the Sunday evening 
Jello series, was voted Champion of Cham- 
pions by more than 700 radio editors in the 
United States and Canada, queried by 
nual radio poll on behalf of Fame. 

"DENNY, who won the tirst MO- 
1S36, regained the leadership 
which he lost to Edgar Bergen's 
Charlie McCarthy during the in- 
tervening three years. 

Many other old favorites re- 
turned to top ranking white some 
former leaders dropped from 
grace. Dinah Shore, vocalist on 
the Eddie Cantor show, was 
picked by the editors as the Out- 
standing New Star of the Season, 
while Edward G. Robinson was 
selected as the Most Effective Film 
Player on the Air. 

Bob Hope was selected as the 
Best Comedian, Fanny Brice as 
Best Comedienne, and Fibber 
McGee & Molly as the Best Com- 
edy Team. Ring Crosby and 
Kate Smith again won top spots 
as popular masculine and fem- 
inine vocalists, respectively, with 
Richard Crooks and Margaret 
Speaks winning on the classical 

Raymond Gram Swing rose 
from fourth place to first among 
the commentators, with Bill Stern 
in the lead for Best Sports An- 

Lux Theatre Wins 

The Best Dramatic Show accord- 
ing to the editors, is the "Lux Radio 
Theatre " a perennial favorite, and 
"One Man's Family" drew top 
honors as Best Dramatic Series. 
The "Aldrich Family" was voted 
tops among Comedy Series. 

The biggest total was rolled up 
by "Information, Please," voted 
Best Quiz Program, and "Vic and 
Sade" was named best among 
the Monday-through-Friday day- 
time serials. 

Best Educational Program is the 
CBS "American School of the Air", 
which has been recognized in 
many states as part of the regular 
curriculum and now is playing an 
important part in cultural relations 
with Latin America. Irene Wicker 
drew top honors for the Best 

Paqe 6 

Children's Program with her show, 
"The Singing Lady." 

Glenn Miller's orchestra was 
heralded as best among the 
swing bands and Guy Lombardo 
was similarly honored for the Best 
Radio Orchestra (Popular). Kay 
Kyser's "College of Musical Know- 
ledge" drew top rank for the best 
popular musical show. 

The New York Philharmonic- 
Symphony Orchestra was voted 
the Best Radio Orchestra in the 
classical division, while the "Ford 
Sunday Evening Hour" drew the 
plaudits for being the Best Musical 
Show on the classical side. 

With war and politics occupy- 
ing most of the special events time 
over all networks, the CBS "Eu- 
ropean Roundup" was voted best. 
Hope and Crosby Close 

Following closely on the heels 
of Benny, in the open champion- 
ship class, were Bob Hope, Bing 
Crosby and Bergen, in that order. 
Fred Allen and Helen Hayes were 
tied for the fifth place. 

Jack Benny trailed Hope, how- 
ever, as Best Comedian. In third 
place was Fred Allen, followed 
by Bergen. Eddie Anderson, as 
Benny's valet Rochester, stepped 
in with the leaders to take fifth 

Gracie Allen was runner-up to 
Miss Brice as Best Comedienne. 
Mary Livingstone was third, 
Marion Jordan (Molly McGee) 
fourth, with Jane Ace and Portland 
Hoffa tied for fifth. 

Burns & Allen followed Fibber 
McGee & Molly in the ratmgs for 
Best Comedy Team. Brenda & 
Combina placed third, and 
Amos 'n' Andy, Abbott & Costello 
and Benny & Livingstone were in 
a triple tie for fourth place. 

Benny's Jello series was given 
the second place spot behind the 
"Aldrich Family" as the Best Com- 
edy Series. The Bob Hope show 
for Pepsodent was third, while 
Fred Allen's "Texaco Star Theatre" 


and the "Easy Aces" tied for 

Yvette, the golden-haired songs- 
tress, was voted by the editors as 
the second Outsanding New Star 
of the Season. Helen Hayes was 
third and Carol Bruce, fourth. 
That the political campaign left its 
mark on the minds of the editors 
was reflected in the fact that 
Wendell L. W i 1 1 k i e received 
enough votes to tie for the fourth 
position in this classfication. 

Kenny Baker followed Crosby as 
the Best Male Vocalist (Popular). 
Lanny Ross was third, Frank 
Parker, fourth, and Frank Munn, 

Miss Shore's rapid rise to star- 
dom on the airwaves gave her 
not only the top rating for out- 
standing new star, but also gave 
her second place to Miss Smith 
as Best Female Vocalist (Popular) 
Connie Soswell and Frances 
Longford were tied for third posi- 
tion and Ginny Simms and Bea 
Wain were tied for fifth. 

Crooks Leads Vocalists 

Richard Crooks, best of the 
male vocalists on the classical 
side, was followed by James 
Melton, John Charles Thomas and 
Nelson Eddy and Lawrence Tib- 
bett, the last two tied for fourth 

Still on the classical side, but 
with the feminine artists this time, 
Lily Pons follows Miss Speaks 
among the vocalists. Lucille Man- 
ners and Jessica Dragonette were 
tied for third place and Grace 
Moore was fifth. 

Lowell Thomas retained second 
place among the commentators. 
H. V. Kaltenborn was third, Elmer 
Davis, fourth, while Gabriel 
Heatter and Wythe Williams tied 
for fifth. 

Ted Husing was a close runner- 
up to Stern as Best Sports An- 
nouncer. Red Barber placed third 
and Stan Lomax and Bob Trout 
finished in the money by tieing 


for fourth. Lomax, a WOR sports- 
caster, was the only non-network 
star to take a place in the poll. 

Following Robinson as the Most 
Effective Film Player on the Air 
were Don Ameche, Basil Rath- 
bone and Bing Crosby, in that 
order. Bette Davis and Miss Hayes 
tied for fifth place. 

The popularity among editors 
and the people who buy the 
sponsors' goods has changed 
little with respect to announcers. 
Wilson, who has won this poll 
since 1936, was followed in the 
top ranking by Harry von Zell, 
Milton Cross, Ken Carpenter and 
Bob Trout. 

Another repeated favorite is the 
"Lux Radio Theatre" which was 
followed in the Best Dramatic 
Show classification by the new 
"Helen Hayes Theatre," Arch Obo- 
ler's "Everyman's Theater," "First 
Nighter" and "Columbia Work- 

Criticize Daytime Serials 

Following "One Man's Family" 
as Best Dramatic Series were "Big 
Town" and the "Aldrich Family," 
in that order. "Cavalcade of Amer- 
ica," "Second Husband" and 
"Those We Love" were tied for 
fourth place. 

In second place among quiz 
programs was "Dr. I. Q." follow- 
ed by "Take It or Leave It" and 
"College of Musical Knowledge." 
"Prof. Quiz" and the "Quiz Kids" 
were tied for fifth place. 

Editors who frequently criticize 
the daytime program material, 
marked their ballots with a num- 
ber of asides concerning the day- 
time serials. "Big Sister," "The 
Story of Mary Marlin" and "The 
Goldbergs" were in a triple tie 
for second place behind "Vic and 
Sade." Also in a triple tie, but for 
fifth place, were "Bachelor's Chil- 
dren," "Life Can Be Beautiful" 
and "The O'Neill's." 

"University of Chicago Round- 
table" was voted second in the 
Best Educational Program series. 
Apparently of the opinion that 
education can be absorded in a 
number of ways, the editors gave 
"Information, Please" third place, 
while "American Town Meeting of 
the Air" were tied for fourth. 

Following Miss Wicker's "The 
Singing Lady" as Best Children's 
Program were "Coast-to-Coast on 
a Bus" (Milton Cross), "Let's Pre- 
tend" (Nila Mack), and "Quiz 


Kids," all in a triple tie for second 
place, and "Tom Mix's Straight 
Shooters" in fifth place. 

Popular dance bands rated in 
this order behind Guy Lombctrdo: 
Wayne King and Fred Waring, 
tied for second, Kay Kyser, third, 
and Tommy Dorse y and Glenn 
Miller, tied for fourth. 

Miller, who topped the swing 
bands, was followed by Tommy 
Dorsey, Benny Goodman, Artie 
Shaw and Jimmie Lunceford. 
Richard Himber just missed the 
first five. 

Triple Musical Show Tie 

The Fred Waring show, "Kraft 
Music Hall" and 'Your Hit Parade' 
were in a triple tie for second 
place behind "College of Musical 
Knowledge" as the Best Musical 
Show (Popular). "Musical Amer- 
icana" came fifth. 

The NBC Symphony Orchestra 
was rated second among the 
classical radio orchestras. Frank 
Black's "Cities Service" orchestra 
was fourth while Andre Kostela- 
netz's orchestra, Raymond Paige's 
"Musical Americana" orchestra 
and Alfred Wallenstein's "Voice 
of Firestone" orchestra were tied 
for fifth place. 

The "Ford Sunday Evening 
Hour," which was selectea as the 
Best Musical Show (Classical), 
was followed by the N. Y. Philhar- 
monic-Symphony Sunday after- 
noon broadcasts in second place, 
the NBC Symphony ana "Voice 
of Firestone," tied for third, and 
"Cities Service," the Metropolitan 
Opera broadcasts and the "Tele- 
phone Hour," tied for fifth. 

War coverage, politicial conven- 
tions and election returns were 
almost exclusively the items cited 
by the editors voting on special 
events. Although the ballots 
requested designation by network, 
the second greatest group of votes 
was for convention and election 
coverage with "all networks" 
noted on the ballots. The CBS 
"European Roundup" was in first 
place. Among others items cited 
as outstanding were the NBC spot 
description of the scuttling of the 
Graf Spee, general NBC war 
coverage, and NBC broadcasts of 
refugee children speaking to their 
parents in England. Outside of 
the war and politics, the only 
other event to get special citation 
was the NBC coverage of the draft 


musical conductor of stage and 
radio, predicts a greater concen- 
tration than ever upon Latin- Amer- 
ican music this season. It will be 
the natural result, he says, of the 
close relations between the United 
States and the republics to the 
South, growing cut of the hemi- 
sphere defense policy. 

The movement toward great 
cultural interdependence between 
the two continents has already 
begun, he points out, with the 
decision cf the leading motion 
picture studios on the West Coast 
to broadcast programs by their 
stars to Latin America. Music 
figures prominently in these plans 
— all styles and classes cf Amer- 
ican melody from the folKsongs ol 
the mountains and the plains and 
the old South to the latest Tin Pan 
Alley his. 

These programs will supple- 
ment the regular short-wave pro- 
grams of music-and-story which 
go out regularly from New York, 

In return, says Kostelanetz, we 
can expect a steady cargo of 
Latin-American music — tangos, 
rhumbas, fandangos, serenades; 
"all the music, in fact, that is iden- 
tified with the peoples south of 
the Rio Grande." 

"The more infectious of these 
tunes wlil find their way, you may 
be sure, into the catalogues and 
music racks of our dance and con- 
cert orchestras. I look for the 
Latin American vogue to be 
greater than ever this winter." 

The people of the United States, 
he declares, have long been en- 
thusiastic about the music south 
of the border. "Its zip and rhythm 
have influenced our musical fash- 
ions deeply for many years. In- 
deed, for the last few seasons it 
would seem we can't get enough 
of Latin American music, just as I 
understand Latin America cannot 
get enough of our jazz, our cow- 
boy songs and Negro 'spirituals.' " 

Kostelanetz is convinced that 
this musical exchange is proving 
one of the most important factors 
— if it is not the most important — 
in cementing good will between 
the two continents. 

"We've become good neighbors 
because we have a common 
meeting-ground in music. 

Page 7 

The Shadow at Home 

IT'S HARD to imagine the Shadow having a 
family, but here it is, intact. Back row, left to 
right: Jerry Devine, author of the series heard 
Sundays at 4:30 P. M. CST over MBS; Arthur 
Vinton, who plays whatever menace is required 
each week; Ed's son, Keenan Wynn, who ploys 
"Shrevie"; Bill Tuttle, director; Dick Widmork, 
juvenile lead; Kenny Delmar, "Commissioner 

In the front row, left to right: Bill Johnstone, 
the Shadow himself who doubles as Lament 
Cranston; ingenue Betty Heckser; Marjorie 
Anderson, the Shadow's girl friend, "Margot"; 
and Elsie Thompson, whose weird organ in- 
troductions precede the Shadow's wicked Icrugh. 

Page 8 



Color Television 

"Terrific," "amazing" and "marvelous" were the 
words used by Charles Chaplin ( left) to express his 
wonderment at Columbia Broadcasting System's sensa- 
tional new development of color television. The great film 
comedian was given a private demonstration of the device 
by its inventor, Dr. Peter C. Goldmarl<, CBS chief tele- 
vision engineer. At right is Gilbert Seldes, CBS director 
of television programs. 

QOLUMBIA Broadcasting Sys- 
tem's color television came in 
for high praise from one of the 
motion picture industry's greatest 
figures when Charles Chaplin de- 
scribed a demonstration as "ter- 
rific" and "a strikina argument 


for Democracy." 

Mr. Chaplin, as guest of the 
CBS Chief Television Engineer, 
Dr. Peter C. Goldmark, was shown 
a comparative demonstration, 
color control and magnified vision. 
He sow a reel of color film tele- 

vised on black and white and 
color receivers standing side-by- 
side and expressed his amaze- 
ment in typical motion picture ad- 
jectives such as "terrific," "amaz- 
ing" and "marvelous." 

"Color seems to me," Mr. Chap- 
lin said, "to be ten times as im- 
portant to television as it is to 
the motion pictures, because in 
black and white television, you 
can't recognize the details of the 
picture clearly — and with color 
you can. With color your eye 
gets more for its money. I tried 
to keep comparing the two pic- 
tures, but I soon forgot about the 
black and white." 

vVhen Mr. Chaplin learned that 
Nazi scientists had not only failed 
to produce color television, but of- 
ficially had abandoned it as im- 
possible, the man responsible for 
"The Great Dictator," which satir- 
izes dictatorial control, said: 

"The color television I have just 
seen is an American product, and 
is a striking argument for Democ- 

After the demonstration of black- 
and-white television alongside the 
CBS color method, Mr. Chaplin 
was initiated into the color control 
technique, with Dr. Goldmark ex- 
tracting colors from the image on 
the television screen. 

Then "magnified image" was 
explained with the great screen 
star getting a rare peep into the 
inner workings of the color scan- 
ning machinery and a close-up in- 
spection of the newly developed 
lens which increases the appar- 
ent picture area of the television 
image by about 80 per cent. 

After a tour through the labora- 
tories, Mr. Chaplin warmly con- 
gratulated Dr. Goldmark on his 
developing color television and 

"I think that now that you've 
got color, you can start television 
off on its right foot." 

Page 9 

Cantor Looks at Radio 

"We need laughter as much as we need 
music, education and the news of the day/' 
says Cantor. "It is the oxygen tank to 
keep Americans alive today." 

Canter is set for the lunch hour. 
You are admitted to hi^ suite on 
the top floor of a midtown Man- 
hattan hotel and directed to his 
bedroom. A faint, linimenty, locker 
room aroma catches up with you 

on the occasion of his decade in 
radio. Cantor extricates a tanned 
arm from the white sheet that en- 
velopes him and motions you to a 
seat, just as his muscled masseur 
punches out a staccato run on the 
keyboard of his spine. 

Eddie Cantor caught in tlie act of "raiding the ice box" 
claims his steady diet of milk gives him most of his energy 
and is the beneficial all around drink in his house. 

as you enter and find your host 
stretched on a table taking his 

You have come to get a story 

Page 10 

"This is how I get my exercise, 
"Eddie tells you dolefully. "Be- 
tween rehearsals and broadcasts 
and benefit shows you can never 

find time for the real thing." 

To start things off, you remind 
your host that in October, 1931, 
he began his radio career with 
the National Broadcasting Com- 
pany when it occupied only a 
few floors of broadcasting space 
at 71 1 Fifth Avenue. Now that he 
is beginning his tenth year with 
NBC with his "Time to Smile" 
program, how does radio look in 
retrospect, especially in regard to 
comedy programs? 

Before the masseur can lay 
hands on another vertebra Cantor 

"There have been changes. 
They were slow in coming, but the 
changes have been for the better. 
The quality of radio comedy is at 
a higher level now than at any 
period in radio's history. Puns, 
jokes and wheezes have passed 
out of the picture. In their place 
we have situations involving real 
people. We are making actors 
living persons instead of ma- 
chines that spout jokes. 

Radio comedy is building 
characters, not caricatures, and 
ycu can give Jack Benny the 
credit for showing the way. He 
gave us real characters that every 
listener can recognize." 

The blond muscle man, with 
hands half closed, half slaps and 
half punches the comedian's well 
developed torso. Eddie's voice is 
about as steady as Jack Benny's 
in his old Maxwell, but there is no 
interruption in his train of thought. 
Resting his chin on his arm, use- 
ful as a shock absorber, he goes 

"Another change for the batter 
is the faster tempo of radio com- 
edy. We're doing in a half hour 
now what seme programs used 
to do in an hour. We were the 
first, I believe, to set the style in 
this respect. We cut away non- 
essentials like extravagant in- 
troductions and buildups, which 
were auite the rage a few years 
ago. Listen, this will slay you. 
Do you know how we introduced 
Deanna Durbin for the first time? 
Don't faint. All we said was, 
'Here's a 13-year-old girl with a 
very lovely voice.' 

The famous pop-eyes popped. 
He pondered this. In retrospect 
this seemed an incredulous in 



troduction to a girl who was to 
win sudden and spectacular 
success in the films, but it served 
to point up the Cantor contention 
that radio goes too fast nowadays 
to permit dawdling continuity. 

"Crack that knee, will you 
please," says Eddie lifting his 
right leg to the man in the white 
jersey. The masseur obliges, the 
knee cracks, Eddie continues: 

"I'll tell you another thing that 
has changed for the better. Come- 
dians are broadcasting now for 
the listening audience and not the 
studio audience. The boys who 
made people scream in the studios 
are not on the air anymore. 
Actors don't harp on Hedy 
Lamarr or Bing Crosby's horses 
to raise a laugh. 

Nowadays they cater to the 
homes. No comedian has a right 
on the air unless he can see in his 
mind's eye the Nebraskans, the 
Alabamans, the lowans and all 
the rest." 

At this point Bunky steps silent- 
ly in view. Bunky is an old time 
vaudeville trouper who gave 
Eddie his first job. Cantor, as a 
youngster, worked for Bunky (the 
Arthur of Bedini and Arthur) as a 
black face juggler, becoming one 
of the first stooges in vaudeville. 
Bunky is now the comedian's all- 
around man. He stands before 
him now to point a thumb in the 
direction of the living room. Eddie 
understands' the song pluggers 
are here on their daily visit. He 
slips on a bath robe and goes in 
to meet them. There are three of 
them. Perfunctorily they cluster 
around the little upright in a cor- 
ner. One sits at the piano; anoth- 
er, holding a little sheet of music, 
sings; the third, the publisher, 
stands by following the score. 
Eddie stands close to me singer, 
facing him. It's a marching song 
about a young man who is drafted 
and goes to camp. Eddie listens 
attentively, tapping one foot in 
time with the music. He hears 
several choruses and then there 
is a pause for the verdict. 

"It's got a good title, boys, and 
it shows thought. But I don't 
believe you have scratched the 
surface. This is straight stuff. 
It's factual. You've got to be 
comical, very comical. The way 
to make a hit is to make people 
laugh." Eddie, who will draw 
parallels at the drop of a hat, 

gave as on illustration his famous 

'Potatoes Are Cheaper' song. He 

sang for their benefit one refrain.' 

'You're not a Taylor or Gable, 

But Do What You're Able.' 

"You hove got to have a first 
act curtain at the end of each 
chorus. I think you can piinch it 
up. Work it over and see me in 
a couple of days." 

The pluggers get the drift and 
leave. Eddie, still humming the 
tune, sits down at a bridge table 
for his first meal of the day. Bells 
begin to ring: the door bell, the 


Eddie Cantor keeps in trim by 
taking a plunge each morning in 
his private pool on his California 

phone, but the busy little man 
goes ahead with his meal, taking 
in order orange juice, figs on dry- 
cereal, cream cheese, milk and a 
spot of vanilla ice cream. 

Distractions notwithstanding, the 
comedian's mind is still on 
radio. Particularly his new show, 
"Time to Smile," which is pre- 
sented from NBC's studio 8-H, from 
whence he broadcast the first 
comedy program to emanate from 
Radio City. It was on the occa- 
sion of dedication of NBC's pres- 
ent headquarters in 1933. 

Of his new discovery, Mrs. 
Waterfall (Maude Davis), Cantor 
says: "She has a better sense of 
timing than any woman I have 



worked with in my life." 

Of Harry Von Zell, his an- 
nouncer, he says: "Unquestion- 
ably t h e greatest announcer- 
actor-comedian in the business. 
When he makes a mistake it's an 
improvement over what you've 

You talk about straight men and 
Eddie is reminded anew of the 
progress radio has made. When 
he first started in radio he hor- 
rified sponsors, he tells you, by 
suggesting that the commercial 
be said by the comedian's straight 
men, just as Von Zell is doing 
today. It took almost a decade, 
he says, for sponsors to appre- 
ciate the value of incorporating 
the plug for the product in the 
running dialogue rather than to 
set it as something apart. 

Eddie was ahead of his time 
and in any review of the history 
of radio comedy his name will be 
preeminent as a pioneer who 
helped develop it. He was the 
first to go out of his way to find 
new talent and develop it (Bobby 
Breen, Deanna Durbin, Parkyakar- 
kas). He was the first to do a 
preview of his program before 
submitting -it to- -a nationwide 

He was a pioneer in admitting 
the public to his broadcasts, 
rather than reserve the privilege 
to a handful of friends of the 
sponsor. These and other in- 
novations have helped radio com- 
edy progress. 

You ask him about the future of 
radio comedy and he answers: 

"There will be an avalanche, 
an epidemic of laughter. We 
need laughter as much as we 
need music, education and the 
news of the day. Laughter is a 
balance very necessary m these 
times. You will hear more and 
more laughter because people 
will be afraid NOT to laugh. If 
the dictators didn't suppress 
laughter they wouldn't have a 
chance, because laughter makes 
a people relax and think. As 
long as we can laugh, we're safe. 
There have been substitutes for 
oil, for food and clothing, but 
never has there been a stibstitute 
for laughter. There has yet to be 
an ersatz laughter. Laughter is 
the most important thing in the 
world today. It is the oxygen 
tank to keep Americans alive to- 

Poqe II 


Presented to 

Meet Mr. Meek 

^ Though "Meet Mr. Meek" has been on the air only 
since July, its audience rating is higher than many pro- 
grams on the air much longer. 

^ The pathos and humor of the scripts are typically 
American — the situations ones that could happen nowhere 
but here. The Meeks might be the Joneses or the Smiths 
or even the listener's own family. 

-^ It brings the public some of the finest acting on the 
air in the persons of ingenue Doris Dudley, whose flair 
for the spectacular is unequalled; Adelaide Klein, one of 
radio's best character actresses; Frank Readick, veteran 
of screen, stage and radio and Jack Smart, a Bob Hope 
alumni whose work is well known to radio listeners from 
coast to coast. 

presents Meet Mr. Meek with 
the Radio Varieties Gold Cup 
Award . 

Each episode is complete in it- 
self, peppered with situations that 
point up the good character qual- 
ities of the persons involved. Even 
Mr. Meek's wife, Agatha, thought 
somewhat a nagger, is absolved 
at the end of every script so that ■ 

a class all its own. 

In casting the program, fore- 
sighted Dick Marvin, radio head 
of the agency bankrolling the 
show, took television into consi- 
deration so that today, each indi- 
vidual in the Meet Mr. Meek cast 
is prepared for visual radio by 
looking his part as well as sound- 
ing it. 

Doris Dudley is one of radio's 

Frank" Readick who 

the listener is left with sympa- 
thetic reactions toward her and 
her lazy brother, Louie. 

Excellence of writing combined 
with excellence of acting and di- 
recting lift the Meek program 
from the ranks of the banal into 

Page 12 

portrays Mr. Meek 

most brilliant young actresses. 
After finishing a year's run with 
John Barrymore in "My Dear Chil- 
dren," Doris came to New York 
and landed her first big night time 
radio role in Meet Mr. Meek. She 
plays the Meek's daughter, Pegy. 

Tall, dynamic, blonde, she is now 
preparing for the legit' season and 
by the time this appears in print, 
may be rehearsing a Theatre 
Guild ploy. 

Jack Smart, who ploys Louie, 
Mr. Meek's lazy brother-in-law, al- 
most needs no introduction. He 
was on the Bob Hope show all 
last year and made about eight 
pictures with Hope. Now, in Man- 
hattan, he divides his time be- 
tween the Meek program and ap- 
pearances on most of the big 
variety shows. 

This gesture toward the radio 
progress of tomorrow, he believes, 
will not only safeguard the show's 
future, but the actor's futi;ire as 
well. If actors look their ports, 
they con't lose out when television 
becomes a reolity. 

The title role is played by smoll, 
lithe, goodnotured Frank Readick. 
He has been in radio for twelve 
years and it was he who created 
the original Shadow. His exper- 
ience OS on actor dotes back to 
the days when his father toured 
the for west in a covered wagon 
show and allowed Frank to breok 
into show business with o song 
and dance when he was borely 
out of rompers. 

Adeloide Klein, who ploys Mr. 
Meek's wife, Agotho, storted out 
to be o concert singer but switched 
to straight dramatic octing when 
radio started going places. She 
AATfote monologues where she 
played five different women, so 
Rudy Vollee put her on his show 
five consecutive weeks and offer 
that, Addie was a stor. Todoy, in 
oddition to her work on Meet Mr. 
Meek, she oppeors as one of the 
leads in "We the Abotts" and is 
heard weekly on such shows os 
Gongbuster, Kate Smith, Helen 
Hayes ond other major network 


Alec — the Music Box Collector 

JI^LEC TEMPLETON is in a fair 
way to open a music instru- 
ment shop providing the notion 
strikes him. 

For in his Chicago suite the 
"Puck of the piano" has a col- 
lection of musicana which is 
threatening to dislodge conven- 
tional accoutrements. ' 

As you enter Templeton's abode 
70U may be surrounded by the 
rippling tones of a piano, the 

in composing such Templetonia 
as "Corelli in the Old Corral," 
"Bach Goes to Town" and "Men- 
delssohn Mows 'em Down." Still 
Alec finds time for his hobby. 

Some thirty-six music boxes 
compose the major part of the col- 

Show piece is the ancient 
French box, a ponderous affair 
weighing forty-five pounds and es- 
timated to be 150 years old. Alec 

Alec Templeton enjoys a secret joke with Edna O'Dell before a 
broadcast of "Alec Templeton Time." Miss O'Dell was a recent guest 
songstress on the program. "Alec Templeton Time" is aired each 
Friday evening at 6:30 and 9:30 (CST) over NBC. 

tinkling notes of a music box, the 
chime of a musical clock, or the 
majestic music of Mozart from a 
recording machine, the rhythmic 
beat of castanets, rhumba gourds, 
and a radio playing "Beat Me, 

When Alec Templeton was a 
lad of two, he reached up on the 
parlor table in the Welsh farm- 
house where his family lived and 
pulled down the family's ancient 
music box. For fear it would 
break, his mother cautioned him 
never to play it. He didn't, but 
he discovered another way to lis- 
ten to its tune. By running his 
fingers over the roll (similar to a 
player-piano roll) he figured out 
its melody. 

Since that time. Alec Templeton 
has had a passion for music 
boxes, and as years passed, a 
passion for musical instruments of 
all types. 

Some part of each day is spent 
with his collection. There may be 
a rehearsal for "Alec Templeton 
Time" or he may be engrossed 


discovered it in the farm, house of 
some French-Canadian friends. It 
is entirely handmade and ploys 
twelve different operatic selec- 
tions in a rich, bell-like tone. 

The European symphonium al- 
so is 150 years old. It is four feet 
long, two and a half feet high, 
three feet wide and plays fifty 
large metal records. 

Until recently the prized pos- 
session of a Hoosier admirer is 
the small spun-metal musical pow- 
der box. A fragile picture of a 
costumed lady is painted on a 
tiny china circle inserted in the 

Among the other thirty-six are 
an Old English "Toby" jug, a cig- 
arette box, beer mug, Swiss music 
box playing metal discs, a minia- 
ture grand piano and an old teapot 
which ploys two melodies in E 

Templeton's love for these odd 
music makers is known through- 
out the country. He is constcmtly 
advised by the public where he 

may procure them. When he was 
the guest at o University of Oklo- 
homa sorority music box party, 
he come awoy with two instru- 
ments: one playing "The Side- 
walks of New York" in B-flot, and 
the other, shaped like o flower 

The zither is neglected these 
days — excepting by Templeton. 
He possesses on oncient one for 
which he hos invented a new 
scale based on the overtones of 
A flat. Its weird tones were pro- 
duced over the air on "Alec Tem- 
pleton Time" when he composed 
"Fantasy For Zither and Chorus." 

A Chinese bell, hundreds of 
years old, was presented to Alec 
by a San Francisco admirer. Alec 
claims it is o raritv because the 
tone is exceptionally clear. It is 
in the key of G. 

Castanets, rhumba gourds and 
sticks ore omong the exotic in- 
struments Templeton ploys dex- 
terously. Most unusual of this 
division is the __little_ brown-nut- 
sized gourd which hos been hol- 
lowed out. When struck by o 
special wood hammer, it produces 
o high monotonous note. It origi- 
nated in Jopan where it wos used 
to drown out mundane sounds 
while the owner was ot worship. 

And if oil these instruments 
were not sufficient, Alec will point 
out his concert grand piano, ra- 
dios, record playing machines and 
several hundred records. 

However, like all true collec- 
tors, Templeton is constcmtly 
seorching for the "major prize." 

The "prize," in Alec's cose if 
and when he obtains it, is a horp- 
sichord untouched by the mechon- 
icol perfection of modem times. 

Once when Alec visited them 
he sot down at o harpsichord 
and played "Bach Goes to Town" 
with complete splomb — even 
though he hod never before 
played the instrument. 

Alec Templeton is the stor of 
the Alka Seltzer program, "Alec 
Templeton Time", heard each Fri- 
day evening at 6:30 ond 9:30 
(CST) over the red network of the 
Notional Broadcasting Company. 

Page 13 

Let's Look at WLS 

newcomer who stops the WLS 
National Bom Dance every Satur- 
day night, is a crossword puzzle 
addict. He can complete the 
toughest puzzles in record time 
and has probably one of the 
largest vocabularies in radio. He 
is never without his pocket dic- 
tionary, and whenever he runs 
across a new word, he looks it up, 
studies it, applies it, una uses it 
from then on. 

countless numbers of aspiring 
artists, after each has applied for 
an audition on the blank form 
provided. One of the strmgest 
requests for a hearing, however, 
came recently from an Indiana 
housewife, a soprano soloist. In 
the space for miscellaneous re- 
marks, this soprano wrote some- 
what irrelevantly: "I won the hog 
calling contest at the Farmers' 

the WLS Orchestra, also teaches 
percussion instruments. Among 
his pupils have been Gene Krupa 
and the drummers in Ted Weems', 
Paul Whiteman's and Wayne 
King's orchestras. 

"K-I-D-S CLUB" IS now heard 
at 7:45 a. m. Mondays on WLS 
instead of during the Sunday 
morning "Everybody's Hour." 
Chuck Acree, who conducts the 
show, offers pencil boxes for best 
riddles. Many people write him 
after each show, asking for copies 
of the prize winning riddles when 
they have missed the show for 
•one reason or another. One wo- 
man recently wrote that her house 
was on fire during the show and 
she didn't hear it. She wanted 
the riddles because they were the 
best device she had to keep the 
attention of her Sunday School 

you may wish to note: Chuck 
Acree, September 22; Ken 
Trietsch, September 13; Grace 
Wilson, April 10; Eddie Allen, 

Page 14 

August 27; Julian Bentley, August 
19; Pat Buttram, June 19; Red 
Foley, June 17; Jack Holden, Octo- 
ber 21; Dr. John W. Holland, May 
8; Salty Holmes, March 6 and 
Chick Hurt, May 11. 

Twice a year or more, stars of the 
WLS National Barn Dance put on a 
special show for the wounded veterans 
of the last World War at Hines Memorial 
Hospital, near Chicago. Some of the 
veterans engaged in a "Jam session" 
with two of the Barn Dance lasses after 
a recent show. With the patients, above, 
are Mary Ann on the left and Verne 
Carter, of the Verne, Lee and Mary trio. 

Laurel and Hardy of movie fame re- 
cently Joined Aunt Rita and Uncle Charlie 
in reading the funnies on WLS, Chicago. 
Here are Oliver Hardy, Rita Ascot and 
Stan Laurel. Charles Eggleston Is hidden 
behind Laurel. 

ducts "Homemakers' Hour" and 
"School Time" on WLS, collects 
old-time hymnals and old-fash- 
ioned dishes. She has some 
particularly rare pieces of French 
china and looks forward to the 
day she may discover another 
piece to add to her collection. 

SANTA CLAUS IS coming, and 
WLS personalities have their lists 
all made out. News Editor Julian 
Bentley jokingly asks for a draft 
exemption from St. Nick. Actually, 
Julian is a member of a business 
man's civilian unit taking military 
drill every Saturday afternoon. 
On the more serious side, Julian 
hopes to get a radio-phonograph 
combination for Christmas. Ervin 
Lewis, Assistant News Editor, 
would like to ask Santa for a new 
Packard, but he's afraid that 
would be too hard to wrap up. So 
all he wants is a stable reference 
map of Europe. 

amonds. When asked what he 
wanted for Christmas, he said he 
had something brilliant in mind — 
but wouldn't say what. He was 
on his way to buy a new alarm 
clock to get him up in time for 
"Smile-A-While." Just a pessimist, 
apparently. For John already has 
two alarm clocks and hasn't been 
late for the show yetl 

WHEN MAKING 50 gallons ot 
sauerkraut from a radio recipe, it 
is best to get the whole recipe 
before starting. Frank Baker, con- 
tinuity editor at WLS, received a 
frantic call from a housewife at 
Palatine the other day. "Several 
days ago I heard a recipe for 
sauerkraut on WLS," sne said. 
"I've started making some — ■ 50 
gallons — but now I forget what 
comes next. What shall I do?" 
Baker didn't know what to do. But 
he turned the call over to the WLS 
Homemakers' department, and 
Harriet Hester read the rest of the 
sauerkraut recipe over the phone. 

THE 1941 WLS Family Album, 
with new pictures of all WLS 
personalties, has just been pub- 

WLS listeners also as Honey Boy 
and the Great Orrie Hogsett, has 
14 hunting dogs — and hopes 
someone will give him another 
good coon dog for ChristmasI He 
has only one dog with him in 
Chicago; the rest are "boarded 
out." He has turned down an 
offer of $150 for the dog he has 
with him, but all 14 cost him no- 
thing. Listeners have given the 
dogs to him at various times. 




When radio's popular family, "The O'Neills," started a new five-times- 
weeikly schedule on CBS network, the photographer heralded their arrival 
by snapping this lively tintype. Suitably framed, it would be fine to hang 
over your Morris chair. In center is Ma O'Neill (Kate McComb), flanked at 
right by her son and daughter Danny and Peggy, and at left by her adopted 
children Eddie and Janice. In real life Danny and Peggy are James Tansey 
and Claire Niesen, and Eddie and Janice are Jimmy Donnelly and Janice 
Gilbert. "The O'Neills" are heard Mondays through Fridays at 4:16 GST. 


Page 15 

"pHE TRAINING of the ncrtion's 

conscription army is now under 
way in camps throughout the 
country. The folks back home 
wont to know what the boys are 
doing and what life is like in 
army barracks. 

To give listeners on-the-scene 
accounts, to let them hear the boys 
in imiform themselves, and to 
show what army training really 
means, NBC is sending a stream- 
lined mobile unit on a trons-con- 
linental tour of the 13 training cen- 
ters with a crew of announcers, 
engineers and production men. 
The crew will be on tour for about 
three months. They will travel 
more than 10,000 miles. 

Descriptions of how raw recruits 
are transformed into competent 
fighting men will be fed to the 
networks by Announcers George 
Hicks and Bob Stanton. And 
aside from training techniques 
employed in various branches of 
the service. Hicks and Stanton 
will supply listeners with a variety 
of camp vignettes. They're going 
to tell how (and when) the trainees 
eat, sleep, play and are enter- 
tained, spreading the whole pano- 
rama of camp life before radio 

And to show how the problems 
of whipping into shape the na- 
tion's greatest peacetime army are 
being solved, they will interview 
officers, medical men, mess 
officers, orderlies, and the con- 
scripts themselves. They're go- 
ing to air such human interest 
episodes as "Blue Monday," reg- 
ular Army wash day, amateur 
shows and boxing bouts. 

Although the unit's itinerary 
will be subject to frequent change, 
it is planned to stop first at Fort 
Devens in Massachusetts, then 
head across the northern tier of 
states before snow falls, with vis- 
its to Camp Custer, Michigan; 
• Fort Sheridan, Illinois; Fort Snel- 
ling Minnesota, and thence to 
Fort Lewis in Washington. 

During tlie last war radio as we 
know it today didn't exist. Not 
a single broadcasting station was 
in operation. Coast-to-Coast net- 
works where an obvious impos- 
sibility. This is the first time In 
history that the American system 
of broadcasting has had the op- 
portimity to show what it can 
do for the nation in the develop- 
ment of a great peacetime defense 

Pa<30 16 


# Radio, which enjoys the full 
freedom accorded it by a Demo- 
cratic from of Government, ful- 



The National Broadcasting Company, cooperating with the federal gov- 
ernment In the development of the national defense effort, goes Into the field 
to bring radio listeners first-hand descriptions of activities underway. Most 
recent undertaking will be the tour of the country's thirteen conscription 
army training camps for a series of on^he-spot broadcasts describing the 
processes by which civilians are turned Into a reserve of trained manpower. 

In addition to actual coverage 
of training camps, NBC will con- 
tinue its informative and stimulat- 
ing regular weekly programs 
dealing with national defense and 
the American way of life. 

"I'm an American," broadcast 
with the help of the U. S. Immi- 
gration and Naturalization Service, 
brings to the mike such famous 
naturalized citizens as Claudette 
Colbert, Albert Einstein, Luise 
Roiner, and William S. Knudsen. 

These people, who have come to 
America from many different 
lands, talk about democracy and 
the American way of life on this 
series. Songwriter Irving Berlin, 
bom in Russia, revealed how he 
came to write "God Bless Ameri- 
ca," and brought Larmy Ross 
along to sing it. Einstein, Ger- 
man-bom appeared on the pro- 
gram a few hours after his citizen- 
ship examination. Two yoimg 
naturalized citizens interviewed 



fills its task in preserving Dem- 
ocracy as we know it in the 
United States of America 

The portable microphone and transmitter pictcs up the rat-a-tat-tat of 
the deadly U. S. Army improved machine gun. 

The mobile unit of the National Broadcastina Co.npany, manned by two 
announcers and two engineers, are touring the United States to bring listeners 
a series of broadcasts from the thirteen training camps of the country's first 
peace-time conscription army. Having already seen service in covering sports, 
disasters, parades and political events, the mobile unit sets out in behalf of 
national defense. The unit Includes a studio, a power plant and four separate 
transmitters mounted in a specially built five-ton car with a speed capacity 
of 70 miles an hour. 

Mrs. Roosevelt on youth prob- 
lems in a democracy. Weeks to 
come will feature such noted 
naturalized citizens as Morlene 
Dietrich. Dr. Walter Damrosch, 


Paul Muni, Leopold Stokowski 
and many others. ("I'm An Amer- 
ican" is heard Sundays at 1:00 
p.m., EST, over the NBC-Blue Net- 

To bring home to listeners the 
importance of aviation in our 
national life, there's a weekly 
series called "Wings Over Amer- 
ica." NBC has obtained the co- 
operation of James R. Ray, long 
a prominent figiire in aviation, 
to insure the authenticity and 
completeness of the scripts, which 
are the combined work of Ray 
and Richard McDonagh of the 
NBC Script Division. Each of the 
weekly programs consists of a 
dramatization that brings to life 
an achievement or episode of his- 
torical importance and a discus- 
sion by guest speakers acknowl- 
edged as experts in some parti- 
cular branch of aviation. ("Wings 
Over America" is heard Sundays 
at 11:30 A.M. CST, over the NBC- 
Red Network.) 

"You're in the Army Now" is 
a new weekly NBC series deal- 
ing with life in the newly drafted 
forces. This is a dramatic pro- 
gram, aimed to interest all Amer- 
ican families. These comic but 
plausible stories of the army 
camps are written by Wyllis 
Cooper, a World War Veteran and 
Captain in the U. S. Reserve. 
Cooper's successful career in ra- 
dio includes the origination and 
writing for two and a half years 
of the famous "Lights Out" series. 
("You're In The Army Now" is 
broadcast Mondays at 8:00 p.m., 
CST, over the NBC-Blue Network.) 

The National Farm and Home 
Hour, produced in cooperation 
with the United States Depart- 
ment of Agriculture, is devoting a 
current series of weekly shows to 
the relationship of agriculture to 
the nation's defense. The contribu- 
tions agriculture can make and is 
now making is being told by farm 
men and women, boys and girls, 
as well as officers of the Federal 
agricultural services who are now 
actively engaged in carrying on 
the agricultural phases of the de- 
fense program. (The National 
Farm and Home Hour is heard 
Mondays through Saturdays at 
11:30 A.M., CST, over the NBC 
Blue Network. 

The Army Recruiting Services 
assisted in the broadcasting of a 
series designed to stimulate recru- 
iting, while another NBC defense 
series, "This, Our America," de- 
scribed the nation's resources and 
the part they will ploy in the 
present defense program. 

Page 17 

Page 18 

What poor Daddy Hanley Stafford goes through in 
his attempts to discipline Baby Snooks is only too clearly 
shown in these shots during the Maxwell House Coffee 
Time program on NBC. When Snooks (Fannie Brice) 
smashes his best China, Daddy is firm about it (upper 
left). By gradual stages, resistance weakens to utter 


MINNIE PEARL The Girl With the Big Future 

For a girl who had pined for the 
triumphs of Cornell in plays by 
the Bard-of-Avon, Ophelia Col- 
ley is doing right well by herself 
on the WSM Grand Ole Opry, 

TF THE name Ophelia CoUey fails 

to strike a familiar note, then 
perhaps you've heard of Minnie 
Pearl. Minnie is the little girl 
who came onto the Opry stage 
in Nashville a few weeks ago and 
brought the house down with her 
homey patter and songs. 

She is not yet as well known as 
Uncle Dave Macon, Roy Acuff, 
The Solemn Old Judge, the Fruit 
Jar Drinkers and a few other top- 
stars of "The Grand Ole Opry." 
But given a little time, Minnie Pearl 
stands every chance of blooming 
into a full-grown star. In fact, 
she is already being compared 
— and not unfavorable — with the 
Songbird of the Ozorks . . . Judy 

So if you hove not yet heard 
about Minnie Pearl, you are likely 
to hear a lot about her in the near 
wanted to be the first to introduce 
her to you. 

Minnie Pearl was born in Cen- 
terville, Tennessee in 1912, which 
is about fifty miles Southwest of 
Nashville. The exact date remains 
her secret, as part of a woman's 
prerogative. To be perfectly exact, 
however, we cannot soy that Min- 
nie was bom these twenty-eight 
years ago. It was Ophelia Colley 
who was bom then. Minnie came 
along much later, as this story 

Ophelia lived the normal life 
of a young girl in a small town of 
a family above the average 
means. She never wanted for 
anything, least of all diversion. 
For she more than made up what 
the town lacked in playmates by 
her own vivid imagination. 

That imagination turned toward 
"play-acting" and as years went 
by toward "acting." Nothing 
would do but the Centerville-Cor- 
nell should hove serious training 
for the stage. 

The envy of many a young Cen- 
terville lassie, Ophelia went off 
to Ward-Belmont college, swank 


girl's school in Nashville which 
attracts subdebs from all over the 
country. It is a superb finishing 

But the Centerville entrant was 
not so much concerned with fin- 
ishing touches as the dramatic 
work offered there. For five years, 
she labored to learn the technique 
of the stage. Then after receiving 
her glossy diploma, back she 
went to Centerville' s security to 
teach youngsters there the fine 
art of the drama (with a long "a"). 

But two years of this found her 
gradually getting up momentum 
for the big plunge, which was 
made in 1934 when Ophelia 
joined the Wayne P. Sewell Pro- 
ducing company of Atlanta, trav- 
elling all over the South giving 
dramatic readings and coaching 
home talent for their own produc- 

She still yearned for the serious 
side of drama, but fate seemed to 
conspire to turn her toward come- 
dy. There was an abundance of 
native humor to be found in these 
little communities all over the 
South — humor which seemed to 
be begging expression. 

The young Ward-Belmont grad- 
uate lived in the homes of the 
country-folk she was teaching, 
worked hours on end with the 
whole small township in produc- 
ing their own ploys. Invariab- 
ly, she learned they were better 
at their own sort of plays than 
those of any ploywrite, including 
even Shakespeare. 

Or, as she now admits, especial- 
ly Shakespeare. 

If that were the case of the 
country folk of Georgia, Alabama, 
Louisiana, Mississippi and Ar- 
kansas — then it was doubtless so 
of Tennesseans ... of those from 
Centerville, including Ophelia. 

Thus she reasoned as she came 
to the conclusion to abandon the 
serious drama and tum to the 
native country wit of the South. 
For three years, this young girl 

traveled through twenty states of 
the South and South-east, talking 
with, working with, and living 
with the folks in the coiontry areas 
and the small towns. 

Little by little she picked up bits 
of wit and humor from the natives 
which she incorporated in the 
character she began building — 
building with one idea in mind: 
presenting it on the Grand Ole 

Minnie Pearl, then, is no one 
character, but bits of many people 
Ophelia Colley knows very well. 
So are the other characters that 
appear on the Opry with Minnie 
Pearl, all creations of this young 
girl gleaned from her extensive 
travels through the rural South- 
land. And Grinders Switch, where 
Minnie lives, is actually a place 
not far from Centerville. 

"Nobody lives there any more," 
Ophelia explained, "So I thought 
they would not mind if 1 moved 
Minnie in. Nobody has com- 
plained. And I reckon the only 
one who would is Farmer Stephen- 
son, who owns the ground where 
Grinders Switch is located. There 
used to be a couple of families 
there, but they moved away. It 
makes a nice home for Minnie 

Incidentally, that name is the 
part of two persons who contri- 
buted to the creation. But Ophe- 
lia nover thought there was such 
a real person. Since her debut 
on the Grand Ole Opry, she has 
heard from scores of real, honest- 
to-goodness Minnie Pearls. 

And although Minnie is pretty 
dumb, no one has complained. 
For Minnie is too real and very 
lovable. Nobody could dislike 
her, or take exception to what 
she says. 

That's the reason WSM officials 
feel she has a long and happy 
and prosperous life ahead of her, 
feel she is destined to add glory, 
if not glamour to the Grand Ole 

If you haven't heard about Min- 
nie, you will before very long. 

And if you haven't heard Min- 
nie, you should right away. 

Page 19 

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Prices quoted are net F.O.B. Chicago, 
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Page 20 


833 V/. Jack 

ion Blvd. — Dep 

t. RV1 

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), III. 

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and Batteries). 

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□ Send y 

3ur Free 1941 catalog. 



Jcx No 






1 ) 


BRUARY— -1941 

^ne I V lldwest C^dlh 


t^^'Q^^%X TliN CENTS 


i r. ini 

aO 1J4 



If you listen to the radio, and 
if you don't you're one in 57 or 
82 or something, you've heard 
Raymond Paige and his "Musical 
Americana" programs. 

You con now take this pro- 
gram home with you on Victor 
records, a 12-inch, four record, 
"Musical Americana" album of 
Paige and his most popular music 
in an ail-American program. 

The numbers include excerpts 
from Gershwin's "Porgy and 
Bess'', Cole Porter's "Night and 
Day", Rodriguez" "La Cumpar- 
sita", Gershwin's "Rhapsody in 
Blue", Earl's "Beautiful Ohio", 
Berllin's "Lady of the Evening", 
Leslie-Nicholl's "Among My Souv- 
enirs", Porter's "Anything Goes", 
Black-Moret's "Moonlight and 
Roses", Dietz-Schwctrtz "Louisiana 
Hayride", Ellington's "Mood In- 
digo", and De Sylva-Katscher's 
"When Day is Done". (Album 

All the tunes were arranged by 
Paige himself for his highly 
specialized 64-piece orchestra, the 
largest orchestra now being re- 
corded for music of this type. 
Because of this fact, Victor used 
a new and bigger studio in New 
York than the one ordinarily em- 
ployed for popular orchestras. 

Mr. Paige himself is currently 
the highest paid popular musical 
conductor in radio. Forty-one 
members of his orchestra are for- 
mer conductors, thirty-seven have 
had their own orchestras. He is 
interested in American music and 
continually features the works of 
American composers on his 
Westinghouse radio program. 

The famous Quintet of the Hot 
Club of France, now gone the 
way of all French music, cut an 
extraordinary double several 
years back, titled "Paramount 
Stomp" and "Swinging with 
Djcmgo". The first rides out on 
— of all things — the musical 
theme of Paramount News while 
the second is just what the title 
implies, a double dose of Mr. 
Reinhardt's amazing guitar tech- 
nique. Michael Warlop sat in as 
guest fidler during this session 
pitting his instrument against 
Stephane Grappelly's in furious 
violin duel. (Victor Swing Classic 

Alvino Rey's version of "Tiger 
Rag" was recorded by, popular 
request and after listening to the 
record we can see what they 
mean. It's done very fast with gen- 
erous slices of Alvino's electric 
guitar, backed up by the King 
Sisters and a brilliant band per- 
formance. The companion piece 
is an abrupt about-face, a smooth 
and lovely "Rose Room" in the 
m a e s t r o ' s own instrumental 
arrangement. (Bluebird B- 11002). 
These records go on sale 
January 31. 

Another 12-incher from Victor 
this week, this time a luxurious 
coupling of the music from two 
continents played by two inter- 
nationally known orchestras. 
Wayne King presents a concert 
rendition of the tango "Escapada" 
by the English composer Sid 
Philips, displaying a wealth of 
rich orchestral effects in a pleas- 
ant compromise between classic 
symphonic performance and 
straight dance band tempo. On 
the backing, Jack Hylton's Or- 
chestra offers the Benatzky waltz 
"Grinzing", carrying on in brilliant 
style with swirling Viennese 
tempos. This is listening music 
of the highest order. (Victor 36387) 

Artie Shaw and his Gramercy 
Five paint a musical picture of a 

famous meeting. "Dr. Livingstone, 
I Presume?" with jungle tom-toms 
and scorching clarinet work. The 
reverse is the much pijblicized 
"When the Quail Come Back To 
San Quentin", cued from a recent 
popular song hit, and wrapped 
up by Mr. Shaw in a neat parcel 
of solid small band jazz. (Victor 
Swing Classic *27289). 

Dick Todd back-to-backs two 
ballads in the nobody-loves-me 
mood, lending his man-to-man 
baritone to "The Mem'ry of a 
Rose", and "You Forgot About 
Me". He laments very nicely, 
and the supporting orchestra fills 
in elegantly. (Bluebird B-11024). 

Bill Monroe and his Blue Grass 
Boys who record the popular 
favorite "No letter in the mail" 
on Bluebird — 8611 has had 
tremendous requests over WSM 
Nashville for this number. On 
reverse side "Cryin' Holy Unto 
My Lord." 

Glenn Miller scores "I Do, Do 
You?" for Ray Eberle and his 
famous sax choir in slow and 
provocative tempo. The five- way 
reeds also highlight the com^ 
panion piece, "You Are the One" 
which is still in the slow groove 
with beautiful, close harmony. 
Mr. Eberle is also the vocalist 
here. (Bluebird B-11020). 


No. 4, VOLUME 2 



Patter Off the Platter 2 

Visiting the Little Red School House 3 

562 Pounds of Musical Glamour 6 

Service Can Be Entertaining 7 

Gang Busters Celebrate Anniversary 8 

Marie McDonald 9 

Columbia's Colorful Commentators 10-11-12 

Let's Look at WLS 14 

Smilin' Ed McConnell 15 

F. L. ROSENTHAL, Publisher 


Published at 1056 West Van Buren Street, Chicago, Illinois. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possessions, $1.50 in Canada. Entered as second class matter January 
10, 1940, at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort wrill be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondents, nor does 
publication indicate approval thereof. 

P::g9 2 


Visiting the Little Red Schoolhouse 

As Viewed by Elbert Hahng 

TUST PICTURE 200,000 young men 
' and women students assembled 
in one gigantic class room. A 
mighty giant stands atop a 653- 
'oot rostrum and in a mighty voice 
tronger than the winds them- 
oelves presents sugar-coated gems 
of knowledge to his attentive 
pupils. Compare this mythical 
scene with the little red school 
house of yesterday where grand- 
pop learned his three R's to the 
tune of a hickory stick. 

Now — getting down to brass 
tacks, or is it chalk and black- 
boards, the "professor's" mind 
wanders, our analogy is drown 
between the Texas School of the 
Air, its 4,000 participating schools, 
the 653-foot WBAP-WFAA antenna 
tower and yesterday's methods of 

The Texas School of the Air 
opened its doors on February 4, 
1940 and its programs have since 
been used by an ever-increasing 
number of Texas schools as a 
supplementary aid to learning, 
with ever-growing satisfaction tc 
both teachers and pupils. During 
this same period, administrators 
of all types of schools, and the 
public in general, have accepted 
radio as an important new in- 
strumentality for public educa- 
tion in Texas. 

Since the advent of radio more 
than two decades ago, educators 
have dreamed of the time when 
this new marvel of communica- 
tion could be put into effective use 
in the classrooms and homes of 
our nation for educational pur- 
poses. While listened to in homes 
and places of business in increas- 
ing hours for almost a generation 
now, radio has slowly found its 
place in the school as a part of 
the daily curriculum. This has 
been due primarily to lack of un- 
derstanding of radio as a tool of 
education, to a paucity of suit- 
able educational radio programs, 
and to very limited radio equip- 
ment in the schools. 

The organization of the Texas 
School of the Air marks the in- 


A typical Texas School of the Air cast is seen before the microphone 
of Station WBAP, Fort Worth. Note the various ages represented to 
secure voice variations for the particular project being offered. 

L. A. WOODS, State Superintendent 
of Education for Texas. 

auguration of a new era in pub- 
lic education in Texas. It is a 
conscious effort on the part of 
the State Department of Educa- 
tion and associated institutions to 
harness and use radio in the in- 
terest of a broader and better 
educational program. Through 
the facilities of the Texas School 
of the Air, specially prepared pro- 
grams, planned and produced by 
competent persons to enrich and 
vitalize classroom instructions, are 
now available to the majority of 
Texas schools. Through this new 

Texas School of the Air Director 

instrumentality children can listen, 
as a part of the school curriculum, 
to talks by authorities in many 
fields of human endeavor, to 
great music and drama, and to 
interest - compelling presentations 
of study materials which are or- 
dinarily considered dry and un- 
interesting. Children who are de- 
nied this opportunity of listening 
to these programs because of an 
inflexible class schedule or be- 
cause of lack of school radios, are 
missing some real education — 
of the easy-to-take variety. 

(G^ntinued on Page 13) 

Pag« 3 

i If 

0^^^^ ^'Wi.'.i^.'.u^iWsmf. 

style leader in the NBC Chicago studios Is beautiful Joan Winters, 
who plays Alice Ames Warner In "Girl Alone" and Sylvia Bertram Par- 
sons in the "Road of Life." A graduate of the Vogue School of Art, 
she Is always ahead of style trends. 

Page 4 


A Brooklyn Cowboy 

Though most of the cowboy singers at WLS 
are true sons of the West, Newcomer Smilie 
Sutter upsets the rule; he's one of the best 
of the cowboy singers, but he's from New 
York City. 

jl^MERICAN folk music has long 
been the stock in trade of 
WLS, Chicago, with many WLS 
programs featuring the songs of 
the Western plains and of the 
Eastern and Southern mountains. 
The authenticity of the ballads is 
above question — for almost all 
the stars are true sons of the 
West or children of the hill coun- 
try. The Prairie Ramblers, for 
example, are all Kentucky moun- 
tain boys; Ramblin' Red Foley 
was born in the cattle country of 
New Mexico; Mary Ann grew up 
in the mountains of the Caro'i- 
nas . . . and now comes a cow- 
boy singer from New York City, a 
real Brooklyn cowboy. 

This "upstart" in the ranks of 
the cowboy singers at WLS is 
Smilie Sutter, and he's realized 
a three-year-old ambition in ob- 
taining a place on the WLS staff. 
Smilie's real name is Anthony F. 
Slater, and he was born on May 
11, 1915, in East Hartford, Con- 
necticut, but when he was about 
a year old the family moved to 
New Britain, Connecticut, where 
Smilie lived for 10 years. 

Smilie was orphaned when he 
was 11 years old and went to 
live with an aunt in Brooklyn, one 
of New York City's five boroughs. 
Young Tony Slater was not un- 
appreciative; he was glad to have 
a home. But he didn't like Brook- 
lyn. All the time he was there 
he never sow a tree nor a blade 
of grass; there wasn't a natural 
flower in the borough, only those 
in window boxes and indoor pots. 
This was no life at all for a small- 
town boy who had spent the first 
eleven years of his life in the open 
air, in the country. 

The worst time of all was the 
spring. Smilie longed then more 
than ever for the country. He 
wanted to be near on orchard. 
He wanted to see and to smell the 
blossoming apple, cherry and 


plum trees. He wanted to watch 
the grass grow green. He wanted 
wide open spaces instead of nar- 
row canyons — streets suffocated 
by towering brick apartment walls. 


So as soon as he was old 
enough, Smiley would start off 
on long hikes into the country, 
traveling from place to place. He'd 
be gone all spring, summer and 
fall, returning to Brooklyn in the 
winters, getting a job to hold him 
over to the following spring. When 
he was about 17 years old, Smilie 
bought a guitar and taught him- 
self to play it; he already was ex- 
pert with the harmonica. From 
then on, his guitar was his con- 
stant companion. 

The following year, Smilie left 
New York City for good. He had 
had a once-a-week program on a 
New York radio station, and he 
planned someday to get into radio 

as a regular thing. But it wasn't 
until five years ago that he really 
got his professional start. Smilie, 
in his travels, was then at Ports- 
mouth, Ohio, and it was there at 
WPAY that he got his first fulL 
time radio job. Since then he has 
been with WCHS, Charleston, 
WMMN, Fairmont, and WWVA, 
Wheeling, West Virginia, and at 
WLVA, Lynchburg, Virginia. 

Smilie has not been in rad:o 
all the time these past five years, 
however. During the shipping 
season of 1937, Smilie worked on 
passenger boats plying the Great 
Lakes. All his spare time he spent 
listening to the radio, and the sta- 
tion that could best be heard on 
the Western Lakes was WLS in 
Chicago. Smilie listened to WLS 
for hours and hours, and it was 
in that summer of 1937 that Smi- 
lie made up his mind the one 
place he really wanted to work 
was WLS. But Smilie was a 
modest youngster and didn't think 
he was good enough for the Prai- 
rie Farmer Station. 

So he returned to the East. It 
was while working at Fairmont 
West Virginia, that Smilie last 
year met Joe Rockhold, who was 
also at the radio station there. 
Last spring, Rockhold came to 
WLS as an announcer and char- 
acter actor. In the summer, Smi- 
lie came to the Mid-West to visit 
his old friend, and loe arranged 
an audition for Smilie Sutter. 

Station officials suggested a 
guest appearance that very week 
on the WLS National Barn Dance. 
Smilie stopped the show. Ap- 
plause almost brought down the 
house. It was all the program 
department needed to know. Smi- 
lie Sutter from that night on has 
been a regular member of the 
WLS staff, a "regular" on the WLS 
National Bam Dance ever since, 
as well as having his own day- 
time program during the week. 

Page 5 


isical Glamour 

TEXAS COWGIRLS: Left to right: Bess, Sue, Sally, Marge and Bertie. 
Not even static can throw these Icvely talented lassies off the 570-ether- 


"Hear my song as I ride along, 
I'm just a happy Texas Cowgirl, 
Herdin' the dark clouds out of 

the sky — 
Keepin' the heavens blue!" 
CO SING the Texas Cowgirls 
every weekday morn at seven 
via Station KGKO, Fort Worth, 
smaller brother to that ether giant, 

Figuratively speaking, and we 
ore writing about the Texas Cow- 
GIRLS, aren't we? — KGKO's gift 
to the glamour-ways, play some- 
thing like 27 broadcasts month- 
ly, travel 1,000 miles and make 
ten to twelve personal appear- 
ances before school groups, lun- 
cheon clubs and other gala oc- 

Traveling with them as master 
of ceremonies we find Scooter 
Tonahill and his wife, known to 
Texas theatrical audiences as 
"Shorty." Whenever this musical 

Page 6 

caravan rests at some roadside 
hamburger emporium while en- 
route to personal appearances the 
proprietor and customers sym- 
pathize with the great Phil Spital- 
ny and his all-girl music making 
combo. It's Scooter who orders 
the hamburgers and woe be un- 
to him if he forgets that "Marge" 
demands onions, "Sue" wants no 
onions, "Sally" wants no mustard, 
"Bess" wants hers on plain bread 
o'-id "Bertie" wants a steak sand- 

But all in all, taking the whims 
and appeals of the five instrumen- 
tal and vocal damsels as a whole, 
they are at once overlooked when 
the downbeat signal is given and 
the 570-ether way is made happy 
with the solid sending of their 
rich music. 

But getting down to figures, er 
ah, statistics, we ."night as well 
divulge the information that the 

five Texas Cowgirls play ten dif- 
ferent instruments with ease; they 
are all in their late teens and 
each one possesses a smooth 
sot of vocal pipes. 

More specifically, the Cowgirls 
aggregation consists of "Bess" 
(Ruth Mulkey); "Bertie," (Bertie Ev- 
elyn Keisel); "Sue," (Gail Whit- 
ney); "Marge," (Veda Mae Spoon) 
and "Sally," (Ruth Murphree). 
Yes, boys, all ore single! 

"BESS" violinist, sings in a Fort 
Worth Church Choir and plays 
fiddle with the Fort Worth Sym- 
phony when not singing "Home On 
the Range" with the Cowgirls or 
sawing out a mean square dance 
for the radio . . . her mother be- 
gan teachmg her piano lessons 
at the age of three and now "Bess" 
teaches violin . . . made her radio 
debut on a stanza with the Hired 
Hand v/hen, according to that 
popular personality, she was 
"just the size of a dime" . . . choc- 
olate pie is her favorite dish . . . 
is 5'6" tall, weighs 125 . . . black 
hair, snappy brown eyes. 

"MARGE," steel guitarist . . . 
began taking guitar lessons at the 
age of 13 and soon became a full 
time radio performer on a small 
local station . . . checks every 
Cowgirls musical list and although 
but five feet tall and weighing 100 
pounds she is the live wire of 
the outfit . . . chili is her favorite 
food with horseback riding as her 
favorite sport . . . somewhat shy 
she prefers radio to personal crp- 
pearonces . . . pet dislike: hearing 
remorks like this one from the 
audience at stage shows: "Isn't 
she the cutest little trick?" . . . 
Black hair and brown eyes. 

"SUE," accordionist, began the 
study of piano at the age of five 
. . . learned to sing before she 
could talk . . . plays the Hammond 
Electric Organ and is taking voice 
lessons at the Fort Worth Con- 
servatory . . . likes to go horse- 
back riding in the rain and swim 
in the i^icoulight . . . tends a Bos- 
ton Bull pup as ner hobby . . . 
Is 5'7" tall, weighs 120 pounds 
without her shoes and accordion 
. . . blond hair and blue eyes . . . 
enjoys ctage shows immensely — 
"especially when they don't throw 

Continued on Pa -^ 13 

Service Can Be Entertaining 

Martha Crane and Helen Joyce hcve been 
helping homemakers in their daily work 
for a combined total of 18 years, and in all 
that time have based their programs on 
the idea that homemaking and learning 

gCHOOL DAYS for most of us 
were not all fun. There were 
days when the call of learning 
was not half so strong as the call 
to the old swimming hole or the 
call to the woods. But when one 
grows up, there comes a change. 
We still have a lot to learn — 
and we admit it. So we make 
learning fun, whatever the lesson 
may be. 

One class most eager in learn- 
ing more about her "business" is 
the homemaker. She likes to 
know how other housewives solve 
their problems, to know shortcuts 
in her household tasks. Radio 
has long served this need; and 
Martha Crone and Helen Joyce, 
of WLS, Chicago, have made this 
learning fun on their "Feature 
Foods" program, 11 to 11:30 a.m. 
daily except Sunday. 

For Martha and Helen do not 
present only household hints. In 
their programs they include mu- 
sical entertainment by some of 
WLS' best stars. The peppy tunes 
of the Chore Boys are a regular 
feature, plus numbers by such 
other acts as Hal Culver, Howard 
Peterson, Grace Wilson, Rusty 
Gill, the Hoosier Sodbusters, 
George Menard, Ramblin' Red 
Foley and the Prairie Ramblers. 
In addition, "Feature Foods" is 
practically a woman's magazine 
of the air. For Martha and Helen 
discuss new and old ideas in 
such varied topics as decoration, 
entertainment, food preparation, 
child raising, and also find time 
to conduct a "rummage exchange" 
in which women can offer for 
trade almost anything they have 
and don't need any more for some- 
thing they would like to have. 

Guests also participate in the 
program frequently ■ — • usually 
women with a message of in- 
terest to others of their sex. Some 
of those who hove been inter- 
viewed by Martha and Helen have 



been Mrs. Ora Snyder of candy 
store fame; Ruth Mix, daughter of 
the Tom Mix, Helena Rubenstein, 
beauty expert, and, among the 
men. Author Van Wyck Mason. 

"Feature Foods" started on WLS 
in January, 1935, but Martha 
Crane's service as homemaker on 
WLS started long before that. Last 



October 15, Martha celebrated her 
12th anniversary with the station. 
Martha, whose married name is 
Mrs. Raymond Caris, lives in 
Highland Park, Illinois, and has 
two children: Crane, age 5, and 
Barry, who will not be 2 ' until 
April 7. 

Helen Joyce started with WLS 
about the same time as "Feature 
Foods" was inaugurated, in 1935. 
Helen, too, is a homemaker, and 
has two children, one girl in high 
school and a boy in college. 

In addition to their broadcasts 
and their own homemaking, Mar- 
tha and Helen find time to give, 
special talks and demonstrations' 
before various club meetings — 
about one a week except in sum- 
mer. In the past two years, they 
have conducted 74 of these Fea- 
ture Fcods "clinics," with an at- 
tendance of more than 1 00 at each. 
At these, they talk about radio and 
radio stars, put on demonstrations 
of "Feature Foods" advertised 
products, and usually have some 
gifts to distribute among those 
attending. The club members get 
an extra insight into the working of 
radio advertising, because Martha 
and Helen frequently test out 
sales copy on them, reading sev- 
eral sample scripts and asking 
which would make them most 
apt to buy the product. Then a 
few days later, the club members 
will probably hear them reading 
that very copy on the air. 

Another test they often make 
concerns premiums. They read 
copy describing a premium and 
find out which copy makes the 
women want the article. Then 
they show the article. Some- 
times, women are disappointed 
on seeing the item. Then they 
find out whether it is not a good 
premium, or whether the descrip- 
tion was too glowing. In these 
ways, advertisers are better able 
to serve their customers. 

Pag© 7 

A "square table" conference over the question of "Whodunit?" 
engages the attention of (L. to R.) Basil Rathbone, Thomas 
McNight, Nigel Bruce and Edith Meiser, adapter of the Sherlock 
Holmes scripts (NBC-Blue, Sundays, 8:30 p.m., EST). Rathbono 
is i-icirnci;; Bruce, Watson, and McKnight directs. 


Elolse Kummsr, who plays the vlllalness, Marcia Mannering, In 
NBC's Backstags Wife, first went on the air while a co-ed at the Uni- 
versicy of Wisconsin, playing the part of a little boy. She thinks she 
has been playing parts, equally foreign to what she really is, ever 
since. Elolse weighs only 114, and is 5 feet 4 Inches tall. 

Paga 8 


CALUTED by barking machine guns, wail- 
ing sirens and tramping feet, Gang Bus- 
ters celebrated its fifth anniversary on the 
air with the announcem.ent of its 1941 Roll 
oi Public Enemies over NBC on Friday, Jan- 
uary 17. 

Gang Busters, whose clues have helped 
apprehend 160 desperate criminals, makes 
a feature of its public enemies' list on each 
anniversary program. Each name on the 
roll represents a criminal outcast still at 

Several members of previous rolls are 
still uncaught and therefore, are eligible for 
the 1941 nominations. They include Charles 
Irving Chapman, Maurice Denning and 
"Soup" Grey son. Other winners of the 
dubious distinction before this year — Ben- 
nie and Estelle Dickson, and Raymond Du- 
vall — have been called to account. 

Compilation of the annual roll is a 12- 
month job for a part of the Gang Busters' 
staff. Cooperating with them are 750 law- 
enforcement bureaus and more than 400 
specially selected trained field correspon- 

Week by v/eek their reports pour into 
the Gang Busters office in New York, there 
to be tabulated and analyzed by the staff. 
Criminal exploits are carefully watched and 
their developments noted. Police authorities 
throughout the country are repeatedly con- 

Of the thousands of criminals reported 
every year. Gang Busters concentrates on 
those most eagerly sought by the police. 
Toward the end of the year the field is 
greatly reduced. Tough candidates — but 
not tough enough — are thrown off the ten- 
tative list. There follows rechecking of rec- 
ords, long distance telephone calls to local 
authorities and study of charges and indict- 

A final selection is made only 24 hours 
before the anniversary broadcast. The 
script that then grows out of the selections 
is carefully scrutinized by the program's at- 
torneys, who also attend all rehearsals to 
see to it that the spoken word does not carry 
impressions not given by the written word. 

Gang Busters are kept busy to the last 
minute with possible changes and additions. 
Only when the program actually goes on 
the air is its choice of the sour cream of un- 
apprehended American criminals made 
known in these words of one police chief 
after another: "In my opinion, the most no- 
torious public enemy at large in the United 
States today is . . ." 



MARIE Mcdonald 


IWfARIE McDonald, gorgeous new sopra- 
no of Tommy Dorsey's "Fame and For- 
tune" program, over NBC-Blue Thursdays at 
8:30 p.m., e.s.t., has had a varied career, 
embracing many branches of the entertain- 
ment field . . . Her first professional work 
was done as one of the world famous Powers 
models . . . On Broadway she understudied 
Ella Logan in George White's "Scandals." 
. . . She sang in the Earl Carroll Theatre and 
Hollywood presented her in three films, 
"Ziegfeld Girl," "Down Argentine Way" and 
"Argentine Nights." . . . Now Tommy Dorsey 
has brought her to commercial radio and to 
the ballrooms where his popular dance band 
appears ... In addition to all this, the lovely 
and vivacious briinette was voted "Miss 
New York" in 1939 and just a few months 
ago on the west coast was voted the new 
leader of the "sweater set" on the MGM lot, 
inheriting the title from Lana Turner . . . 
All of this was done under her real name 
of Marie Frye, which Dorsey changed for 
professional reasons . . . Marie is a native of 
Yonkors, N. Y., attended Roosevelt High 
School and New Rochelle College, intent 
upon following a journalistic career . . . And, 
oddly enough, her first personal appearance 
upon joining Dorsey's band was in Yonkers: 
— local girl comes home to make good! . . . 
Marie sang for three years with her college 
choir and is a member of the Alpha Delta 
Sigma sorority . . . Her favorite sports are 
horseback riding, bowling and swimming 
. . . Says 13 is her lucky number: she was 
invited to join George White's "Scandals," 
took her MGM screen test and met Tommy 
Dorsey all on Friday the 13th — but in 
different years of course . . . Marie's oppor- 
tunity to join the Dorsey band came about 
most unexpectedly . . . She was with a party 
of friends at the new Palladium night spot in 
Hollywood while Tommy Dorsey's band was 
playing there . . . Tommy joined the party 
knowing her companions . . . Conversation 
gradually left her out of the picture . . . Marie 
started to sing to herself - — suddenly re- 
alized that the table talk had stilled ... All 
of them were watching her, listening . . . She 
stopped singing, embarrassed, until Tommy, 
who'd never seen her before, asked her if 
she could be packed by early next morning 
to fly to New York with him and join his 
band . . P.S.: she made the 10 a.m. plane. 


James Melton (left), tenor star of the Telephone Hour, gets down 
to shirt sleeves, as does conductor Donald Voorhees, for a rehearsal 
with Francia White, soprano, during which they put finishing 
touches on one of the broadcasts heard each Monday evening over 
NBC as a Red Network feature. 

m)im,)i »i^)vmt-)',- ■4'M'P^'"ji! ' 0- n > ' W;i'^" - -■-■'i'^P PPP^'^MiPiilP 

One trial performance has won Betty Moran, youthful radio and 
screen actress, a permanent place in the cast of "Dear John", NBC- 
Blue Network Sunday evening serial starring Irene Rich. Betty 
succeeds to the role of Carol Chandler, left vacant when Martha 
O'Driscoll left the cast to resume her screen career. 

Page 9 


analyst. Bom St. Louis, Sept. 1, 
1908. Attended Cathedral Col- 
lege, Christian Brothers' College 
and Benton College of Low in St. 
Louis, and Xovier University in 
Cincinnati. Before getting estab- 
lished in radio, he worked as bank 
clerk, chauffeur and radio service- 
man. Took temporary position in 
1931 with KMOX, St. Louis; went 
to WTAX, Springfield, 111.; recalled 
to KMOX; transferred to WLW, 
and in April, 1939, switched to 
W H A S, Louisville, Kentucky, 
where he gained such popularity 
that his program, "Paul Sullivan 
Reviews the News" became' a 
Columbia network feature. Wo- 
men's National Radio Committee 
ranked him one of best news an- 
alysts on the air. 
PLMER DAVIS. CBS news an- 
alyst. Bom Jan. 13, 1890, in 
Aurora, Indiana. Attended Frank- 
lin College, Class of 1910, winning 
Rhodes Scholarship to Queens 
College, Oxford. Became New 
"^ork Times reporter in 1914; 


within ten years, a Times editorial 
page writer. Literary career in- 
cludes scores of fiction stories and 
special articles for magazines. 
Wife is the former Florence Mac- 
Millccn. They live in midtown 
New York, summer in Mystic, 
Conn. Have two children, Robert 
Lloyd and Anne. 

ELIOT. CBS military analyst. Born 
June 22, 1894, in Brooklyn, New 
York City. Family moved to 
Australia in 1902. Attended Trin- 
ity College, University of Mel- 
bourne., Served throughout war 
with Austrialian Imperial Forces, 
entering a second lieutenant, 
emerging an acting major of in- 
fantry. Fought in Dardanelles 
campaign, in Egypt and on Wes- 
tern Front. After arrival in United 
States in 1922, became a second 
lieutenant of engineers in Mis- 
souri National Guard. Served in 
U. S. Army Reserves, Military In- 
telligence for eight years. Ma- 
gazine writer and author of books 
on military, naval and interna- 

tional affairs. In 1933 he married 
the former Sara Elaine Hodges of 
Knoxville, North Carolina. 

EDWIN C. HILL. CBS news an- 
alyst. Bom, Aurora, Indiana, Apr. 
23, 1884. Graduate of Indiana 
University, 1901. Post graduate 
student, Butler College, Indiana- 
polis. Got first newspaper job at 
salary of $15 a week. Came to 
New York and clicked with frist 
story — at space rates — - about 
tenement blaze. Reporter, New 
York Sun, 1904-23; director. Fox 
newsreel, 1923-24; scenario editor, 
Fox Film Corporation, 1925-26; 
feature writer, New York Sun, 
1927-32. Since then, he has estab- 
lished a national reputation as 
newspaper columnist and radio 
reporter. His CBS program is 
devoted to "The Human Side of 
the News." Member of Sigma 
Chi. Author of "The Iron Horse," 
1925; "The American Scene," 
1933; "Human Side of the News," 

ington correspondent. Bom in 


"Paul Sullivan Reviews The News" Mon. 
Thru Fri. 5:30 to 5:45 PM. CST. 

Page 10 


"European War News With Elmer Davis" 
Mon. Thru Fri. 7:55 to 8:00 PM. CST. Also 
Sat. 5:30 to 5:45 PM. CST. 


"The World Today" Mon. Thru Sat. 5:45 
to 6:00 PM. CST. 


Brooklyn, New York, 1903. Grad- 
uate of Amherst. Phi Beta Kappa. 
Pursued graduate studies in poli- 
tical science at Columbia Univer- 
sity. After year on Brooklyn (N.Y.) 
Daily Eagle staff, joined INJew York 
Times. Assigned to cover State 
capital at Albany, later reporting 
political conventions and the Alfred 
E. Smith 1928 presidential cam- 
paign tour. Named assistant chief. 
New York Herald-Tribune Wash- 
ington Bureau in 1930. Became 
chief of bureau. Covered World 
Economic Conference in London. 
Made a nationwide political "^ur- 
vey during Roosevelt-Landon cam- 
paign. Vice chairman of Radio 
Correspondents' Association of 
Washington, former president of 
White House Correspondents' As- 
sociation and member of Gridiron 
Club and Overseas Press Club. 

alyst. Born April 1, 1893 in Louis- 
ville, Kentucky, a descendent of 
Matthew Tindal, eminent Deist. 
Office boy for "Marse Henry" 
Watterson, editor of Louisville 
Courier- Journal. Attended U. S. 
Nerval Academy, leaving after two 
years to take first reporter job on 
Denver Post. As correspondent 
for news associations and free- 
lance writer, he circled world 1 1 
times, traveled more than 2,200,- 
000 miles. Accused by Japanese 
Foreign Office of trying to foment 
war between Japan and Russia in 
1934. Imprisoned in Siberian con- 
centration camp by Bolsheviks. 
"First aerial stowaway" on one 
of two U. S. Army planes on 
around-the-world flight in 1924. 
Reported Villa uprising m Mexico. 

Injured in 1923 Yokohama earth- 
quake. Expelled from Italy by 
Mussolini. Attached to Prince of 
Wales suite on latter's 1924 trip 
to America. Set record for globe- 
girdling in 1926 — 28 days, 14 
hours, 36 minutes. War correspon- 
dent in Ethiopia. Author of 
"Blood on the Moon," best-selling 
autobiography, many other books 
and magazine articles. Speaks 
French, Spanish, Portugese, Ger- 
man, Russian, Japanese and Sa- 
moan. Plane pilot since 1915. 
About this time he also signed as 
CBS correspondent in the Far East, 
succeeding Burton Crane, now in 
the financial news department of 
ttie New York Times. 

appointed to the CBS staff in 
Berlin. Born 40 years ago in 
Greensburg, Pennsylvania. Mar- 
ried and has one child, a girl. 
Completed journalism course in 
1923 at Notre Dame University 
where he later taught English. 
As a student, he edited several 
publications at university. Became 
secretary to journalism school's 
dean. Worked as newspaperman 
in Hagerstown, Maryland, and for 
Baltimore Sun, Albany Evening 
News, Decatur (Illinois) Herald, 
the Chicago City News Associa- 
tion and the Hoosier Observer 
(Fort Wayne, Indiana). Also sec- 
retary to J. P. McEvoy, playwright. 
News and sports editor of Station 
WOWO, Fort Wayne, before join- 
inc^ KMOX, Columbia station in St. 
Loiis, January 1, 1935, as news 
director and analyst. Led St. 
Loi lis smoke elimination crusade 
covered 1937 floods for CBS. 

Met wife former Fay Gillis, aviator 
and writer, in Moscow in 1932. 

newsman. Bom in Wake County, 
North Carolina, Oct. 15, 1908. In 
1931 went to work as script writer 
for Alexandria (Va.) station, WJSV, 
then an independent. Remained 
with station when it joined CBS 
network and moved to Washing- 
ton, covering all important White 
House events and gaining a repu- 
tation for rapid-fire ad fibbing on 
reportorial duties. Assigned to 
New York in 1935. Broadcast 
Kentucky Derby color and political 
conventions; covered fleet maneu- 
vers. Only American broadcaster 
sent to London to cover King 
George's coronation. Went on to 
France to report Wolly ISimpson- 
Duke of Windsor marriage. Col- 
umbia's star reporter of special 
events. * "' 

Washington reporter. Bom in 
South Africa, 1914. Son of minnig 
engineer. Early schooling at 
Mcrrist Brothers College, Johan- 
nesburg. Attended Tilton School, 
New Hampshire, 1923 to 1926; 
Tilton Academy, 1926 to 1930; 
Boston College, 1931 to 1933. 
Worked way through college as 
switchboard operator in medical 
building. A year with Peabody 
Players in Boston. Clerk in wool 
firm. Announcer, WLOE, Boston. 
Two years with transit company 
in Washington. Joined WJSV in 
1937. Accompanied Willkie on 
his campaign tour. 

chief European representative. 
Bom 1904 in Greensboro, North 



"The Human Side of The News", 
Thru Fri. 6:05 to 6:15 PM. EST. 



"The World Today", Mon. Thru Sat. 
5:45 to 6:00 PM. CST. 


"The World Today", 5:45 to 6:00 PM. 
CST. Mon. Thru Sat. 


Page 11 

Carolina. Graduate of Stanford 
University of Washington and 
Washington State College. In col- 
laboration with Dr. James T. Shot- 
well, Bryce professor at Columbia 
University, he wrote "Channels of 
International Cooperation." 

Assumed present post after ser- 
ving as network's director of talks. 
Prior to that, acted as assistant 
director of the Institute of Interna- 
tional Education. Before outbreak 
of war necessitated establishing 
himself in London, he covered a 
large part of Europe for CBS. 
Chartered 23-passenger plane as 
sole passenger to reach Vienna in 
time to describe Anschluss in 
1938. Recently married. His wife 
is with him in British capital. 

respondent in Berlin. Bom in 
Chicago. Graduate of Coe Col- 
lege, Cedar Rapids, la. Went to 
Europe on cattleboat. Landed job 

"The World Today", 5:45 to 6:00 PM. 
CST. Mon. Thru Sat. 

in Paris office of Chicago Tribune 
in 1925. Covered entire continent 
thereafter, becoming chief Central 
European correspondent for news- 
paper with headquarters in 
Vienna. Companion and confi- 
dant of Mohcrtma Gandhi, 1930-31. 
Quit Tribune in 1932 for year's 
free-lance writing on Catalan 
coast. Universal Service's Berlin 
correspondent, 1934-37. Joined CBS 
in 1937. After Anschluss, moved 
wife, former Therese Stiberitz of 
Vienna, and infant daughter to 
Geneva, where he vacations 
whenever possible. 

respondent, now in London. Bom 
30 years ago. Took a job as re- 

porter at 18 with Minneapolis 
Journal. Studied political science 
at University of Minnesota and 
other courses in its graduate 
school. Served as student colum- 
nist for 130 college papers and 
also correspondent for Minnea- 
polis Star and Journal. Had brief 
career as California gold miner. 
Went abroad for further study in 
University of Lcndon and Sor- 
bonne, Paris. Night editor for 
United Press in Paris. Father is 
Alfred Sevareid, secretary of St. 
Paul, Minn., Federal Land Bank. 
Wife is the former Lois Finger, 
daughter of late Sherman finger, 
famous University of Minnesota 
track and field coach. 

Sevoreids became parents of 
twin boys during early days of 
Paris bombings. (Mother and child- 
ren now in United States). Seva- 
reid resigned post of city editor, 
Paris Herald, to join CBS Paris 
staff. Remained there until French 
Government's evacuation. Accom- 
panied administration to Vichy 
and then transferred to CBS in 

CECIL BROWN. CBS correspond- 
ent in Rome. Born in New Brigh- 
ton, Pa., 32 years ago. Attended 
Western Reserve and Ohio State 
Universities, graduating from lat- 
ter in 1929. Cubbed on foungs- 
town (Ohio) Vindicator. Went to 
West Coast for United Press. Also 
worked on Pittsburgh Press, Ne- 
wark Ledger and New York Amer- 
ican. Worked in CBS publicitv 
department in Summer of 1937. 
Went to Europe for International 
News Service. Resigned from INS 
oost when signed last January as 
CBS Rome correspondent. 

resDondent in Berlin. Bom in Chi- 
cago, May 25 1911. Attended 
Notre Dome and Northwestern 
University's Medill School of 
Journalism. Worked way on fruit 
steamers to Central and South 
America. With General Press 
Association in Washington for 
three and one half vears. London 
rcrresTDondent for Time magazine 
in 1937. Six months later he joined 
the Herald-Tribune's Paris staff. He 
then joined CBS to cover the Rus- 
sian invasion of Finland. Was 
stationed in Amsterdam when 
Nazi blitzkrieg hit the Lowlands. 

Hartrich is now in Berlin assisting 

pondent in London. Bom June 10, 
1909 in New York City. Third ge- 
neration of newspaper family. 
Grandfather published two papers 
in Iowa. Father, Wallace Lesueur, 
was a foreign correspondent for 
the New York Tribune. 

Larry Lesueur received his B.A. 
from New York University in 1931. 
After six years with the United 
Press in its New York office, he 
went to Europe last year and, 
while in London, signed with CBS. 
Assigned to cover the R. A. F. in 
France. After the fall of Paris, he 
went to England aboard a troop- 

pondent in Tokyo. Native of the 
mid-West and 45 years of age. 
Formerly in charge of national 
advertising for the American 


"The World Today", Mon. Thru Sat. 5:45 
to 6:00 PM. CST. 

Weekly, Hearst Sunday supple- 
ment. Became advertising man- 
ager of Harley Davidson motor- 
cycle firm, later becoming a motor- 
cycle racer to promote his com- 
pany's product. Took over Harley 
Davidson agency in Japan and in 
1929 joined the business staff of 
the Japan Advertiser in Tokyo. 
After three years he left the news- 
paper to open a branch office for 
Fox Films in the Japanese capital. 
After some years, he founded the 
Oriental - American Booking A- 
gency, bringing theatrical artists, 
midget car racers and carnivals 
across the Pacific for the Yoko- 
hama exposition. Early in 1937 
he financed the Japan Newsweek. 

Page 12 


Visiting the Little Red 
School House 

(Continued from page 3) 

The School of the Air does not 
attempt to supplant the teacher in 
any sense. Rather, the use of 
radio in the classroom will make 
the teacher more important in 
s?iaping the educational destiny 
of the pupils. 

The School of the Air is pre- 
senting five series of twenty-six 
programs, each in five major core 
areas of the public school cur- 
riculum of Texas, namely, lan- 
guage, arts, social science, natural 
science and music and vocations. 
Each class room broadcast has 
been planned by competent edu- 
cators and so designed as to be 
good radio and good education; 
each program is produced by a 
trained and efficient director. 

The University of Texas is pre- 
senting the language arts series; 
the Dallas Radio Workshop, the 
social science series; North Texas 
State Teachers College and the 
Texas State College for Women, 
the natural science series; Agricul- 
tural and Mechanical College, the 
vocational series; and the State 
Department of Education, in co- 
operation with various music or- 
ganizations and institutions, will 
present the music series. 

Since its inauguration the Tex- 
as School of the Air has received 
thousands of letters from boys 
and girls and their teachers in 
many sections of the Lone Star 
State. Much of the credit for the 
ether-school's success is due to 
the untiring work of two men — 
L. A. Woods, State Superintendent 
of Public Instruction, and John W. 
Gunstream, Director of enterprise. 
These popular educators realize 
fully that radio promises to fill a 
real need in education, but the 
realization of this promise depends 
upon intelligent and purposeful 
use of radio programs by the 

In the meanwhile Little Johnny 
and Mary, 1940 models, ore get- 
ting much helpful schooling from 
the Texas School of the Air every 
week-day at 1:15 p.m., when their 
school radios are tuned to Sta- 
tion WBAP and the other ether 
giants comprising the Texas 
Quality Network. 


Cugat The Cook 

Xavler Cugat sampling ■ stew In 
his "private" corner of the 
Waldorf-Astoria Hotel kitchen in 
New York. The NBC-Red Net- 
work maestro's hobby U cookina> 

King Of Bluff 

Frank Morgan, "King of Bluff", 
will spiel his Intricate yarns of 
personal exploits over NBC again 
when he returns on Jan. 2 to 
"Maxwoll HeuM Can— Tim*." 

562 lbs. of Musical Glamour 

(Continued from page 6) 

"BERTIE," standard guitarist 
and sings plaintive range ballads 
. . . began the study of guitar at 
13 . . . enjoys eating fried steak 
sandwiches and reading fan mail 
... is an expert swimmer and 
horseback rider . . . can twirl a 
mean lariat and aims to catch 
herself a certain man come next 
Sadie Hawkins day ... Is 5'6" toll, 
weighs 102 with her guitar and 
shoes . . . has brown hair and 
dark eyes . . . closes her eyes 
when she sings, "just to get in 
the mood." 

"SALLY," bass player ... in- 
terested in arrangement at the 
age of three when her mother ap- 
plied the hair brush as "reward" 
for "Sally's" re-orrangement of 
the furniture in the family music 
room ... is an accomplished pian- 
ist of the concert variety but 
"learned the bass in two weeks 
to earn a living" . . . also tickles 
the vibrahorp artistically and 
takes an occasional turn at the 
organ . . . likes horseback riding 
. . . hobby: collecting phonograph 
records . . . favorite food: banana 
splits ... is no jitterbug but likes 
ballroom dancing ... Is 5'8" tall, 
weighs 1 02 . . . has blond hcdr and 
baby blue eyes ... an expert at 
making puns and cooking buns. 

And that brings us to Master 
of Ceremonies Tonahill. Scooter's 
quick wit and stage presence 
make him an ideal emcee for a 
radio or vaudeville show . . . has 
had ten years radio experience 
beginning with a regular announc- 
ing stint at a Waco, Texas ether 
factory and graduating to KGKO 
several years ago . . . favorite 
hobby is his trick fox terrier, 
"Little Man." ... Is 5'9" toll, 
weighs 160 pounds, brown hair 
and brown eyes. On personal 
appearance trips he fixes flat tires 
(auto), tends to ticket distribution 
and arranges the programs in ad- 
dition to his emcee task. 

And just in case you're won- 
dering where we got the title, 
"562 Pounds of Musical Glamour," 
add up the weights of the Cow- 
girls. We hope you get the some 
answer we didi 

Page 13 

Let's Look at WLS 

the Maple City Four, to get a rest 
and regain his health. This is 
the first change in personnel of 
this act in more than 10 years. 
The new tenor is Charles Kemer. 

WLS Sales Manager William 
Cline and some others decided 
to get some winter fishing at a 
lodge in Northern Minnesota some 
time ago. The first blizzard of 
the year snowed them in; so it 
was catch fish or starve for them. 
They caught plenty of fish, and 
with one onion, a little molasses 
and short lots of a few things, they 
made out well until the snow 
plows got to them three days 
later. Oddest thing about the trip 
was the book Harriet took along 
to read in spare moments. It was 
titled "You Can't Go Home 

WLS, used to be on the Chau- 
tauqua circuit with the famed 
William Jennings Bryan . . . One 
of the first signs of winter at WLS 
is the black derbies sported during 
cold weather by Singers Mac and 

PIST IN the WLS and National 
Barn Dance orchestras, studied in 
Chicago, Berlin and Leipsig. She 
has played at civic receptions for 
many famous people, including 
Mrs. Roosevelt, the late Italo Bal- 
bo, and Marconi . . . Herb Wyers, 
control room engineer at WLS 
used to be a streetcar motorman 
and conductor. When he first 
came to Chicago, he lived in on 
apartment house on the very place 
where the WLS studios and Prai- 
rie Former Building ore now lo- 

WLS, was married on November 
2 to Yvonne Morris, a social 
worker in Evanston, Illinois . . . 
Joe Rockhold, announcer and ac- 
tor, doing such roles as Honey 
Boy and Great Orrie Hogsett, also 
plays guitar and sings; in fact, 
that's what he first did in radio. 

you may wish to note: Reggie 
Cross, April 27; Howard Black, 
February 4; Rusty Gill, June 10; 
Evelyn Overstoke, December 20; 

Page U 

Honey Boy, comic colored janitor on 
WLS Homemakers' Hour and the WLS 
National Barn Dance, is the same man 
as the Great Orrie Hogsett — Joe 

A new comic at WLS, Jimmie James 
amazes the theater audiences at the 
WLS National Barn Dance as he defies 
all laws of gravity, playing his trom- 
bone while slanted at about a 30 degree 
angle over the footlights. Jimmie is 
also heard quite often playing the 
electric guitar for Smiley Sutter. 

Bill O'Connor, August 8; The 
Williams Brothers — Bob, Jan- 

uary 1, Don, October 9, Dick, June 
7 and Andy, December 3. 

Ted Morse (Otto and Little Ger. 
evieve) August 12; Chick Hun 
May 11; Salty Holmes, March 6. 
Alan Crockett, August 2; JacV 
Taylor, November 4; Red Foley/ 

June 17 and Hal Culver, March B 
ERATES WLS, will celebrate itb 
100th birthday with a special, 
giant issue on January 1 1 , review- 
ing advances, particularly in the 
farm field, in the 100 years since 
John Stephen Wright founded 
America's first farm paper — 
Prairie Farmer. For the past sev- 
eral months, WLS has been dram- 
atizing life among the farmers 100 
years ago, including the founding 
of the magazine. The series, 
"Mid-West in the Making," is 
heard as part of the WLS National 
Barn Dance. 

ing of WLS. The Prairie Farmer 
Station first went on the air on 
April 12, 1924, with a list of 
celebrities as long as your arm 
on the opening program. Some 
of them took part by broadcasting 
over a direct wire from New York; 
that was before networks. Among 
the names on the show were: 
Jane Addams, Grace Wilson, 
Gloria Sv/anson, Arthur Brisbane, 
H. B. Warner, William S. Hart, the 
Duncan Sisters as Topsy and Eva, 
and George Beban. 

Ethel Barrymore was to make 
her radio debut on the broadcast 
that night. Accustomed as she 
was to audiences, she couldn't 
face the microphone. She stepped 
up to it, gave one look and ex- 
claimed in fright, "Oh, my God!" 
She couldn't say another word. 

TOR at WLS, used to be a mem- 
ber of the act Chuck and Ray. 
The two of them and another man 
were the original 3-man minstrels 
in radio, an act they later ex- 
panded to include six endmen and 
a 25-piece orchestra; you'll remem- 
ber them as the Sinclair Minstrels 
on NBC. Ferris was in the avia- 
tion branch of the U. S. Navy in 
the last war . . . Chick Hurt of the 
Prairie Ramblers has been called 
"Chick" so long that a lot of people 
don't even know his real name — 
it's Charles. 





pOMANCE has meant much to 
Smiling Ed McConnell, NBC's 
Singing Philosopher, and for that 
reason he never forgets his wed- 
ding anniversary. Nor does he 
wait until the day before to buy 
a present for his wife. Thinking 
far in advance of January 29, the 
date on which he and Mrs. Mc- 
Connell celebrated their 11th wed- 
ding anniversary, Smiling Ed 
again ordered a handsome new 
car for her — the 93rd he has 
bought in the last 25 or 30 years. 
When interviewed by Radio 
Varieties, Smiling Ed had just cel- 
ebrated his 49th birthday on Jan- 
uary 12 and having just signed 


a new contract with his sponsor, 
the Acme White Lead & Color 
Works, Detroit, Mich., Smiling Ed 
was in an expansive mood. After 
discussing his wife's anniversary 
present and telling of plans he is 
even now making for her birth- 
day on February 23, he revealed 
the story of his romance. 

"It began," he said, "in a church 
choir in St. Petersburgh, Fla., in 
which we were both singing. 
Later when she visited me at 
Nashville, while I was singing 
over WSM, we determined to 
elope. Driving into Kentucky we 
found no one willing to marry a 
17-year-old girl. So, continiiing 

into Indiana, I persuaded the chief 
of police at Crawfordsville, Ind., 
a friend of mine to go with me 
to Evansville, where a minister 
married us in the presence of 
two police chiefs, five six-foot 
pcrtrolmen and the minister's 
wife. Mrs. McConnell started to 
Florida the next day. Ten weeks 
later, we met for a second wed- 
ding at Decatur, Ala." 

Mr. and Mrs. McConnell have 
two children, Mary lane, 9, and 
Ed., Jr., nearly five. 

Smiling Ed is heard each Sat- 
urday at 10:45 A.M. CST over 
the NBC-Red network. 

Paqm 15 


brings you the best there 
is in radio entertainment, 
eighteen hours a day. 


offers you the best there is in 
protection against the uncertain- 
ties of life, 365 days every year. 

There is a Shield Man 
in your community 
who represents this 
Company. He will be 
glad to advise with 
you on any matters 
regarding your 
Life Insurance. 

.^^ National Life and 
Accident Insurance Co.,lnc 

rl * C. A. CRAIG, Chairman of the Board \|!fl^j{3{g/C. R. CLEMENTS, President *r7 




MARCH - 1941 



Patter Off the Platter 

Whether or not you've ever gone 
overboard for a pcaiicular record, 
you will as of next week. The 
occasion is going to be the re- 
leaf e of Artie Shaw's next hit, 
"Dancing in the Dark". It's that 

Such a recording could only 
have been made with his large 
orchestra. The sweep of the 
strings, the sonority of the brass, 
the blend of the reeds, the flexible 
swing of the rhythm section, and 
above all Shaw's master miisi- 
cianship, all add up to a definitive 
recording of this Howard Dietz - 
Arthur Schwartz favorite. You 
would expect a good recording 
from Shaw but this one is master- 

The reverse is a natural coup- 
ling, "Smoke Gets In Your Eyes", 
performed by Artie and his Gra- 
mercy Five in intimate, chamber- 
music jazz style. The tempo bor- 
ders on slow with the Show clari- 
net setting the pace. (Victor 27335) 

Joe Reichman, the Pagliacci of 
the piano, is up next with his 
second Victor record, "I'm Always 
Chasing Rainbows", and "Keep 
an Eye on Your Heart", a coup- 
ling that is just as good as his 
first. loe offers grand hotel music 
in ultra smart arrangements, plus 
his own nimble pianistics. Marion 
Show is the vocalist. (Victor 

Donald Lambert is a young Negro 
pianist who has a keyboard style 
like a bolt of greased lightning. 
You'll have to hear "Anitra's 
Dance" and "Elegie" yourself to 
believe it. Solely the musical 
product of Donald Lambert him- 
self, he has styled Grieg and 
Massenet in a manner which 
would astound any piano teacher 
and that includes ourselves. (Blue- 
bird B-1 1053) 

On the Bluebird Race lists, the 
Hot Lips Page trio hold forth with 
more authentic blues, presenting 
"Evil Man's Blues", a composi- 
tion of the famous English critic 
Leonard Feather, and "Do It, If 
You Wanna". The numbers ore 
notable for Page's trumpet and 
Teddy Bunn's guitar. (Bluebird B- 

The amazing Mr. Miller plays 
"Song of the Volga Boatman" and 

you can bet your shirt it will be 
a hit. Done up in Glenn's com- 
pelling drag tempo, the Millerized 
tune has the power and kick of 
a quart of vodka. The reverse is 
a slow "Chapel In the Valley" 
with velvet saxes and the voice 
of Bob Eberle. (Bluebird B-1 1029) 

Tommy Dorsey has the dancers 
in mind on his pairing of "Do I 
Worry?" and "Little Man With a 
Candy Cigar", delivering these 
newer ballads with smooth or- 
chestrations and vocals. Frank 
Sinatra and Pied Pipers cooperate 
on the lyrics of the first while 
Miss Jo Stafford of the Pipers takes 
care of the coupling. (Victor 27338) 

Lionel Hampton introduces a 
new group with his recording of 
"Bogo Jo", the Hampton Rhythm 
Girls who can scat with the best 
of them. The tune is rocking and 
easy, the words don't make sense 
but you won't mind in the least. 
The other side is "Open House", 
quiet and well behaved swing. 
(Victor 27341) 

Tony Pastor gives "Pale Moon", 
and "Hep-Tee-Hootie" his low- 
down scat interpretations, singing 
all the way. "The Pastor twist is 
particularly surprising in tthe first 
which is a standard for many an 

aspiring concert soprano. The 
full band work is excellent. (Blue- 
bird B-1 1040) 

Whether or not you admit a 
liking for Hawaiian music, you'll 
be partial to "Lttle Brown Gal" 
and "Kawika" as played by John- 
ny Kaonohi Pineapple and his 
Native Islanders, Johrmy is cur- 
rently packing them in at Flori- 
da's newest nitery, Singapore 
Sadie's, and these tunes are 
among his most requested num- 
bers. They have all the neces- 
sary ingredients, Hawaiian guitar, 
island drums and the voices of 
Napua Woodd (cq), Johnny him- 
self and the trio (Bluebird B-1 1027) 

Vaughn Monroe combines a Hit 
Parader, "There'll Be Some 
Changes Made", with an immor- 
tal favorite of the old school "Dar- 
donella", and does a bang-up 
job on both. The first serves to 
introduce his new vocalist, lovely 
Marilyn Duke, after a superlative 
Dixieland Band first chorus. "Dar- 
danella" is faster with crisp brass 
and saxes in a beautifully per- 
formed arrangement. Al King is 
responsible for the trumpet work, 
Andrew Dagni plays the excep- 
tional alto sax. (Bluebird B-1 1025) 


No. 4, VOLUME 3 

MARCH, 1941 


Jerry Colonna Corer 

Poller Off the Plotter 2 

Guest Column by Uncle Ezra ' 

A Good Trick — If You Con Do It 5 

Let's Look ot WLS ^ 

Life of Pot Buttrocm 8 & 9 

Rodio ond Notionol Defense ^^ 

F. L. ROSENTHAL, Publisher 


Publishod at 1056 West Van Buien Street, Chicago, Illinoia. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cants. Subscription rate $1.00 per year in the 
United States and Possessions, $1.50 in Cemada. Entered as second class matter January 
10, 1940, at the post office at Chicago, Illinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient fiist-class postage and name and address), but we will not be 
respoiuible for any losses for such matter contributed The publishers assume no 
responaibility for statements made herein by contributors and correspondents, nor does 
publicatioB mdioate approval thereof. 


JJOWDY EWYBUDDYl You know it's 
kinda nice to be able to talk to you city- 
folk direct like this, almost as big a thrill as 
I get when I'm watten out from the "little five 
waiter" down in Rosedale. Of course, all 
you folks know that people say that I'm 
owner, operator, manager, announcer, copy 
writer, program director, engineer, and 
janitor of the mythical station familiarly 
called "the jumping jennywren". Truth- 
fully it may be mythical but I tell you right 
from my heart that my Saturday night pro- 
gram to me is the highlight of the week, and 
I hove lived with it so long (goin' on ten 
years now) that sometimes I have to pinch 
myself to realize that Cecilia, Aunt Fanny, 
and the Sons of The Pioneers ore not watten 
out from the Rosedale station, instead of the 
NBC studios. 

It's a real thrill for me to write this little 
piece for Radio Varieties, and it's a great 
feeling for me and Cecilia to get down here 
to our farm away from the big city of Chica- 
go. For it's here on this farm, where I'm 
able to pick up most of my material for our 
Saturday evening shows. Really the folks 
of Hebron might just as well live in Rose- 
dale, because "the friendly little city" is 
typical of small towns in every section of 
the country. Our principal characters can 
be seen strolling down the main street of 
Hebron almost any Saturday night. You 
know it was from listening to stories and 
anecdotes at countryside gatherings that I 
was first able to create my character, Uncle 

Of course my vaudeville experience is 
largely responsible for the success of my 
"little five-watter". I guess I just naturally 
fell into a theatrical career, as all my as- 
sociates were with the stage. My father 
was a musician and my mother an actress, 
travelling with their own company and play- 
ing many of the well known melodramas of 






Star of the 

that era. 

There's nothing like having been an old 
man since you were sixteen years old... but 
that's me. It all started accidently when 
I heard of a new show that was to start on 
the road very soon. 1 immediately applied 
for a role, and was given the lines of on old 
man. Afterwards they told me that ttie read- 
ing was satisfactory but needed polishing. 
So, equipped with a script, I went hotne, 
polished up on my reading, and won the 
part. I guess that this was really the 
beginning of my character of Uncle Ezra, as 
I found myself after this in demand to take 
the parts of old men, though I really didn't 
begin to appear as Ezra until 1930. 

My first experience as Ezra was in the 
famous WLS Bam Dance in Chicago. Coin- 
cidently, it was in that city that I met Nora 
Cuneen, who was to become my wife. For 
five years we worked together on the Ezra 
show, and Nora created the character of 
Cecilia. Then we brought the mythical sta- 
tion E-Z-R-A to NBC. 

I have had so many letters and comments 
from my listeners saying that one of the 
things they enjoy most about my program- 
my is my "thought for the day" that closes 
every Saturday night show. So I think it 
only appropriate to sign off this guest 
column wife, my thought for the day, and 
also thank you for this grand chance to talk 
to you readers of Radio Varieties... I've 
gotten a big kick out of it. So-long for now... 

When two old friends are faring down 

The road of life together, 
It's only natural now and then 

That they meet some stormy weather; 
But if the friendship's right and true 

It never goes down to defeat, 
But somehow or other survives the storm 

And comes through on Happiness 

Page 3 

Kaltenborn Edits the News 



H.' V. KALTENBORN, Dean of Commentators 

pOLLOWERS of H. V. Kalten- 
born should not look forward to 
the purchase of a delinitive collec- 
tion of his best broadcasts. Such 
a volume will never be published. 

Pqge 4 

"The technique of appealing to 
the ear is so different from that oi 
attracting the eye that the two 
should never be confused," ex- 
plains NBC's dean of commen- 

tators. "In the former, voice color, 
emphasis, simplicity, repetition 
and contrast are of tremendous 
importanoe. In the latter, senten- 
ces can be longer, paragraphs 
more involved and references 
more erudite, for printed matter 
gives timi© for the reader to pause, 
re-read and reflect and to concen- 
trate fully on the subject at hand. 

"No one could successfully 
read an article on foreign affairs 
while listening to conversation 
yet millions of persons listen to 
news broadcasts about foreign 
affairs while occupied with other 

"1 give these examples merely 
to show that written and spoken 
style are two completely different 
things. For that matter, radio and 
banquet hall style also are diffe- 
rent things. That's why I have 
always disliked having to broad- 
cast from a banquet table. The 
quiet, conversational, intimate 
technique suitable to microphone 
use cannot be effective in a hall. 
In the same way the vigorous, 
oratorical, hortatory style suited 
to after-dinner speaking grates on 
the radio listener's ear. 

"Naturally, I frequently take 
something I have said on the air 
and adapt it for publication. But 
in such cases I rewrite every word. 
Of course, my case is peculiar 
because I extemporize all my 
radio talks but I think my point 
holds good even with speeches 
written especially for radio deliv- 

Kaltenborn adds that while he 
has improved his radio style with 
18 years of practice he still finds 
plenty of rough spots when he 
starts rewriting for the printed 

"Most of those faults, such as 
slight hesitations or hasty mispro- 
nunciations are excused by the 
radio listener, who is participating 
with the speaker in the creative 
irocess and they even add a cer- 
tain liveliness and intimacy to the 
subject," he says, "but when I 
icje a transcript of one of those 
talks I sometimes groan with 
humiliation as the cold type stares 
up at me." 

Kaltenborn broadcasts Tues- 
days, Thursdays and Saturdays at 
6:45 p. m. CST over the NBC-Red 



A Good Trick — if You Can Do It 


JHOSE WORDS the magician 
recites before pulling a live 
rabbit out of a hat must have 
something to do with it; for Chuck 
Acree, the Talkative Oklahomon 
on WLS, Chicago, uses a lot of 
words per minute and can do the 
same thing. Instead of using a 
silk hat, however, Acree gets 
rabbits from an empty candy box. 

The rabbit trick is only one that 
Acree, who is a member of the 
American Society of Magicians, 
can do. He knows card tricks by 


the dozen; he can make hand- 
kerchiefs change color right 
before your eyes; he makes things 
disappear into thin air — in fact, 
he knows all the high class effects 
of the master magicians. 

Acree conducts "Everybody's 
Hour", "K-I-D-S Club", and "Some 
thing to Talk About" on WLS, and 
also broadcasts. "The Man on 
the Farm" from the Quaker Oats 
experimental farm near Liberty- 
ville, Illinois, a program heard on 
WLS and transcribed for rebroad- 
cast on many stations throughout 

the country. 

He often entertains the crowd at 
the farm before and after the 
broadcast with his tricks of magic, 
and with another stunt he has 
developed, a rapid memory feat. 
Acree let's someone write down a 
list of 20 objects as he looks on; 
then the list is covered, and the 
audience can ask him any num- 
ber. He tells them what object 
is written beside that number; or 
they can name any of the objects 
and he will tell them what num- 
ber it is. 

Page 5 

Let's Look at WLS 

EVELYN, the Little Maid, have both 
temporarily left WLS, Patsy to go 
to St. Louis and Evelyn to WLS' 
associate station, KOY in Phoenix, 
Arizona... Evelyn's sister, another 
cf the original Three Little Maids, 
is married to Ramblin' Red Foley. 
Eva and Red recently sang 
reveral duets at a party for WLS 
employes — and was that a treat! 
-..Harry Sims, of the WLS 
Rangers, and Ray Ferris, WLS 
producer, collaborated in a new 
pong just published; it's called 
"Lyla Lou." 

Barn Dance, Louise Massey sang 
"Lonescme, That's All." A few 
minutes later, she got a phone 
call backstage. The caller thanked 
her for the song, explained that 
he and his wife were divorced a 
year before. After hearing her 
sing "Lonesome", he was going 
to call his wife and try to effect 
a reconciliation. Before he could 
do so, his phone rang. It was the 
estranged wife. She, too, had 
heard Louise sing. The couple 
were remarried the next day. 

Birthdays at WLS in February: 
Mary Jane DeZurik, the 1st; 
Howard Black the 4th; Adele 
Brandt, the 10th, and Essie Martin, 
cf the Prairie Sweethearts, the 11. 

Julian Bentley, news editor, 
used to be a meter reader... 
Howard Black was once a 
restaurant cook... Phil Kalar used 
to be a cook, too — in a monastery 
...Joe Kelly, of Barn Dance and 
Quiz Kids fame, once led his own 
orchestra and Lou Klcrtt, accord- 
ionist with the WLS Concert 
Orchestra, played for several 
years with Herby Kay and his 

NOW TO ANSWER A few ques- 
tions from WLS listeners. Mrs. F. 
L., Milwaukee, Wisconsin, asks: 

"Where d i d Ozzie Westley 
move to?" Ozzie and Mary West- 
ley moved to suburban West- 
Page 8 

Chester last fall. Since then, they 
have been joined by another of 
the Rangers. Mr. and Mrs. Augie 
Klein have moved into a neighbor- 
ing house, just vacated by Howard 
Black and his wife. 

H. S. A., Formington, Illinois, 
writes: "My mother says Henry 
Hornsbuckle (Merle Housh) was 
the Henry of the team Hiram and 
Henry, and I say he wasn't. Who 
is right?" Sorry, Miss A., but you 
are wrong. Merle Housh is the 
same Henry Hornsbuckle as in the 
Hiram and Henry team. 

..."littlest cowboy" has a band. 

J. M. of Milburn, Indiana, asks: 
"What is George Menard's little 
girl's name and the date of birth?" 
She was born shortly before 
Christmas in 1939, on December 9; 
so she was named Noel Marie. 

V. G., Pine River, Wisconsin, 
writes: "Would you please tell me 
what Mac of Mac and Bob named 
their baby girl." The little girl is 

called Carol Gay. Mr. and Mrs. 
Lester McForlond have also two 
boys: Kenneth, age 8, and Larry, 


An Indiana housewife applied 
to WLS Program Director Harold 
Safford for on audition last week. 
She was invited to fill out the 
regular form conoeming previous 
experience, etc. On the last line of 
the form under "Remarks," the 
ambitious aspirant noted, "winner 
of the hog calling contest at 
Farmer's Frolic." 

P. S. — She was a "soprano 

Joe Kelly, master of ceremonies 
on WLS National Bam Dance and 
"Quiz Kids," has returned to his 
"Pet Pals" program on WLS for 
Coco-Wheats. The show is broad- 
cast 7:45 to 8:00 A. M. Tuesday 
through Saturday, and has been 
on WLS, Chicago, for the some 
sponsor yearly for the past five 

Station WLS, Chicago, honored 
one of Chicago's outstanding 
policemen, recently, when Dick 
Humpf retired from active service 
after 28 years on the Qiicago 
Policje Force. Humpf was pres- 
ented with a watch by the WLS 
National Bam Dance crew for his 
service at the Eight Street Theatre 
where he has been on duty for the 
last 8^ years handling the Bam 
Dance crowds each Saturday 

L. W., Platteville, Wisconsin, 
asks three questions: "Where is 
Lucille Overstake? Where is 
George Goebel? Is Fred Kirby 
the one that was at WLW?" 
Lucille Overstake, the third of the 
Three Little Maids (two of them 
mentioned earlier on this page), 
is traveling with the Texas Tommy 
act, showing trick animals, fancy 
roping and shooting in theaters 
and at fairs. George Goebel is on 
lour with his own Barn Dance 
band, and Fred Kirby, whom you 
hear on Sundays over WLS, was 
formerly with the Cincinnati sta- 


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Pat Buttram, one of the outstanding stars of the WLS Barn Dance. 

T WUZ horned in. a little town of 
Addison, Ala. (200 population) 
on the night of June 19, 1915. 
There wuz no doctor in Addison 
so I wuz horned without one. 

The house we lived in at the 
time wuz a church remodeled into 
a "parsonage". You see, my dad 
wuz a preacher in Addison, an' 
wen they huilt a new church they 
moy.ed_u£_into_lhe_Qld_Dne. .. Dad 

Fq90 8 

didn't make much money the year 
1 wuz horned (only $200), hut every- 
hody agreed that he wuz the hesi 
circuit rider in Winston County. 1 
might explain that a circuit rider is 
a preacher that has more than one 
church an' rides from one to the 
other each Sunday. The reason for 
this is very few churches in the 
hills can aford a preacher of its 
own, an' it takes two or three 
churches to suport one preacher. 

Dad never has made any more 
than a hear livin' at preachin' but 
he alius says he counts his hles- 
sins instead of his cash and figures 
hes doin' pretty good. 

But gittin' hack to me (after all, 
I'm the he-ro of this story) I wuz 
the youngest of seven children an' 
we wuz all raised on "ruterheggers 
and rahhits." I had three hrothers 
older'n me so hy the time the pants 
got down to me they wuz pretty 




I dont 'member any of my early 
youth, but from what I hear I spent 
all my time dodgin' work. One 
old man who knew me back in 
Winston County remarked, when 
he heerd I had a job on the radio, 
he said: 

"Well, they got the right one for 
the right job . . he s too dern sorry 
to do anythin' else." 

Wen 1 was eight I made my first 
stage appearance. It could hardly 
be called a "stage" appearance 
becau&e the only stage we had 
was a buckboard wagon with 
boards acrost it. I gave some sort 
of comedy recitation. I dont 'mem- 
ber it but I do 'member how thrilled 
1 wuz wen I heerd the audience 
aplawd. From then on there was 
no stoppin' me. 

In the meantime 1 had been 
growin' and goin' to school an' 
playin' hookey and baseball . . . 
an' I was also third jerk on the 
tug of war team. 

Wen I wuz sixteen we moved out 
of Winston County, (which, irici- 
dentally, is the only Republican 
County in the state of Alabama. 
It has only voted Dem once since 
the Civil War). We moved to a 
bigger town an' I soon becom used 
to electric lights an' runnin' water 
an' went to a high school named 
Mortimer Jordan High School. 
After finishin' high school (I wuz 
like George Washington. 1 went 
down in history, too) I went to Col- 
lege to study for the ministry. The 
college I attended wuz Birming- 
ham Southern in Birmingham, 
Ala., an' I entered there wen I 
wuz seventeen . . . just a simple 
country lad, more simple than 
country. ,^\M 

I wuz takin' a class in speech 
and Dr. Evans wuz the perfessor 
an' he asked me one day if I would 
like a part in the anual s,'chcol 
play an' of course, I said yes, so 
1 wuz in the play. 1 had a goood 
part. All 1 had to do wuz to look 
dumb so I went over pretty good, 
specially since all my relatives 
come to see me. 

After the performance wuz over 
and I wuz putting my brothers suit 
back on in walks a feller named 
Steve Cisler who said he wuz 
manager of the local radio station 

an' he needed a comedy announ- 
cer. So I started on Station WSGN 
in Birmingham with 3 programs 
a day an' $6 a week. But 1 made 
out all right because I put a cot in 
the back room of the transmitter 
an' slept there an' then I made a 
deal with a local restaurant to give 
them a plug every mornin' on the 
early program in exchange for a 
weekly meal ticket. The station 
manager never knew of this deal 
but 1 never worried because I knew 
he never got up that early in the 

Pat hits a few high notes as Ginger 
Dinning of the Dinning Sisters iool<s 
on with a broad smile. 

Later on I received a lot of help 

from another radio artist in town 
... a fellow named Luther Patrick 
who has' since becom a Congress- 
man from Alabama an' is now 
listed in Who's Who as a comin' 
American Poet. (The name of that 
restaurant, by the way, is Cofields 
Cafe, so you se Im still gettin' my 
meals there.) 

I com to Chicago to see the 
world's fair. Steve Cisler give me 
a free ride an' wen we got to 
Chicago he took me to Station 

WLS. Wen I returned to Birming- 
ham there wuz a telegram offerin' 

me a job if Id com back there. For 
the first time in my life I flew in an 
airy plane. 

I wuz with WLS for five or six 

years, in which time I done every- 
thin' from announcin' to singin' 
and also personal appearances at 
every theater in the middle west. 
We played every sort an' size the- 
ater an' school house . . . we finally 
had one bookin' in a garage in 
Peoria, 111. We played one the- 
ater so small that if the audience 
didnt like my jokes they wouldnt 
throw things at me, theyd just reach 
up an slap my face. 

An' we played another theater 
so large that someone in the back 
of the house threw an egg at me 
an' it hatched afore it reached the 

In 1935 I met a young lady 
named Dorothy McFadden an a 
year later we wuz married . . . Aug. 
3, 1936. Dot is a Chicago^ girl an' 
shes one Yankee that likesi the 
South, specially the good preachin' 
they have down there. 

Well, thats about all there is to 
my career so far . . . although I 
hope its just startin'. 

For the past two months I have 
been appearin' regular on the Alka 
Seltzer National Barn Dance an' I 
aint wore out my welcome yet. 

For the benefit cf all the girls 111 
describe mvself. I have my fathers 
black hair, my motliers brown eyes 
and my brothers green pants. I 
am five feet ten an' one half inches 
tall an' weigh a hundred and 
eighty pounds,', soakin wet. If I 
keep on gainin' 111 look like a bail 
of hay with the middle hoop bust- 
ed. I am twenty five years old 
and have got rhumatism already. 
I am number 1065 in the draft re- 

Thankin' you for readin' this and 
alius wishin' you life at its best I 

Yourn trooly, 

Pat Buttram 

P.S. My real name is Maxwell Em- 
mett Buttram but I have bin called 
Pat since I wuz twelve. Before that 
1 wuz called Bacoon Buttram. 


Page 9 

Radio and National Defense 

An address by I^Hles Trammell, president of 
the National Broadcasting Company, before 
the 16th Women's Patriotic Conference on 
Notional Defense at Washington D. C. 

TT IS A GREAT pleasure to meet with you here 
today, and it is on honor to address you. You are 
the women whose kith and kin have served our 
country in its wars. You ore the women who hove 
known all the hard, lonely by-paths of personal sacri- 
fice and devotion. 

I should be remiss as a man — and as an Amer- 
ican — if I did not at once pay tribute to yovir 
personal gallantry and to your great patriotism. It 
is because of your individual and group awareness 
and \mderstanding of the problems of notional 
defense that I consider it an opportunity to be able 
to talk to you today about radio's role in this great 
patriotic task. 

We are not living in a day when patriotism 
was a rite to be celebrated once or twice a year, 
then returned to the mothballs to be taken out for 
another occasion. These are grave days. 

Today pabiotism and self-preservation may 
mean one and the same thing. Today we cannot 
plan without making this motive foremost. The 
common determination to defend our freedoms by 
any sacrifices necessary is oui bulwark against 
the dangers that may threaten our physical safety, 
our way of life and the principles of government 
upon which our nation has been built. 

MThatever activity we pursue today, our most 
important business is patriotism. Without it our work 
can hove no meaning, our life no stability. 

PATRIOTISM is the very basis of national morale. 
Look at the tight little island across the seas, the 
embattled fortress that is England. It fights with 
every living effort to hold back the mighty tide of 
tyranny which has washed away nearly all the free 
nations of Europe. But it is the morale of England 
not its armaments, which thrills us today. We have 
to go back into history to londerstand the source of 
this indomitable spirit. At another time, and in 
another crisis, this is what Oliver Cromwell told his 

"Well, your danger is that you have seen. 
And truly I am sorry it is so great. But 
I wish it to cause no despondency: as I 
think it will not: for we are Englishmen." 
Well, we are Americans! It may be that we, too, 
hove been slow to realize that the time is not too 
early. But we have heard too much tumult and out- 
cry from across the seas to fall asleep. 

There is no room for defeatism in the American 
spirit. And there is. no cause for complacency in the 
face of the dangers before us. But it would be to 
belie our vast resources, the genius of our research 

Page 10 

work, the inventiveness of our people, the technical 
and business leadership which has made our country 
the synonym of mass production to doubt that we 
can meet successfully any problem of national 
defense, however desperate may become the situation 

This is not the first time the world has reeled 
from the cataclysm of war. But there has never been 
a time when the earth echoed with a more discordant 
chorus of propaganda and hatred. There is hardly 
anything which we and our forefathers believed in 
that is not being questioned today. Many currents 
swirl around the foundations upon which our institu- 
tions have been built. We need to strengthen our 
determination. We need to re-dedicate ourselves 
with every means and medium at our command to 
the principles of liberty and freedom which have 
made this country great. We must marshal all our 
resources to this task. 

TN THE ALL-OUT effort we must ifiake to defend 
democracy, radio stands as a great national asset. 
Broadcasting's present efficiency derives directly from 
its freedom. Broadcasting is able to serve all oior 
people because of that freedom. And, in considering 
the function of this vast medium of communication, 
we must consider its part in national defense. 

Guns, tanks, planes, ships and manpower con- 
stitute a nation's iirslt line of defense. But behind this 
first line — and of almost equal importance — must 
be the intangible, but definite support of national 
morale. In the living patriotism which we need to 
make our arms strong and our will indomitable, radio 
can play a significant part. This war has shown 
that peoples can be bombed by air with words as 
well as with high explosives. 

The great power of broadcatsing is based on the 
fact that American radio can link every home in the 
country with a simultaneous message transmitted 
from a single source. In that lies the power and 
glory of radio as a medium of information, a medium 
of entertainment and a medium of education. Pro- 
vided, always, that the programs broadcast command 
the hearing and attention of the millionfold audience 
of the air. Thus the first prayer of the broadcaster is 
for the loyalty of his audience. 

Two things are essential to the maintenance of 
national morale by radio. The first is the xaninterrupted 
flow of information and news — free and uncensored 
— to the American people. The second is the con- 
tinuance of entertainment and aids to relaxation 
which must maintain the spirits of the people and 
help to preserve as far as possible the pattern of 
normal life. Our duty Is to continue and to expand 


Beautiful Muriel Bremnep, who prepared for her radio career in 
west Coast film studios before coming to Chicago in 1938, now has 
prominent roles in two NBC serials. She is heard as Helen Gowan 
Stephenson in "Road of Life", and as Fredericka Lang in "Guidina 
Light", both NBC-Red Network daily features. 

several months ago when Jan Miller had her first audition, 
experts shook their heads and said they couldn't use her 
because her voice "sounded too much like that of 'Linda 
Dale' ". Now Jan is playing "Linda Dale." 


these programs in the national interest. We must 
provide service and we must provide relaxation. 
For it is not to be forgotten that entertainment is the 
beacon that attracts the vast audience to radio. 

Such service results from competition between 
networks, between stations and among advertisers 
to present to the American public great music, the 
great orchestras, the great plays, and other enter- 
tainment, news and educational features that com- 
mand the loyalty of 100,000,000 radio listeners. 

Moreover, it is through this great channel of 
communication, kept open by entertainment, that the 
educator, the churchman, the social service worker 
and the government find their greatest opportunity 
to serve the American public directly. 
J^S AIRPLANES and battleships must be the great 
arms of our national defense, so isi radio the voice. 
None can dispute the fact that on the questions of 
war and peace, on the need and extent of our own 
task in the world of confusion and danger^ the Amer- 

ican people are the best informed in the world. The 
responsible polls of public opinion are convincing 
evidence of their awareness. I am not disturbed by 
the fact that public opinion has shifted on various 
issues. So have the circumstances. That many 
voices speak, that many policies are suggested, that 
many contradictions are made evident in the debates 
on the air, may indicate at first thought a pattern of 
confusion in our democratic procedure. But I am 
convinced that it is a confusion more apparent than 
real. It is thus that a free people, through free speech 
and debate are able to correct each other's errors and 
eventually reach conclusions in the interest of the 
many, not of the few. The free mind cannot be 

Unity in a democracy is the unity of action, 
once the ballots hove been counted and the legislotiore 
has voted. Our country has not lacked that loyalty 
to leadership gravely necessary in every great 
emergency, in our national life. 

(Continued on Page 12.) 




Radio's part in gathering and disseminat- 
ing news, views, and opinions, bringing 
information to one hundred million listeners 
directly from the sources, is known to all 
of you. This service should develop even 
greater importance during this year of 
ci:isis. For under the American system of 
broadcasting, radio is democracy at work. 
Here we are not told by a dictator what 
radio must do. Nor, are citizens ordered 
to listen. American radio has won the 
confidence of its public, who listen not from 
duress, but of their own volition and desire. 

The President broadcasts his message 
personally to the people. The simplest, the 
humblest citizen may stand up in the Town 
Hall Meeting of the Air, and, over the radio, 
voice his disagreement with the President. 
And, just as many people in this great, free 
land of ours can hear this citizen speaking 
at Town Hall as can hear the President. 

This is Democracyl 

Our freedom of speech, of the press, and 
freedom of radio, permit the American nation 
to function as a free jury. The only mandate 
radio has, the only mandate the American 
people will bestow on radio, is the mandate 
to keep the truth free. Broadcasting is a co- 
hesive factor in blending the thoughts and 
hopes and aspirations of the American 
people. Alongside with the press, it is the 
mirror and mentor of our public opmion. 

■pREEDOM is a responsibility as well as a 
privilege. Radio has accepted the obliga- 
tions that its freedom entails. 

In all of our programs we must be 
motivated by considerations of taste, de- 
cency, and maximum public service. For 
broadcasting's code is a strict one. There 
must be no offense to religious or racial 
groups. Sacrilege and obscenity are taboo. 
There must be no misrepresentation and no 
questionable statement. Emphasis on in- 
sobriety and morbidity is not permitted. In 
short, we accept our responsibility as a 
public trust. We hold this code of ethics to 
be of first importance. 

Recognizing that radio has a particular 
function and responsibility to the millions of 
American listeners in the present world tur- 
moil, the National Broadcasting Company 
from the beginning of the war has adopted 
certain self-imposed regulations as to the 
handling of war news. These rules call for 
the temperate, responsible, and mature 
handling of the facts without color and sen- 
sationalism. On the positive side we hove 
undertaken programs intended to counteract 

(Continued on Page 13.) 

Ic Bernle front handle, Ben. The luscious gals are the Bailey 

Sisters. The two-step is a bit of folly to put the trio "In the groove" 
for "Ben Bernie's Musical Quiz" heard over the NBC-Blue Network 
from 8:00 to 830 p.m.. EST, every Tuesday night. Broadcast is from 
Radio City in New York- 

Thursday nights finds the famous AFdrlch Family gathered before 
the NBC mike to let America In on the latest exploit of their ever- 
erring son, Henry. Ezra Stone, left, originally created the role of 
Henry in the Broadway hit, "Whatta Life." Henry's sister, Mary, 
to Mary Mason; Katharine Raht i« mother; House Jameson, Dad. 

Pag© 12 




the influence of alien philosophies, and of 
programs that dramatize the value of the 
heritage our nation is preparing to defend. 

Thus, the National Broadcasting Company 
is cooperating with the Fedearl Government 
and other agencies in the preparation of 
programs that place the accent on Amer- 

These programs are concerned with the 
privileges and responsibilities of the demo- 
cratic way of life, as in the series "I Am an 
American." They are concerned with ag- 
riculture's relation to national defense, as in 
the daily programs of the "National Form 
and Home Hour." 

They are concerned with instructing our 
young men in many details of the transition 
from civilian to military life. 

They are concerned with information for 
the families of such boys. We knew that 
families at home would want to hear about 
the life of their sons in military training 
camps. So we built a special truck, carrying 
its own power plant and four fronsmitters. 
This mobile unit is touring the country today 

— visiting all camps, bringing vivid, in- 
spiring details of Uncle Sam's training of his 
peacetime army. 

To me the promise of a better and better 
informed public opinion in America — the 
assurance that we ore fashioning a democ- 
racy equal to every problem of government 

— is the fact that the public not only accepts 
but expects a constantly higher grade of 
program service. People want something 
into which their mental teeth can bite. 

This is a new and significant element in 
mass information, mass education, and mass 
entertainment. The National Broadcasting 
Company is awake to this demand. 

Consider the panorama of music, drama, 
literature, history, fine arts, public affairs, 
psychology, economics, natural science, 
physical science, biological sciences, reli- 
gion, formal education, vocational guidance, 
agriculture, safety, aviation, children's pro- 
grams and women's programs made avail- 
able today by the NBC as the pioneering 
organization in nation-wide broadcasting 
service. Many arts and many skills have 
been combined to render this service. 

JHE CONTRIBUTIONS of the artist, the 

musician, the writer, and the newsmen on 

the air ore great indeed. But I hold that the 

contribution of the advertising sponsor in the 

(Continued on Page 14.) 

■.4v^d&»^^^&>!«^ vAiM&aaaKw*/^v aC «ft\'» < ^Va^XXv.s^ 

Persona? — ^Young girl, attractive, capable and efficient, not to men- 
tion her many other fine features, craves male companionship. 
Contrary to general belief, is not married op engaged, but has no 
objections. Apply to Bonnie Baker, care "Hidden Stars" show, 
Sundays at 5:30 p.m., EST, on NBC-Blue Network. 

Those Smiles on the faces of Richard Gordon and Kenneth Lynch, 
the Bishop and the Gargoyle on the NBC-Blue Network's Saturday 
night mystery serial of the same name, might suggest that they hart 
Just eaten the photographer's birdie. On the other hand they prob' 
ably show that the pair have picked up a clue to a baffling new crime 

Page 13 

Sharon Lee Smith of the dreamy, achemy eyes kept them open to 
watch her wishes Jell. A fan of "Your Dream Has Come True , 
NBC-Red Network Sunday feature, she wrote the program stating 
her oreat dream was to appear on the show as an acfess. so 
what?? So she got the audition and then got the Jobll 

"Ye*, madam, this is the District Attorney's office," Is what Jay 
Jostyn. who plays the title role In the NBC-Red Network's "Mr. 
District Attorney", is telling the telephone. And those absorbed 
eavesdroppers are VIcki Vola and Leonard Doyle, both important 
cogs in the radio "wheelsofjustlce" Wednesday seriss. 

Page U 


radio program is no less significant. His 
support is the very fabric of the American 
system of broadcasting. His use of broad- - 
casting as a sales force has provided the 
American people with the finet radio pro- 
grams produced anywhere in the world. His 
investment of money in radio time has 
enabled us to give proportionate value to 
American listeners and to expand and to 
improve our public service broadcasts. 

It is important that no matter what emer- 
gency may arise, we maintain this fruitful 
cooperation; that we continue to give lis- 
teners the accustomed program service 
which has created a vast radio audience 
and a great radio industry. 

TWO MONTHS ago the President of the 
United States in his eloquent tribute \P 
the progress of radio in two short decades 

"Today the need is greater than ever 
that broadcasting should perform its func- 
tion as a medium of public information. 
Factual and accurate news made available 
to all of our people is a basic essential 
of democracy. Radio has done its job 
well in this field." 

These are President Roosevelt's words. 
We of the industry ore grateful for such 
high praise, but we do not intend that it 
shall make us complacent. 

That broadcasting has performed a real 
function in this field is evident to every ra- 
dio listener who has followed events from 
the theaters of war abroad — events as 
they happen. To do this radio had to meet 
a challenge xmprecedented in its history. 
It met it through the cooperation of over- 
seas newsmen who were enlisted in the 
service of broadcasting. 

Brilliant eye-witness descriptions, and on- 
the-spot news summaries by American for- 
eign correspondents and wire services, as 
well as reports from our own staff observers, 
were broadcast directly from the scene of 
hostilities and action, over the National 
Broadcasting Company's coast-to-coast net- 
works. Thus, radio joined the press in 
keeping the American public better informed 
than ever before on developments through- 
out the world. 

As the President has stated, the nations 
of this hemisphere are engaged in a co- 
operative undertaking to keep war and ag- 
gression from our shores. Radio is a power- 
ful medium for carrying our public opinion 
to the world. 

We con broadcast the success story of 
American democracy to listeners abroad. 

(Continued on Page 15.) 


Patricia Dunlap, charming NBC Ingenue from Illinois, recently won 
the role of Pat Curtis In "Tom Mix Straight Shooters". As Pecos' 
flirl friend, she becomes the second feminine member of the regular 
cast of the NBC-Blue Networl< serial. Pat also is Jill Stewart in 
"Bacl<8tago Wife", NBC-Red Network serial. 

■••ring further proof of the strong bond of friendship which unites 
tiM twenty-one Amerioan Republics, Washington columnists Drew 
Pearson (left) and Robert 8. Allen have been engaged by the 
Brazilian government to disseminate "News for the Americas^ 
•v«r the NBC*Blu« Network eaoh Sunday, to promote good wilt 



We can srtengthen the democratic deter- 
mination of other peoples. We hove tried 
it. We believe it is working. 

The International Division of the National 
Broadcasting Company is presenting short 
wave broadcasts sixteen hours a day, 
carrying a simply told, truthful story of our 
ideals, our way of life, to peoples every- 

Programs in German, French, English, 
Italian, Portuguese, and Spanish ore 
devoted to subjects of interest to the world- 
wide audience with particular emphasis on 
the "good neighbor" policy of our govern- 
ment. Thus, radio is performing a service 
for democracy. 

In South America, and in parts of Europe, 
there is group listening which is not foiind 
in the United States. These listeners ore 
people who cannot afford radio sets, but 
who listen to short wove broadcasts from 
the United States over community-owned, 
all-wave receivers. Radio broadcasting is 
a most important service in certain of these 
countries, where many people do not read 
or write and can be reached only through 
the spoken word. 

Through its international programs radio 
has provided American listeners with ring- 
side seats dt world-shaking events. It is 
thus that broadcasting has kept faith with 
the public. 

As we go forward into this comparatively 
new year, we are aware that it is a year of 
destiny. It will be filled with uncertainty 
and peril. However, we can face the future 
with confidence because we face it with 
faith — faith in our democratic institutions 
and fcdth in the strength of our people. 

American broadcasting will help to for- 
tify our confidence, more so because radio 
has the assurance of freedom. President 
Roosevelt in his memorable statement 
made on November 25th last, declared: 
"Your government has no wish to interfere 
or hinder the continued development of the 
American system of broadcasting. Radio 
was born and developed in the real Amer- 
ican way and its future must continue on 
that basis." 

With his assurance we shall continue to 
serve the country's interests fully, whole- 
heartedly, and patriotically. We shall 
continue to contribute to the high morale 
of our people, and to our unity of spirit and 

Together we shall preserve that freedom 
which is America's tradition, America's 
way of life, America's strength and shield 
against aggressors. Whatever the future 
brings to our great land, radio stands pre- 
pared to do its part. 

Pag* U 



/^^f^/- mafch 29th 
WLS Changes to 

A New Place 
On Your Radio Dial 

On Saturday, March 29, and thereafter WLS will be at a new 
place on yoiir radio dial: 890 instead of at 870 as it is now. 

Here is the reason: A new treaty has been signed by the United 
States, Mexico and Cuba, requiring certain changes in the radio 
frequencies of nearly all stations in each of those countries. By this 
it is expected radio interference will be greatly reduced. For WLS 
we believe the change will result in better reception for all our 

We're telling you about this change early so you won't be con- 
fused; so you won't miss a single program. Mark the date on your 
calendar now — March. 29. Beginning that day, turn your dial to 
890 kilocycles (89) for all your favorite WLS programs. 





50.000 WATTS 

APRIL- 1941 

^^^ rm CENTS 






^65. \-5i 




.,r \J^,.i 

* . -i^i 

The Red-Headed Bluebird 

IJICK TODD is one singer whose 
themia song might well be 
"South Of The Border". A native 
Cctnadian, he has gained well 
deserved fame as one of the best 
radio vocalists in the United 
States as well as one of its top 
recording artists. 

He began singing August 5 of the 
same year. "Of course, I didn't 
get much melody" he qualifies, 
but I sure gave the neighborhood 
cats a whale of a contest". 

Page 2 


He attended pioblic school at 
MacDonald College where he 
engaged in football, hockey, 
basketball and boxing, continuing 
his education at McGill University 
where he interspersed sports with 
his flair for music. Just about 
this time he was bitten by the 
travel bug and left for a "short" 
cruise to the West Indies. After 
two years of traveling through the 
Indies and England, France, Italy, 
Switzerland, Todd returned to 


There he organized his own five- 
piece instrumental combination, 
with himself as the vocal "front", 
made records, radio and personal 
appearances throughout the 
Dominion. Canada sat up and 
took notice of the carrot-topped 
caroUer with his new style of 
singing, and soon word seeped 
down to New York where RCA 
Victor officials decided to laiinch 
him on a record career. 


In New York, he begem to record for Blue- 
bird, then handled the vocal assignments 
with Larry Qinton's band dxiring the summer 
of 1938. In the fall of the same year, he 
made several appearances on the Artie 
Show program. 

It is no secret that Todd's voice is very 
much like Bing Crosby's. And it is well 
known in the trade that Todd and Tommy 
Dorsey are good friends. Some time ago, 
Crosby brought his racing stable to Long 
Island. Tommy Dorsey, interested in buying 
a few horses for his New Jersey farm, called 
the Long Island residence where he knew 
Bing was staying. A familiar voice on the 
other end queried: "Who is this?" "Tommy 
Dorsey" was the reply, "Who is this?" "Dick 
Todd" snapped back Crosby. The three of 
them still chuckle every time they think of 
the Crosby comeback. 

According to song pluggers, Dick Todd 
has picked slightly more tiian 450 songs to 
sing on his various recording and broad- 
casting ventures during the past three years. 
And out of that total number of tunes, the 
song salesman rate Todd as having picked 
at least 150 hit tunes and not one single 
flop. Every song negotiated by the baritone 
has been a better than average tune, the 
song pluggers declare. 

The Todd formula for picking star tunes is 
something the singer can't put into words. 
It seems to be a combination of intuition and 
a personal taste that runs very close to what 
might be described as the norm of listening 

When he is getting ready to pick a new 
song for a future program, Dick can usually 
tell after ten or fifteen minutes whether a 
song is going to be popular or not. He 
looks over the notation, tries out an experi- 
mental phrasing or two — and that's all 
there is to that. Either he wants to sing it, 
or else he doesn't. 

Among the smash hits Todd has picked 
during his singing career are "Deep Purple", 
of which he made the first recording; 
"Stairway To The Stars"; "Imagination"; 
"Singing Hills"; "Little Sir Echo", which 
broke record sales; "The Wind and The Rain 
In Your Hair"; "I Give You My Word" and 
many other outstanding song hits. 

The boy from Toronto has traveled a long 
way. Tops as a radio star is enough for 
any yoimg man, without mentioning the fact 
of breaking all records when it comes to 
records — which should be some kind of a 
record. It's something that happens Just 
once in a lifetime — that a Red-headed Blue- 
bird sings his way to the top. Todd is heard 
currently on Show Boat, Monday nights over 
the NBC red network. 

Witty quips and costumes like this black nutnbep, with "Ilka" 
embroidered In gold on the pocket, add to the fun Saturdays at 
"Luncheon at the Waldorf", when Ilka Chase, actress, m.c, author 
and fashionable woman of the world entertains, and a national 
audience listens over the NBC-Blue Network. 

Heart-y congratulations are tn order for pretty Louise King, the 
Lullaby Lady of the Carnation Contented program. The NBC Presa 
Department has chosen her as the heart throb of February and 
•ends forthwith this Valentine greeting to all radio editors. The 
OwMlioa program Is broadcast Mondays on the Red Network. 


Page 3 

Patter Off the Platter 

Decca's platter of Jimmy Dor- 
sey's recording of "Yours" (3658) 
with Bob Eberly and Helen O'Con- 
nell sharing the vocal honors, is 
a standout. The flip-over is 
"When the Sun Comes Out" vo- 
cals by Helen O'Connell. 

Decca's new Album No. A-200 
GEMS OF JAZZ include six rec- 
ords that represent the hottest jazz 
numbers in a decade. Bud Free- 
man and his Windy City Five, 
Gene Krupa, Mildred Bailey, 
Mead "Lux" Lewis, and Joe Mar- 
salla all contribute to make Dec- 
ca's album "Gems of Jazz" one 
of the most outstanding albums 
in Jazz. 

Again Decca does it. "A Night 
In Rio" is their latest to crash the 
popular album field. Three 10" 
records sung by the colorful Car- 
men Miranda in her native tongue. 
This album No. A-210 is a must 
for the thousands of "Miranda" 
fans. Two more Decca's latest 
releases are the popular "Ama- 
pola" played by Nano Rodrigo 
(3172) and Ruby Newman's "Per- 
fidia" (2846). Fcr two terrific 
Congas taken from popular songs 
of the 1920's are Poncho's re- 
cording of Decca's (3620) Tiger 
Rag and Hindustan. 

Add boogie-woogie to a bugle 
call and you've got something 
that only Jimmy Yancey would 
think of. He demonstrates in his 
"Yancey's Bule Call" which like 
the reverse, "35th and Dearborn," 
is an endless series of boogie- 
woogie variations on a theme. 
Yancey is the man who is cred- 
ited with starting the walking left 
hand style which is now all the 
rage. (Victor 27238) 

Abe Lyman backs one of the 
outstanding ballad contenders of 
the day "How Did He Look" with 
o 1941 version of the buck pri- 
vate's lament, "You're In The Ar- 
my Now." The latter is furnished 
with eight choruses of brand new 
lyrics, brass band effects and 
drum and bugle introduction. 
Look for it in the coin machines. 
(Bluebird B- 10971) 

Bunny Berigon bocks "Peg O' 
My Heart" with "Night Song" for 
a double of imusuol melodic op- 
peol. "Night Song" is the work 
of Juon Tizol, Duke Ellington's 

Page 4 

famous valve trombonist, and the 
well-known arranger Jimmy Mun- 
dy, and includes some out of 
trumpet-range stuff which Bunny 
plays beoutifully. (Victor 27258) 

Huddie Leodbetter, Lead Belly 
to his intimates and pioblic alike, 
hos perhaps the largest and best 
repertoires of Southern prison and 
penitentiary songs in existence. 
He records them for posterity in 
"The Midnight Special and Other 
Prison Songs", singing these bit- 
ter and hounting refrains with the 
Golden Gate Quartet. In addition 
to "The Midnight Special", the 
numbers ore "Ham an' Eggs", 
"Grey Goose", "Stewboll", "Pick 
A Bole of Cotton", and "Alabama 
Bound", an unforgettable phase 
of Americano. Alan Lomox, one 
of the foremost outhorities on folk 
music, edits the accompanying 
booklet. (Victor Album P-50) 

Continuing its exploration of the 
unfamiliar and unusual in music, 
the Victor Block Lobel Classics 
list presents "Plymouth Ho! " a 
"nautical overture" by John Ansell. 
The rollicking performance of the 
Light Symphony Orchestra is lan- 
der the direction of Mr. Ansell 
himself. (Victor 27252) 

Popy's "Ballet Suite", played by 

the Grand Concert Orchestra is 
goy and dancing music with 
which not one in o hundred is 
familiar. It is however the kind 
of music that people whistle on 
o sunny day, brilliantly ployed 
by the Grand Concert Orches- 
tra. (Victor 27253) 

You may coll "The Lilac Dom- 
ino" either light opero or musicol 
comedy but it is still England's 
favorite collection of infectious 
melodious tunes. The London 
Pollodium Orchestro, conducted 
by Jock Frere, offers selections in- 
cluding the Introduction, "All Line 
Up In A Queue", "Where Love Is 
Waiting", "Let The Music Ploy", 
"Whot Is Done You Never Con 
Undo", the Finale of Act I, "For 
Your Love I'm Waiting", "Cctrni- 
val Night", and "Lilac Domino". 
(Victor 36382) 

"Lady in the Dork" which is 
currently causing all the New 
York critics to scramble for more 
complimentory adjectives, owes 
mony of its rave notices to the 
Iro Gershwin - Kurt Weill score. 
Mitchell Ayres shows us why, 
romanticizing the sweet tune, 
"This is New", and funnyboning 
the clever "Jenny" for o preview 

(Continued on next page) 


No. 4, VOLUME 3 

APRIL, 194L 


The Red Headed Bluebird 

Guest Column By John J. Anthony 

From the Old Hayloft 

The Maple City Four 

Tugboat Gill and Demling 

Patter Off the Platter 

Studio Notes 

KS TP Sunset Valley Barn Dance 

Bess Johnson 

Peggy Knudsen 

F. L. ROSENTHAL, Publishei 


Published at 1056 West Van Buxen Street, Chicago, lUinois. F. L. Rosenthal, Publisher. 
New York Office: 485 Madison Avenue, Hollywood Office: 3532 Sunset Boulevard. 
Published Monthly. Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possessions, $1.50 in Canada. Entered as second class matter January 
10, 1940, at the post office at Chicago, Dlinois, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufficient first-class postage and name and address), but we will not be 
responsible for any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondent*, noi does 
publication indicate approval thereof. 



shot of the show. Mary Ann Mer- 
cer sells the lyrics in beautiful 
fashion. (Bluebird B-11035) 

Rarely does Charlie Bamet get 
such admirable display pieces for 
his orchestra as his present coup- 
ling "Good For Nothin' Joe", and 
"Charleston Alley". "Good For" 
serves to introduce his new singer, 
Lena Home who can carry a torch 
with the best of them. "Charles- 
ton Alley" is rolling, solid jazz 
with screaming brass and Charlie 
himself on soprano sax. (Blue- 
bird B-11037) 

One of the smoother Wayne 
King pairings comes up this week, 
"In Apple Blossom Time", and 
"When I Lost You", lovely mel- 
odies played in the Wayne King 
manner. The latter is early Irving 
Berlin performed in slow waltz 
tempo with the maestro himself 
taking core of the lyrics. (Victor 

The personnel of the latest Sid- 
ney Bechet record is recommen- 
dation enough: Bechet, clarinet 
and soprano sax; Henry "Red" 
Allen, trumpet; J. C. Higgin- 
b o t h a m, trombone; Wellman 
Braud, bass; James Toliver, piano; 
and James Heard, drums. The 
titles, "Egyptian Fantasy", and 
"Slippin' and Slidin'" aren't im- 
portant except to identify two 
beautiful and solid examples of 
New Orleans jazz at its best. 
(Victor Swing Classic 27337) 
Vaughn Monroe brings Tschai- 
kowsky into popular music again, 
playing "My One Romance" at a 
medium slow beat. Marilyn 
Duke romances while the Monroe 
saxes make soft accompaniment. 
A flash ending is achieved with 
full brass crescendo. The plat- 
ter mate is a swingy rhythm study, 
"Take It, Jackson", with good solo 
work from trumpet, tenor sax and 
piano. (Bluebird B- 11045) 

Glenn Miller presents a dance 
band version of "You Stepped Out 
of a Dream", then steps up the 
tempo a bit for "Ring, Telephone, 
Ring". The effortless singing of 
the Modemaires and Ray Eberle 
mark the first while Roy takes 
over alone for the second. Note 
the way the eight brass build a 
chord in single note punching 
fashion in "You Stepped". (Blue- 
bird B-1 1042) 



Graham in Bachelor's Children, 
is mulling plans to branch out 
in his forming hobby by acquir- 
ing a New Mexico ranch. Stude- 
baker already owns an 80-acre 
farm in Indiana . . . PAT BUTT- 
RAM, whose hill-billy twang is a 
feature of the Alka-Seltzer Na- 
tional Barn Dance, actually is one 
of the most voracious readers in 
radio. He reads all the best sel- 
lers and pursues half a dozen 
reading hobbies . . . JIM GROSS, 
Uncle Jim Fairfield in Jack Arm- 
strong, the AU-Americon Boy, is 
a member of the famous printing 
press family but says he never 
got any closer to newspaper ca- 
reer than the comer stand . . . 
The name of KAY KYSER has 
been heard over the airlanes of 
the nation for several years but 
now the name of Kyser may be 
seen on the airlanes. One of the 
planes operating on the new Pitts- 
burgh-to-Birmingham air route has 
been titled the "Kay Kyser" . . . 
members of the Johnny Presents 
program cast, have been assigned 
roles in "Five Alarm Waltz," cur- 
rently rehearsing for early Broad- 
way opening . . . Schottische at 
Sunrise," new tune by DON MAR- 
COTTE, NBC Central Division mu- 
sic supervisor, goes into the wax- 
works shortly. It will be recorded 
for Victor and Bluebird by JOE 
AYERS . . . RIKEL KENT has been 
assigned to produce "The Mystery 
Man," new serial story which 
makes its bow Monday, March 
24, on NBC . . . BARBARA ALLEN, 
Beth Holly of One Man's Family, 
has been handed the comedy lead 
in "Buy Me That Town" which is 
scheduled to go before the cam- 
eras this week . . . MICHAEL RO- 
MANO has joined the Arnold 
Grimm's Daughter cast as Mr. 
Williams, a slicker ... A rigid 
diet schedule has given BOB 
CROSBY a sylph-like figure. 
Crosby was a guest maestro on 
the Fitch Bandwagon on Sunday, 
March 23 . . . 

TELANTZ' orchestra aren't troub- 
led with any petty legal matters. 
Emanuel Green, violinist in the 
CBS orchestra heard Sundays on 
"The Pause That Refreshes on The 
Air," received a law degree from 
St. John's University in Brooklyn 
and serves as legal advisor to 
his fellow musicians . . . Program 
producer on CBS's "Hedda Hop- 
per's Hollywood" is Tom Sawyer, 
and one of Hedda Hopper's assis- 
tants is Jeff Davis . . . Dick Crom- 
well, one of the stars of Colum- 
bia network's "These We Love," 
may turn into a gold miner this 
summer. John Estes, who once 
served as Cromwell's "stand in" 
in movies, has a gold mine near 
Downeyville, Cal, and has in- 
vited Dick for a bit of ore sifting 
. . . Russ Johnson, program direc- 
tor for CBS's Pacific network, is 
justly proud of his Dobermctn Pin- 
scher. In a recent Los Angeles 
dog show his pooch was first in 
the Open class, first in the Win- 
ner's Dog class and first as Best of 
Winners . . . Carl Hoff and his or- 
chestra, music makers for the CBS 
Al Peorce stanzas, will record an 
album of Vincent Youman tunes 
for Columbia Records . . . After 
visiting the "Court of Missing 
Heirs" in order to incorporate its 
backstage story in one of her 
CBS broadcasts, Mary Margaret 
McBride wondered if maybe she 
wasn't a missing heir herself. One 
of the program's authors, James 
Waters, informed her of an earlier 
broadcast telling the story of Ellen 
McBride v/ho died in 1936 leaving 
an estate of $60,000 which had 
been accumulated by herself and 
her family — two members of 
which were named Mary Mc- 
Bride and Margaret McBride ... 
When Eloise Kummer, of CBS's 
"Right to Happines," left Chicago 
for a trip to New York, her friends 
warned her with that old "don't 
take any wooden nickels" gag. 
Eloise scoffed, but now she thinks 
there's something to it — the first 
change she got in New York had a 
phoney fifty-cent piece in it. 

Page 5 

Although It seems foregone that Gerard Darrow, eight-year-old 
nature expert on the NBC-Blue Network "Quiz Kids", will be an 
ornithologist, he hopes to be a lawyer too. He thinks that as a 
lawyer he can agitate for enactment of anti-bird-huntlng laws. He'» 
distressed by the extinct birds shown nuseums. 

f<,-»/ '"v««-^«*'y^i<i>H.iPjw« 

Clutching his Inseparable pipe In one hand and the microphone In 
the other, affable Eddy Howard runs over the songs he will offer 
during appearances with poet-philosopher Edgar A. Guest. Composer 
of a number of hits himself, Howard Is featured singer of ths 
Guest series, Wednesdays through Fridays, NBC-Blue Network. 

Page 6 




Writing a radio column is like conducting 
my Original Good Will Hour. I honestly 
don't know what I'm going to say until I 
begin. I suppose one of the things I can 
write about is the problems I've encountered 
during my several years as conductor of the 

Offhand, I'd say that most of the prob- 
lems have been matrimonial in content. In 
listening to the troubles of the thousands of 
people who have afcipeared on the Good 
Will Hour, I have been struck by the impor- 
tant part that accepted prejudices play in 
hindering otherwise happy marriages. 

For instance: ought married women to 
work? Often, the married woman's job 
saves a marriage by giving her an interest 
in life and easing financial pressure. Often, 
of course, a woman's working can be bad 
for happy marriage. But each case should 
be considered on its merits, I would tend 
to the idea that where the question arises, 
that fact alone shows that the necessity of 
the woman working is subconsciously rec- 
ognized by husband and wife. 

Unfortionately, the question of whether the 
woman should work is often less important 
than the question: where can the woman 
find a job? The economic task of mankind 
in modem civilization has never been easy. 
Every manied couple and every individual 
must answer the question of whether women 
should work in light of the circumstances sur- 
rounding each case. When the husband is 
struggling on a low salary when there are 
no children, when the wife is adopted for 
some special job, the answer should be 
simple to find. When the wife is so attuned 
to commercial life that household tasks are 
dull for her, she is an irritant in the home, 
rather than a bringer of peace. I believe 
that is the case, today, with many women 
who have entered marriage after a career 
in the business world. 

In any case, modern marriage entails a 
frank partnership between wife and hus- 
band. In any situation in which the hus- 
band's income is below a subsistence level 
for the family there is no real argument 

against the wife shouldering port of the 
responsibiUty if she is fit to do so. When 
this becomes necessary, the wife shouldn't 
feel herself persecuted or cheated out of the 
prerequisites of married life. One third of 
all American wage-earning women over 
fifteen are married! Most of them though 
not aU, are working because their husband's 
earnings alone are not sufficient to support 
the family decently. This becomes true 
very often when children enter the equation. 
Married women who work have a great 
deal to be proud of, and should disregard 
the "popular" prejudices against working 
wives. The situation becomes questionable 
when a wife works only to avoid house- 
hold tasks and responsibilities, or because 
she wants to retain her independence so 
she can be "free" to have the same kind 
of contacts with men she had as a single 

I never advise a woman to work unless it 
is financially needed. 1 think the woman 
is happiest who can give all of her energies 
to the exciting job of making home the most 
stimulating and beautiful spot in the world 
of her husband and herself. 

To the husbands of working wives, I would 
like to give this message: if you are honest- 
ly doing all you can to discharge your own 
responsibility don't be ashamed because 
your wife, also, puts her shoulder to the 
wheel. Honor her, and give her the satis- 
faction of knowijig that she is appreciated. 

I do think, however, that those husbands 
who allow their wives to support them pay 
dearly for the privilege of doing nothing. 
They are ashamed to face their fellow-men, 
ashamed to face themselves ctnd their wives. 
Of course, under present-day conditions, 
situations are bound to arise where the hus- 
band who doesn't even look for work, but 
is content to live on his wife's salary. The 
world, alas for these husbands, looks more 
kindly on an idle wife living on a husband's 
salary than it does on the idle husband. 

The economic situation between husband 
and wife should be settled calmly to the 
best interests of the married couple, and once 
settled should be taken for granted so that 
it doesn't form the basis of continual bicker- 


Lovely Dinah Shore, NBC's Songbird of the South, takes time off 
between Red Network "Time to Smile" programs to bask in Cali- 
fornia's warm sunshine. Of course it's always warm and sunny 
Where Dinah is, but we think she's very beautiful in a bathing suit, 
and that smile! 

The Doring Sisters, vocal trio on NBC's Plantation Party, always 
take this position around the mike. Helps the director remember 
that their voices vary inversely with their heights. Ruth, left, 
tallest, sings lowest; Grace, right, shortest, sings highest. Marion, 
center, in-between height, sings in medium range. 

Page 7 

KSTP Sunset Valley Barn Dance 

The old philosophy of "nothing ventured, 
nothing gained" has found living proof — 
in the success story which KSTP and its 
president, Stanley E. Hubbard, has written 
in the KSTP Sunset Valley Barn Dance. 

1/"STP, one of the pioneers in 
northwest radio, had for years 
shunned the idea of barn dances 
and rustic music; and even the 
other outlets had made no con- 
sistent effort to build an authen- 
tic, regular rural appeal show. 

With a new 50,000-watt trans- 
mitter giving KSTP a potentially 
greater audience than any other 
outlet in the area, Mr. Hubbard, 
late in 1940 began to work on a 
plan to bring into his listening 
fold the farmers and rural folk of 
Minnesota's tremendous grain- 
filled bread-basket. And his first 
thoughts turned to an authentic, 
flavorful barn dance program. 

The results have been astound- 
ing, for, inaugurated late in Oc- 
tober, the Sunset Valley Barn 
Dance has played to more than 
50,000 persons in those few short 
months,' with almost every Satur- 
day night a complete sell-out. 

To handle the Sunset Valley 
Show, Mr. Hubbard cast about 
for exactly the right man for the 
job — someone who knew rural 
people, knew their entertainment 
likes and dislikes, who knew 
showmanship, production and 
bam dance techniques. 

His search led him to David 
Stone, then co-producer of WSM's 
"Grand OV Opry," doubtless one 
of the most successful shows of 
its type on the air. 

David was employed by KSTP 
and given full rein in the selec- 
tion of his talent and the pro- 
duction of his show. 

Deciding that what he wanted 
was not the "professional" hill- 
billy, but the authentic type, he 
felt that certainly in the northwest 
region of Minnesota, Wisconsin 
and the Dakotas there was plen- 
ty of authentic talent if he could 
only "dig it out." 

Over KSTP's wave-length went 
a series of announcements, setting 
a date for auditions and calling 
for old-time fiddlers, harmonica 
players, comedians, singers, in- 

Page 8 

The "man behind the gun" in 
KSTP's Sunset Valley Barn Dance at 
the St. Paul, Minnesota Auditorium 
each Saturday night is popular David 
Stone, employed by KSTP to found, 
produce, direct and m-c the show. 
He was former co-producer of WSM's 
Grand Ol' Opry. 

terpreters of folk, mountain and 
cowboy music. 

And the first audition proved 
that Mr. Stone's original assump- 
tion was right — for into KSTP's 
studios that night poured nearly 
200 aspirants for jobs on the new 

Within two weeks Stone was 
ready, and in the meantime, Mr. 
Hubbard had gone a step farther 
his plan to implant KSTP and 


the Sunset Valley Barn Dance on 
the minds of his listeners. 

He had completed arrangements 
with the St. Paul Municipal Audi- 
torium for use of its 2800-seat 
theater every Saturday night, and 
had decided that the entire pro- 
gram would be staged there, with 
a 30-cent admission charge. 

And with little fanfare heralding 
the opening of the Sunset Valley 
Barn Dance on October 26, 1940, 


The name of Arthur (Shorty) Brier 
is well-l<nown to midwest listeners; 
now it's well-l<nown in the northwest, 
for Shorty is the musical director of 
KSTP's mammoth Sunset Valley Barn 
Dance. He is one of a group of 
four trained men around whom David 
Stone has built his successful show. 

the curtain went up — on a 
packed house, and a tuxncrway of 
between 1,200 and 1,500 persons! 

The same story has been writ- 
ten week after week, as the Bam 
Dance progressed through the 
winter, with crowds ranging be- 
tween 2,000 and a complete sell- 

As a basis for his Sunset Valley 
Bam Dance, Stone decided that 
he needed two or three men of 
well-rounded experience in the 
field to knit his group solidly to- 
gether, and the first of these he 
selected was Arthur (Shorty) Brier, 
banjo ace, who had done work in 
the same field for WHO, Des 
Moines; KSO-KRNT, Des Moines; 
KVOO, Tulsa; and WXYZ, De- 
troit. Shorty was chosen as mu- 
sical director and arranger for 

the Sunset Valley Barn Dance. 
The two other groups chosen for 
past experience were Al and 
Hank, the Dakota Ramblers, pre- 
viously with WDAY, and Herb 
Wilson, known as Cactus Slim, 
who had been with CKLW in 

But aside from the basic group 
of Stone, Brier, Wilson, and the 
Dakota Ramblers, the others used 
on Sunset Valley Bam Dance 
were amateurs — more than two 
score of them. 

Typical of these people are Al- 
verna Julien and Lenore Carlson, 
two Forest Lake, Minnesota form 
girls, who sing cowboy songs; 
Marilyn Mercord, a 16-year-old 
Prescott, Wisconsin high school 
girl whose only previous singing 
experience was in the church 

choir but who has captivated 
Sunset Valley audiences; Clyde 
Cook, and old-time fiddler who 
goes under the name of Uncle 
Zeke, who organized his Moun- 
taineers and added a new note 
to the Sunset Valley Bam Dance; 
the Alfalfa Neers, a Clayton, Wis- 
consin farmer and his daughter 
whose only previous experience 
had been amusing neighbors; and 
June and Gwen Vromcm, two St. 
Paul business girls. 

The new idea which Uncle Zeke 
added to the Sunset Valley Bam 
Dance was the square-dance. Re- 
membering some of the better 
ones for whom he had played, 
he brought about the organization 
of a square dance troupe, which 
performs as a highlight of the 
show each Saturday night. 

Charm — that's what does it! And 
18-year-old Katherine Kohls has it. 
On her first appearance on KSTP's 
Sunset Valley Barn Dance in the St. 
Paul auditorium she proved that her 
infectious grin and handling of the 
accordion made her big-time material. 
Now she's a regular performer. 

Has the Sunset Valley Born 
Dance proved Mr. Hubbctrd's 
original contention: that it would 
increase his roster of listeners? 
The answer is yes. 

Two periods are broadcast 
from the Auditorium over KSTP, 
one at 9:30 P.M. Saturdays; the 
other at 10:15 P.M., and a recent 
coincidental survey on the 9:30 
period showed that KSTP, with 
five other Twin City stations com- 
peting against KSTP for audience, 
had more than 46 per cent of the 


Page 9 

From the Old Hayloft 

News, notes and gossip, of the 
stars of WLS, Chicago, and the 
WLS National Bam Dance. 

JHE END of March, Rcanblin' Red 
Foley took a two-week leave 
of absence from his friends in the 
Old Hayloft to make a motion pic- 
ture in Hollywood. It will be a 
spring release by Monogram, 
with Tex Hitter, the Western star. 



When Jimmy James looked out 
from his hotel window a short 
time ago, he saw smoke billowing 
from a car far below him on the 
street. "Someone's going to be 
surprised when he comes out," 
Jimmy mused. Then it dawned 
on him — it was his own cor. 
He rushed down to the street in 
record time, pulled the fire alarm 
box on the corner, and returned 
to his burning car. Then he 
thought of a fire extinguisher, and 
dashed into the lobby to borrow 
one. So when the fire trucks — 
dozens of them — came screeching 
to a halt, he just smiled and said 

The photographer has been doing 
tricks with his camera, just as Ted 
Morse does tricks with his voice. 
For Ted Morse is famed on the WLS 
National Barn Dance as Otto and al- 
so as Little Genevieve. And here 
he. is, both in one picture, with darling 
Little Genevieve whispering In Otto's 
ear — probably something about not 
practicing her piano lessons. 

they could go home now. 
put the fire out himself. 

Page 10 


On his "Bag O' Money" pro- 
gram on WLS, Jack Holden gives 
kids money for doing simple 
stunts or answering easy ques- 
tions. Sometimes he offers a 
quarter, sometimes as much as a 

drain on the Bag O' Money, but 
rather than verify the count him- 
self, Holden paid. 

Those two dancing dummies at 
the WLS National Bam Dance 
hove new names, conferred on 

. The Hayloft Gang crowd around 
'to wish Red Foley farewell and good 
luck as he finished the last WLS 
National Barn Dance before he left 
for Hollywood. He took a two-week 
leave of absence to appear In a Mono- 
gram motion picture starring Tex Rit- 
ter. Shown are Harry Sims, Jimmy 
James, one of the square dancers, 
Foley, Jack Taylor, Harold Safford, 
Salty Holmes, Lester (Mac) MacFar- 
land, Ozzie Westley, Mary Ann and 
Bob Gardner. 

dollar, but on a recent broadcast, 
he offered more than he realized. 

A little girl came to the micro- 
phone. Jack said he'd give her 
10c apiece for her freckles, if she 
could get someone in the audience 
to count them. She had her 
brother with her, and the pair went 
off in a comer to count. Fifteen 
minutes later they come up with 
their total: 80 freckles at 10c — 
$9.00 please I It was a terrific 

them by WLS listeners in a recent 
contest. The winners received 
$50 each for naming one dummy 
Freida Staire and the other Sara 
Nade. Salty Holmes and Otto 
use them for partners in their 
comic dances each Saturday 

Jim Poole, best known market 
broadtxister and analyst, is back 


on the air after a period of illness. 
He's heccrd on WLS at 11:45 a.m. 
Sundays . . . Mel Galliart, new 
announcer at WLS, is also a com- 
petent baritone soloist . . . The 
whole trio of Verne, Lee and Mary 
were once arrested in a Wiscon- 
sin town for jaywalking . . . 

Pat Buttram, comic of the WLS 
National Barn Dance, tries out a new 
gag backstage before springing it on 
the air and to the audience in the 
Eighth Street Theater. Judging from 
Grace Wilson's expression, she found 
it very funny! 

When Pat Buttram invites the WLS 
audience to the National Barn Dance, 
he always quotes the prices for the 
big ones and for the little ones. And 
here are the biggest one and the 
littlest one of the Hayloft Gang — 
Andy Williams of the Williams 
Broth€rs quartet and Norman Ross, 

George Menard used to bring the 
horses up for water back at his 
farm home, then stand on a nearby 
platform and deliver long lectures 
to them — on any subject under 
^he sun, for he just wanted to 


learn public speaking, and the 
horses made a good audience. 
Charles Kerner of the Maple City 
Four also sings under the name 
of Charles Willard — the latter 
his middle name. 

Singing Cowgirl 

Patsy Montana, singing cowgirl at 
WLS, Chicago, is a real cowgirl, 
veteran rider of a dozen rodeos. She 
made one of her first broadcasts on 
horseback. Patsy receives more re- 
quests to sing "I Want to Be a Cow- 
boy's Sweetheart" than any of the 
several hundred other songs In her 
repertory. She wrote it herself when 
. she first got in radio, and has written 
dozens of others since. Including her 
recent "My Poncho Pony." 

Patsy dresses the part of a cowgirl 
in ail her stage appearances, with 
leather skirt and vest and riding 
boots. She still blushes when she 
thinks of her first stage appearance. 
She entered a California amateur con- 
test and sang her cowgirl songs 
dressed fit to kill — In a black even- 
ing gown. Anyhow, she won, and It 
was the first step in a career that has 
taken her to the top as a radio and 
motion picture star. 

Augie Klein, accordionist with 
the WLS Rangers, studied accor- 
dion under Lou Klott, of the WLS 
Concert orchestra. Augie has a 
brother who is also on accordion- 
ist and another brother in the 
United States Navy . . . Reggie 
Cross, harmonica expert with the 
Hoosier Sodbusters, also plays 
Hawaiian guitar and drums . . . 
Cy Harrice invents lots of gadgets 
just for his own amusement, and 
recently was awarded a patent 
on a tooth brush. 

Adele Brandt's grandmother 
was a cousin to Franz Schubert 
. . . Salty Holmes' hobby is col- 
lecting small jugs — miniatures 
of the style he makes music with 
on the Bam Dance. Salty is a 
member of the 123rd Cavalry- 
Band, on leave of absence. At 
camp, the band used to have to 
get up early and practice. Their 
marching rehearsal consisted of 
marching back and forth past the 
stables, serenading the horses . . . 

The FARR brothers, HUGH and 
KARL, two of the Sons of the 
Pioneers, singing team heard on 
the UNCLE EZRA program, ore 
one-eighth Cherokee. It's one of 
those touchy subjects in the Fan 
home — their mother's great great 
grandfather was killed fightin 

From Chicago twice a day Is 
heard the voice of NBC actress 
Fern Persons on "Bud Barton" 
and "Thunder Over Paradise." 

Page II 

'■liF'.* ■'"* ' ^*^'" t,^< 



Following the episode in which Bess Johnson was dismissed as matron 

ff of the "Hilltop House" orphanage, the series' sponsor now presents her in 

a "The Story of Bess Johnson/' over CBS Monday through Fridays at 3:30 P.M. 

C.S.T. Bess Johnson, who has played the stellar role in "Hilltop House" under 

her own name for more than three years, continues as the central figure in a 

story of feminine courage and wisdom. 

Po^e 12 


i^p Jo standard 


The young radio actresses heard from Chicago on Coliombia network's 
daytime serial dramas have long had a reputation for unusual beauty, and 
the latest addition to the string seems to meet all the requirements. She's 17- 
year-old Peggy Knudsen, of Duluth, Minn., who currently portrays Betty Adams 
in "Woman in White." Heard Mondays through Fridays, 12:15 P.M. C.S.T. 


Page 13 

The Maple City Four 

Here are those zccnies of the WLS National Bam 
Dance — the Maple City Four. They're Scotch High- 
landers — they think. This is the first pictiire taken 
of them in these costumes since Charles Kerner 
joined the act several months ago. Left to right 
ore Pot Petterson, Al Rice, Kerner and Fritz Meissner. 

Page 14 



And there bloomed In Illinois a girl-chlld, called fair Marilyn 
Thorne, with voice sweet as piping woodwinds in the spring. And 
a bandsman, called Ted Weems, hearing the voice, did say, verily, 
this must be heard by all the land. Now Marilyn sings on Beat 
the Band, Sunday evenings over the NBC Networid called Red* 

All work and no play would make even Fred Waring's inimitable 
Three Squires dull boys. Here, assisted by lovely Donna Dae, 
they demonstrate a new dart game they've perfected with a St. 
Valentine's Day touch. Left to right they are: Marvin Long, 
.Donna, Fred Ohms and "Lumpy" Brannunu "Lumpy" hit buU'a eye* 



"THE NUTS Who Launched a Thouscmd 
Squirrels" or "What Happens to a Ra- 
dio Gag Writer When He Gets Tired of 
Hearing Other People Speak His Lines" are 
alternate slogans for this opus. 

It concerns a couple of fellows named Gill 
and Demling, and it proves that where 
there's smoke there's a cigarette sponsor, 
and also that if you don't want your routines 
swiped don't let a couple of budding 
comedians have Annie Oakleys to a De- 
troit theater. 

Gill and Demling, otherwise known as 
Frank and Bill, or Fish and Baldy, currently 
are featured as the slap-wacky skippers of 
the "Show Boat" on the NBC-Red Network 
Mondays. But today is long after the day 
they first collided as students at Wayne 
University, Detroit. Bill Demling had a side 
job as usher at a local theater, and through 
him Annie Oakleys were available. Thus, 
sitting in free seats, the two managed, so 
they say, to skim off the best gags heard 
in the house, later to convert their illicit wit 
into routines that got them their first air 
jobs at a local station in 1931. 

By the time they landed at NBC Chi- 
cago, the following year, according to their 
own statement, they had run out of the 
gags manufactured by other people and 
were embarked on a hazardous career of 
writing their own. And it was in the writing 
field that they gained Hollywood fame later, 
dashing in and out of movie assignments to 
whack out verbal lulus for such assorted 
radio memorablia as Bums and Allen, Eddie 
Cantor, Bob Burns, Ben Bernie, the Marx 
Brothers, Al Jolson, Ed Wynn, Fanny Brice, 
Bea Lillie, Charles Butterworth and John Bar- 

In regard to their families, Frank Gill says 
his daughter Kathreen, age 1, is an accom- 
plished lutist and his other daughter, Pamela, 
age 3, the youngest strip-teaseuse extant. 
Demling says his 1940 son also is well ad- 
vanced — he already has learned how to 
deliver a Bronx cheer. 

Amazingly enough, instead of being the 
kind of bon vivants a pair of comedians 
might be, they ore retiring souls, preferring 
to stay out of town at all possible hours. 
They hate trying to be funny at parties, a 
fact which has made them the despair of 
many an eager hostess. And it's an odd fact, 
but very true, that Gill is taking a couple of 
university courses in the romance languages 
and Greek classics. Oddest fan gift they 
ever received was an old gray horse — ^which 
they are alleged to hove eaten during a 

Page 15 

Rita Ascot WLS Star 

JUNE -- 1941. 


Guest Star of many radio shows, Priscilla Lone is now starred in Warner Bros, film "Million Dollar Baby. 

Patter Off the Platter 

Jimmy Dorsey is making mu- 
sical history this spring with each 
recording he mokes. His "Ama- 
pola" leads the league in sales in 
every hamlet in the country. Bob 
Eberly takes the first vocal on this 
popular Decca and is followed by 
Helen O'Connell who spreads out 
on one of the best swing choruses 
heard yet. 

Decca's (3710) presents Dorsey 
and Co. again in My Sister and 
I v/ith Eberly taking charge of the 
singing dept. The flipover is a 
popular rendition based on The 
Sheherazada, titled "In The Hush 
of the Night" Two more smash 
hits recorded by Dorsey for Decca 
are "Maria Elena" (3698) and 
"Perfidia" (3198). 

Decca's contribution to the 
Latin trend which is sweeping the 
Americas are two Tango albums, 
one by Pancho, the other by Nano 
Rodriguez. Both are gracetul and 
romantically recorded with the 
best selections of tangos that hove 
come out of the Pampas. 

For something unusual Decca 
has combined two Bob Crosby 
discs titled "Shakespeare In 
Swing". The Bob Cats swing out 
on excerpts from the Bards ploys, 
with Marion Mann donating the 
throat music. 

In direct contrast to the great 
strides Decca has made in the 
Hep-Cat dept. their album (191), 
records 10 sides of Favorite Hawai- 
ian Songs by Ray Kinney. Soo- 
thing to the nerves, this dreomy- 
drowsey soft music of the Islands 
is a tonic for the listener, It takes 
him over the blue pacific to the 
carefree land of swishing palms 
and romance. 

For a shot in the arm listen to 
Decca's (218) the Count Basie 
album "One O'clock Jump." Here 
the Count handles the ivories is 
his famous "Basie Cord" manner 
with the Bull Fiddle jumping up 
and down the scale like mad. 
James Rushing sings on four sides 
of the 12 sided Decca-hot-platter- 
album. A must for cats. 

Paul Robeson lends his splendid 
basso to two old favorites, "Ab- 
sent", and "Sylvia". There was 
a time when these two were 
possibly the most popular senti- 
mental songs in the world. Pai.l 
Robeson shows us why. (Victor 

Page 2 

Contributing to the Latin Amer- 
ican vogue, Barnabas Von Geczy 
and his Orchestra play "Cuban 
Serenade" and "Mexican Sere- 
nade". Both ore melodious, ra- 
ther restrained in style and ex- 
tremely colorful. (Victor 27368). 

Eric Coates has composed much 
charming light music in the mod- 
ern - not modernistic - manner. He 
conducts the Light Symphony Or- 
chestra in his "Springtime Suite", 
a miniature work occupying three 
record sides. The fourth is taken 
up by his "For Your Delight" 
serenade, an admirable choice. 
(Victor 36393 and 36394). 

Graziella Parraga is a musical 
emissary of good-will from Cuba 
and she furthers her duties ad- 
mirably with "Blue Echoes" and 
"Night Over Rio". These ballad 
style tunes, sung in beth English 
and Spanish, fit her svelte con- 
tralto beautifully (Bluebird B-1 1047) 
A collector's item of the first 
water is a pairing of instrumental 
solos by two outstanding hot 
stars, Dicky Wells playing trom- 
bone in "Dicky Wells Blues", and 
Tommy Dorsey is pretty much 
of a perfectionist when it comes 
to the recording or the broadcast- 
ing of his own music. He liked 
his version of "Let's Get Away 
From It All," however, in fact so 
much that he devoted both sides 
of his latest record to a special ar- 

rangement of the tune. His six- 
minute interpretation does it full 
justice and we'll add our recom- 
mendations to those of Dorsey 
himself. Everybody plays and 
everybody sings in the smart 
Broadway-Dorsey style and patter 
of his recent "Oh! Look At Me 
Now." Definitely recommended, 
(Victor 27377) 

"Take the 'A' Train," the latest 
Duke Ellington offering, is the 
cryptic title of a Billy Strayhorn 
opus spiced with the Duke's or- 
chestrating genius. There's some 
excellent trumpet work included 
and solid tempo. The reverse is 
an unusual version of "Sidewalks 
of New York" featuring Blgord's 
clarinet. (Victor 27380) 

Having effectively taken care of 
the "William Tell" overture, Al- 
vino Rey turns his guitar loose 
in "Light Cavalry," the von Suppe 
overture with all the trombone 
slides. For contrast he ploys 
"Amapola," slow sweet ond 
beautiful. (Bluebird B-1 1 1 08) 

Glenn Miller presents velvety 
pleasure music in "The One I 
Love" with vocal embellishments 
by Ray Eberle and the Modem- 
aires. The coupling is "Sun Val- 
ley Jump," a jiimp tune in the 
meter best designed to show off 
the Miller virtuosity. (Bluebird 
B-1 11 10) 


NO. 6, VOLUME 3 

JUNE, 1941 



Patter OH the Platter ^ 

Rudy Vallee l 

Walter Winchell , / 1 1 

K. P. Now Means Klever Pianist ini.ii 

Emotions Of a Script Writer ,9 

The Little Maid || 

Decca's Delightful Duet \z 

LitUesI Girl ' • ^" 

F. L. ROSENTHAL, Publisher 


Published at 1056 West Van Buien Street, Chicago, Illinois. F. L. Rosenthal, Publuher. 
New York Office: 485 Madison Avenue, HoUywood Office: 3532 Sunset Boulevard. 
Published Monthly Single Copies, ten cents. Subscription rate $1.00 per year in the 
United States and Possesaions, $1.50 in Canada. Entered as second class matter January 
10, 1940, at the post office at Chicago, niinoifl, under the act of March 3, 1879. Every 
effort will be made to return unused manuscripts, photographs, and drawings (if accom- 
panied by sufiicient first-class postage and name and address), but we will not be 
responsible ior any losses for such matter contributed. The publishers assume no 
responsibility for statements made herein by contributors and correspondent*, nor doe* 
publication Indicate approval thereof. 



n LTHOUGH credit is given to Rudy Vallee for the 
discovery of such stars as Edgar Bergen and 
Charlie McCarthy, Bob Burns, Tommy Riggs cmd 
Betty Lou, Alice Faye, Burns and Allen and even 
John Barrymore (as a radio hit), the modest Yankee 
says "I feel I have been greatly overrated as a 
'discoverer' of talent. I can't honestly take credit 
for being the first to see possibilities in all these 

"For instance," says Rudy, "I never thought of 
Charlie McCarthy as a radio 'find' until Elsa Max- 
well called him to my attention at a party for Noel 

That Rudy is a master showman, however, can- 
not be denied for even though John Borrymore's 
name has been a household word for decades, it 
took Rudy's sense of timing to bring out the great 
latent talents for radio comedy in the man who is 
really the Qown Prince of Comedy on the air today. 

"A showman," says Rudy, is nothing more than 


a good human guinea pig — a common denominator. 
As for me, 1 expose myself to all talent — known and 
unknown — because I feel that what amuses me will 
amuse others." 

Vallee is quick to admit that he is a hard task- 
master, but he believes that genius, like truth, will 
out when given even a moderate chance for develop- 
ment. He says the very human satisfaction of giving 
some talented newcomer a start in a career is as 
great a compensation for him as the satisfaction of 
offering the public a new artist. 

Rudy Vallee' s current program is heard each 
Thursday night from Hollywood at 9:00 p. m. CDST 
over the NBC-Red network. Featured on the pro- 
gram in addition to Barrymore and Vallee' s or- 
chestra is Lurene Tuttle, NBC actress who has also 
been heard in I Love a Mystery, One Man's Family, 
and other dramatic shows from Hollywood. Though 
she is heard as Rudy's radio sweetheart in practi- 
cally every broadcast, it is strictly all radio with the 
two of them. 

Pcic)« 3 


•THE "XAVIER CUGAT and Yvette Program" 
boasts an "angel", and not only that but 
one with a sense of humor. 

There is a deal of entertainment in the 
Cam-el program at 7:30 P.M., EST, Thursday 
nights and some of it is off the record in the 
"off-stage" remarks by said "angel", which 
cause near havoc among members of the 
NBC-Red Network program's cast. 

The conga is a free and easy type of 
music, permitting of ad-libbing and high- 
pitched shouts which to the overage listener 
sound as if they meant nothing at all except 
an expression of exuberance by the musi- 
cians. But in the studio it is easy to see that 
the musicians grin and chuckle amcng 
themselves far more than the gay spirit of 
the tunes warrant. 

And it all can be laid at the door of Angel 
Santos, who plays the conga drum and 
swings the gourds in Cugat's orchestra. 
When that type of tune is being played he 
gets up and dances around the studio sing- ' 
ing to himself, and letting an occasional 
shout "fly into the nearest microphone. There- 
in lie the chuckles. 

One Thursday evening Angel didn't think 
much of the fiddle work so he shouted the 
Spanish slang for "corny" into the mike. 
Then there was another time- — the boys 
had been out on a party the night before, 
and still felt like it. Angel sidled up to the 
mike and yelled the Spanish equivalent of 
"I feel awful!" That broke up the brass sec- 
tion and for a full second the only sound 
emitted by the horns were a couple of 

Sometimes Santcs' cracks lead to unex- 
pected results. Nico Lopez, the bongo drum- 
mer is sensitive about his big feet. When 
Angel shouted — "those are suitcases, not 
feetl" Nico stopped his work and chased 
Angel across the studio. 

Because each step was instinctively taken 
in time to the rhythmic beat of the music 
the studio audience was not aware of any- 
thing other than "just a little more clowning", 
and because the particular number was loud 
anyway, no extraneous sounds reached the 

Page 4 

Sparkling eyes and a piquant smile put lovely Jane Wilson in • 
fair position as one of radio's top lovelies. Jane has an incredibly 
high voice which rings out sweetly in solo selections on the "Fred 
Waring in Pleasure Time" programs heard Mondays through FK 
days over the NBC-Red Networl( from N«'w Yorl< City. 

Olive Major, 13-year-old Eddie 
Cantor soprano protege on the 
NBC-Red Networl< "Time to 
Smile", is having the time of her 
life— first trip to Gotham. 

Johnny, famed call boy, whose 
•larlon call summons America to 
NBC-Red airing of "Johnny Pre- 
•ents" Tuesdays, gives his auto- 
graph to a wide-eyed fan. 





TJNRESTRAINED, uninhibited and definite- 
ly wacky are the dress rehearsals for 
Ben Bernie's NBC-Blue Network "New Army 
Game" every Tuesday afternoon in NBC's 
Ritz Theater when the old maestro, probably 
inspired by the empty seats, takes every op- 
portunity to give with the quip. 

The joke jamboree gets under way when 
the quiz section of the show is being timed. 
For this purpose the Bailey Sisters, vocalists 
with the band, and Carol Bruce, soloist, im- 
personate the female contestants and Ber- 
nie's writers do the male entrants. And this 
can happen: 

Eddie Green, new colored character on the 
show, shuffles up to the mike. 

Bemie: "Good evening. What's your 

Green: "Sweeney." 

Bemie: "Sweeney?" 

Green: "Yassuh. Sweeney with the dark 
brown wool." 

A writer strolls up. 

femie: "Good evening, sir. May 1 ask 
your name?" 

Writer: "Oberon Crouch." 

Bemie: "All right, Mr. Crouch. Your ques- 
tion is geological. This is long and wind- 
ing and when it leaves its source, always 
gets where it's going. The name of the 
son(? is — 

(Orch.: "Volga Boatman.") 

Writer: "Er, uh, hmmmm. It's right on 
the tip of my tongue." 

Bemie: "Well, it's a bit longer than that, 
although you do have quite a formidable 
stinger." (Off stage, Carol Bruce, the maes- 
tro's best stooge, goes into hysterics and 
Bemie beams.) 

Bemie: "Sorry, Crouch, your time is up. 

Carol Bruce: "Good evening, sir." 

Bemie: "Why, good evening. Miss. May 
I have your name?" 

Bruce: "Ming Toy Slitch." 

Bemie: "Sounds like a merger. Miss Slitch 
let's say you're out in a canoe with Winchell 
and both fall in. What's the name of this 
song?" (Orch.: "Down Went McGinty.") 

Bruce: "Down Went McGinty to the Bot- 
tom of the Sea." 

Bemie: "Right, Ming Toy. And, inciden- 
tally, that would be the only time Winchell 
was ever seen tipping." 

At this point, the orchestra usually decides 
to do a little impromptu jamming; every- 
one discovers it's time to go out for cof- 
fee; Bemie discovers no one has been 
timing the show and the writers disappear. 
But, somehow, the show does get on. 


IfU'.y" ' • >w"> 'i' i//'wn ' "jtf'' ' u ' fm i im 9mm W- ' >'"''^Ji>W ^f9f^^''^ 

Patricia Duntap, ehapmlng NBC Ingenue from Illinois, recently won 
the rolo of Pat Curtis In "Tom Mix Straight Shooters". As Pecos* 
girl friend, she becomes the second feminine member of the regular 
cast of the NBC-Blue Networl< serial. Pat also Is Jill Stewart In 
"Backstage Wife", NBC-Red Network serial. 


More than a decade ago a. young reporter-columnist went on the 
air in Kansas City with a pleasant little sl<etch about a bridge- 
playing couple. Today Jane and poodman Ace (NBC-Blue, Tuesdays,. 
Wednesdays and Thursdays; 7:00 p.m., EST) are comedy "tops". 

Page 5 


The iHan dnetifpne— 
An4 % One—HnpuA 

The fellow with his collar open, 

his tie unknotted and his hat on the 
back of his head can make or break, 
can praise or blame with equally- 
telling effect with the words he ma- 
chine-guns into the NBC-Blue net- 
work microphone each Sunday 
night at 8:00 p.m. CST. 

For that fellow is Walter Win- 
chell, editing his Jergens Journal 
"with lotions of love for Mr. and 
Mrs. North America and all the 
ships at sea." 

Winchell ofttimes sends the FBI 
racing to an out-of-the-way spot, or 
the center of New York, sets edi- 
tors frantically checking, sets 
tongues a-wagging half way 
around the world with his flashes. 

How does a man who was never 
a reporter uncover stories that 
trained editors don't suspect? And 
obtain information that law enforce- 
ment agencies cannot lay their 
hands on? 

The answer is hard to find, for 
Winchell keeps his own counsel. 
He never betrays a confidence nor 
discloses the identity of a person 
who has given him information. 
He doesn't want close friends, be- 
cause he doesn't want the obliga- 
tions of friendship. 

A part of his secret is hard work. 
Winchell works every minute of 
the day. In night club or restau- 
rant, in cab or in airplane, on the 
beach at Miami, the set at Holly- 
wood or the pavement of Broad- 
way, his quick inquisitive mind 
scans the place and people for 
scraps of information. 

Another part of his secret is his 
mail. His letters from millionaires 
and paupers, high government offi- 
cials and bums. Park Avenue 
matrons and school girls, from 
revilers and adulators, run into the 
hundreds of thousands a year. 
And all these correspondents and 
acquaintances contribute to the 
mass of information from which 
Winchell selects the material for 
his daily newspaper and weekly 
radio columns. 

Winchell has been satirized, 
ridiculed, derided, physically at- 
tacked, and written into plays, 
books and magazine articles. But 
he has never swerved from his 

To get and print the news about 



K. P. Now Means Klever Pianist 

John Brown, staff pianist at WLS, Chicago, first 
started to leom the violin, abandoned that 
to take up comet, but became a professional 
trombonist before he settled down to the piano 
OS a life work. 

Staff Pianist, WLS, Chicago 

QN A BLAZING hot summer day 
in 1917, John Brown, private 
in the A.E.F., was on K.P. duty 
somewhere in France. He was 
attached to an outfit convoying 
axabulances to and from the front 
lines, but in his K.P. capacity, was 
engaged at the moment in scrap- 
ing the skins from a heap of po- 


tcrtoes almost as high as the Eif- 
fel To^A^r. 

That was misery enough. But 
to add to it, the company band 
was rehearsing nearby. Before 
his days as a soldier, John made 
his living as a musician — and 
he couldn't stand the rehearsal. 

Evidently, John says, they had 
held a contest to locate the worst 
trombone player in the army — ■ 
and they'd found him. 

So John lost no time in apply- 
ing for the job. Somewhere in 
his professional career, John had 
dropped the trombone to concen- 
trate on piano, and he was two 
years out of practice. The con- 
ductor, however, was not informed 
of that fact. For cm audition, he 
suggested "America Forever." 
John raised the horn to his mouth 
and waded in. But his lack of 
practice showed, even though it 
wasn't heard. For he puffed out 
his cheeks slightly — an awful 
thing for a trombone player to do. 
The sensitive conductor was en- 
raged. "Your embouchure is ter- 
riblel" he shouted — and forth- 
with sent John Brown back to 
peeling spuds. 

John was at Bordeaux on the 
first Armistice Day, but the end 
of the war did not mean the end 
of service for him. He spent more 
time Over There after the Ar- 
mistice than before, with the Army 
of Occupation at Trier, Germany, 
in the Moselle region. 

After his discharge, John re- 
turned to the United States and 
show business — as a pianist. 
Piano is the only instrument John 
rov/ plays at WLS, but by no 
moans the only one he can ploy. 
Brcv/n made his professional de- 
but as a trombonist with the AU- 
American Bond, conducted by the 
celebrated Thurlow Lieurance. 
But as a boy, he had first mastered 
the cornet, before turning to the 
slide horn. And before that, he 
had started out to learn violin. 
It was only his short reach that 
kept John Brown from a violin ca- 

(Continued on Page 14) 

Page 7 



pOR A SUPER "whodunnit" series like the 
NBC-Blue Network's marrow-melting "In- 
ner Sanctum Mystery", heard Tuesdays at 
9:35 P.M., EST, the choice of Charles Paul 
as music director was not only logical but 

A concert organist of high standing in 
his soberer moments, Paul can make an 
organ do the darndest things when he's of 
a mind to. He can make it purr like a 
kitten, bark like a seal, hum like a vacuum 
cleaner or wail like a banshee — as his mood 

When a program is deliberately designed 
to make gibbering insomniacs of 130,000,000 
radio listeners, however, as the "Inner Sanc- 
tum" series is, all the stops are off and Paul 
gets downright demoniacal. Then the or- 
gan becomes haunted. It groans, howls 
like the worst nor' wester you've ever heard, 
or whimpers like a sick puppy. 

It wasn't always like that, though. Paul, a 
native of the Yorkville sector of New York 
Ciy is a graduate of the New York College 
of Music. 

He developed his whimsical touch when 
he was engaged by Max Fleischer to furnish 
the accompaniment for animated cartoons. ■ 
His fertile imagination was given the widest 
latitude. He worked out various effects at 
the keyboard that drew ' as many laughs 
from theater-goers as the cartoon characters 

Since becoming the organist and music 
director of the "Inner Sanctum Mystery", 
Paul has added many fiendish sounds to his 
unusual repertoire. He receives a copy of 
each script several days before they are 
broadcast and spends hours working them 

"It's just a knack of having imagination", 
he modestly asserts, adding, "and being able 
to work out an effect that is descriptive with- 
out sounding musical." 

RESIDENTS of New York state have bene- 
fited more from Horace Heidi's "Pot o' 
Gold" show than the constituents of any 
other section. As the popular maestro of 
the NBC-Blue coin carnival moved into Man- 
hattan recently, he made a survey of the 
statistics. Nine of his gifts hove gone to 
Empire Staters. Ohio comes second with 
seven, Minnesota third with six, and Iowa 
fourth with five. 

It's a moot question whether New Yorkers 
spend more time at home and thus hear the 
$1,000 call, but the state enjoys another rec- 
ord in grabbing the gifts; the largest amount 
ever given went to a resident of Jamestown, 
N. Y.— $4,600. 

Page 8 

?'^ JV'?"^ u^jy. wvJiv.!i^fjy; ^ - jx,^i„f^mi r i)/wvft.'<^ '.j'-jw/j ynjLnw» i .»ii.Mi . i ,iJKWUJ ! Uj>^w.y. 

Betty Lou Gerson, one of the leading players in the NBC Chieafl* 
studios, has added a new laurel to her growing list of triumphs by 
winning the title role In the widely-popular serial, "Story of Mary 
Marlln", heard dally over the NBC-Blue Network. She also ha« the 
% leads In "ISIIdstream" and "Arnold Grimm's Daughter." 

Judging from the "shame-on-you" expressions on the faces of Edgar 
Bergen and Bud Abbott and the !ool< of triumph beneath CharUe 
McCarthy's silk topper, Charlie ("IVIcCarty," Lou Costello calls him) 
has won the first round in his feud with Costello. Keep tuned t* 
the NBC-Red Sundays for other rounds. 


Typical of millions of American girls and boys are "Midge" and 
"Bud" Barton (portrayed above by Jane Webb and Dicl< Holland) in 
the popular NBC-Blue Network series, "the Bartons." The series is 
heard daily, Monday through Friday, and the activities of "The 
Bartons" are as familiar as those of your neighbor next door. 

1^ *WLU^^ iAJJ»>>H^L)J5RWI,iy/J 

Lowell Thomas, ace news commentator on the NBC-Blue Network, 
accepts the first of a new edition of the "Lowell Thomas Adventure 
Library" from W. W. Beardsley, editor of P. F, Collier & Son. 
Thomas, whose middle name might well be "adventure", Is heard 
Monday through Friday in his interpretations of world events. 






VVETTE'S automobile v/as stolen — cmd yet 

at the same time it wasn't. You see it's 
like this. The NBC network songbird, who 
has been sporting a brand new maroon con- 
vertible, recently parked the car outside her 
apartment building. But when she came 
out an hour later it was gone. 

A telephone call to Police Headquarters 
brought a squad car on the doxoble. Assured 
by police that the car would be located 
Yvette went to bed with hope in her Jieart. 

Nov;- we shift to Scene 2... A gentlernon 
who wishes to remain cloaked in anonymity 
owns another one of those convertibles. His 
is not maroon, but a dork satiny blue. He 
lives in the some apartment building. He 
likewise parked his can in frcnt, but tele- 
phoned his garage, asking them to pick it 
up and put it ov/oy for the night. 

When the gentleman came out in the 
m.orning he found his car in front and drove 
right to the garage ripe for a blistering re- 
prim.and. On arrival he found a new em- 
ployee who said "Why — we have your car 
here — I'll show ycu! " The cor in the garage 
was a maroon one. "Mister I'm gonna call 
the police!" the garage man said, "That's 
grand larcenyi " 

The police arrived. They called Yvette. 
All was explained. All was forgiven. The 
locks on both cars are identical, which 
happens only once in 10,000 cars according 
to the police. 

Harpsichordist Marlowe and 

Singers Kay Lorraine, Brad 

Reynolds, on Anachronistic 

Sunday Program 

QYLVIA MARLOWE, noted American har- 
psichordist who airs an anachronism— 
sv/ing and boogie woogie out of that antique 
instrament — sets the pace for 15 minutes of 
widely contrasting moods on the NBC-Red 
network, Sunday afternoons during Lavender 
and New Lace, at 2:00 p. m. CDST. 

Designed to present both classics and 
popular music without swinging the masters, 
or getting heavy on the popular music, the 
program begins by painting a picture of 
eighteenth century candlelight and hoop- 

About the time the listener gets well settled 
in the satin and jasmine groove, he finds 
yesterday getting involved with today, his 
satin illusions are shattered, .tiie^'pf^dle 
snuffed out. '■■:> ,;^ 

Mozart is shunted into the rumb!e"Lseat 
and the land of long ergo has, had gm in- 
jection of lace and ruffled jive m.ixed by cm 
eighteenth century harpsichord pestle in the 
twentieth century mortar of radio. 

Page 9 

Emotions of a Script Writer 

The littery lads of the maternity words hove 
nothing on Don Quinn, writer of the 'Tib- 
ber McGee and MoUy" programs, as he 
watches — or rather, listens — to his brain 
children being bom each Tuesday night, 

»pALK ABOUT expectant fathers 

having a time of it! — the effect 
of the studio audience's rhyth- 
mical laughter on the McGees 
writer is akin to the relief a cor- 
ridor-pacing father feels with the 
first cry of his new-bom child. 

At an early hour Tuesday 
evening Don goes stroightforth to 
the sponsor's booth, which Is 
located high above the stage in 
Studio C of NBC's Hollywood 
Radio City. A sponsor's booth, just 
to make sure that we're still 
together, is so constructed that its 
occupants can see as well as hear 
how the program soiinds on the 

Ouinn seats himself in a sub- 
dued corner near the loudspeaker, 
and, out of vision range of what 
is taking place on the stage, he 
nervously ticks off the minutes 
until airtime. When Fibber, Molly 
and their supporting players start 
to warm up the audience with 
one of radio's funniest series of 
pre-broadcast stimts, Don begins 
to relax just a trifle. However, it 
is evident to everyone present 
that he is listening intently. 

"Listening to what?" you 
wonder. Certainly he has heard 
this pre-air routine scores of times 
— Fibber and Molly do it every 
Tuesday. As you study Don and 
his reactions, all of a sudden it 
dawns on you that he is listening 
to only one thing — the audience's 

If the audience is a responsive 
one and generous with its laugh- 
ter, Don looks around him with a 
pleased - with himself and a 
pleased - with - the - world - in- 
general smile. For he knows that 
such an audience also will be 
more responsive to the as yet im- 
tried material to come when 
Studio C's red light signals "On 
the air". 

To a stranger entering the 
booth, Don Quinn appears to be 
the least important person there. 
But that Is true of most really im- 
portant people — they seldom 

Page 10 

Fibber McGee, Molly and Don Quinn. 

flaunt their position, and certainly 
Don is no exception to the rule, 

"Surely that quiet, slightly 
rotund figure straddling a chair 
over there in the comer can't be 
important," they probably think 
to themselves. "Whereas his pres- 
ence in the booth may not be 
important to them, their presence 
there is to Quinn. 

With each line of the broadcast 
he studies them as a scientist 
would a strange specimen. By 
their reactions and the laughter 
from the studio audience, Don 
pieces together a cross-country 
picture of a nation seated by its 
collective radio. And so it is that 
he learns and improves and finds 
the eagerly sought answers to 
the thousand and one questions 
he has been asking himself about 
the script's various lines and 
situations, about the turning of a 
phrase, the choice of a word, the 
right spot for a certain routine. 

That is why, as th© "Fibber 
McGee and Molly" scripts roll off 
the production line of Don Qulnn's 
pen, the McGees tour the nation's 
broadcasting band each Tuesday 
night in a better and smarter 
model than the week before. Each 
program in its turn is based on 
the knowledge gained the week 

When the script is completed 
and ready for the air, Quinn fig- 
ures that his work Is only half 
done. His next task is to take it 
into the laboratory of human 
reaction to prove or disprove his 
work. Only by using the testing 
ground of an actual broadcast 
and getting all the answers does 
Don Quinn feel that he is prepared 
to tackle next Tuesday's "Fibber 
McGee and Molly" script. 

The mechanics of writing the 
script are something to write about 
and something on which Quinn 
has a few things to say. 


For over ten years he has been 
directly associated with the Fibber 
McGee and Molly stars — Marian 
and Jim Jordan, who are Mr. and 
Mrs. Nearly six of those ten 
years have been devoted to writ- 
ing Fibber and Molly scripts. 
Their early years were occupied 
with a daytime serial known as 
"Smackout". Not once during this 
time has Quinn relaxed his vig- 
ilance and deep concern over 
every program. 

"When the time comes," 
declares Don, and the Jordans 
back him up, "when we hove to 
put a show on the air on which 
we — and thai means every mem- 
ber of the troupe — are not sold 
100 percent, that will be the signal 
for us to quit this radio business 
and take up farming." 

In all probability the Jordan- 
Ouinn trio will not soon take to 
serious agricultural pursuits, for 
the "Fibber McGee and Molly" 
show stays consistently top-flight 
and is harvesting a bigger au- 
dience with each airing. Figures 
show that the McGees are at the 
top of all weekday broadcasts. 

Ouinn says that the secret of 
this steady success lies in the 
versatility of the cast. But that is 
only part of the story. 

"After the first draft of the 
script is 'written" explains Don, 
"we have a reading on Friday 
afternoon, four days before air- 
time. We go over the lines and 
kick them around — everyone 
makes suggestions, and then I go 
back to work. While revising the 
script, I try to keep the theme of 
the program intact and at the 
same time try to strengthen weak 
spots and delete bad gags. 

"Monday morning the cast 
rehearses the revised script, picks 
it to pieces again for possible 
flaws. Mind you, all of this a 
scant twenty-four hours before the 
broadcast. Even then, if it still 
seems weak, if the cast can not 
work up the proper enthusiasm, 
the entire script is junked. We 
make no further attempt to re- 
write it but start on a new script 
with a new theme. 

"This can be done," continued 
Ouinn, "only because each mem- 

ber of the cast, from Marion and 
Jim Jordan down, is able to play 
at least three different characters 
if necessary. Thus, without the 
necessity of adding to the cast, it is 
possible to change a script which 
features Fibber and Molly, Horatio 
K. Boomer, an English butler and 
a society woman to one having 
such characters as the Old Timer, 
the Little Girl, a stuttering vacuum 
cleaner salesman, a gangster and 
a "Grik" dialectician. With these 
character substitutions we can 
change the entire theme of the 
program in a few hours if nec- 

Changing the entire script of a 
radio program at the eleventh 
hour is no easy task, no matter 
how versatile a cast may be. 
However, it has been done, but 
you can see by the look in Mr. 
Oulnn's eyes that he hopes it 
doesn't happen again soon. 

Ouinn's theory for comedy writ- 
ing is simple. Every lough line 
on the show must grow directly 
out of its characters and situations 
at 79 Wistful Vista, the locale of 
all the McGees' doings. 

Fibber must be funny as Fibber 
and not with a joke stolen from 
Toe Miller. Don will not depend 
on the ordinary radio technique 
of taking an extraneous gag and 
shoving it in as the high spot. 

Oulnn's is the hard way to do It. 
But it's the way he has worked 
since the beginning of his associa- 
tion with the Jordans. 

There are really two Don 
Ouinns: the serious worker whom 
we have just described, and the 
whimsical chap known to his 
family and friends. In fact, Don is 
a rarity amongst humorists — a 
completely sane and happy man. 

To be brutally frank, the current 
fashion for humorists — especially 
radio writers — calls for an upset 
stomach, a perennial grouch at 
the world and a preoccupied stare 
that apparently sees naught but 
over-ripe eggs laying all over the 
place. While these men may 
succeed from time to time in shak- 
ing the world with a belly laugh, 
it is often advisable to pass them 

by when in search of good com- 

But Ouinn, as we said, is an ex- 
ception — probably that always 
needed exception to prove the 

The only beef Don has in his 
scheme of things is that there is so 
little time left over in the days and 
weeks to devote to his numerous 
hobbies — hobbies other than 
writing, which he thoroughly 

And it is very probable that this 
enormous appetite for living keeps 
Don going year after year with 
never a lack of material. 

As for the hobbies — there are 
several sleek guns in the comer 
of his study that are always in- 
viting him out to the- target range. 
"And I'm getting to be a pretty 
good shot, too," remarks Don with 
a surprising likeness to Santa 
Clous twinkle in his eyes. 

Golf is "Swell", according to 
Ouinn, but the real love of his 
life, next to Mrs. Ouinn and their 
5-year-old daughter, Nancy, is 
flying. "That's really being in 
another world," is the way he 
sums it up. 

On his desk is o stock of yet-to- 
be-read books. "Swell hobby for 
anyone, reading," he'll tell you. 
Photography is something else 
that he would like to find a great 
deal more hours for. 

And OS he goes on down the 
list, it is all too evident that here 
is one funnyman who hasn't out- 
laughed himself at the ways of 
the world. 

There ore also weekly top 
lessons that manage somehow to 
find their way into his crowded 
week. "It's swell exercise, you 
know, and that's one way you 
can hove a lot of laughs at your- 
self without anyone getting hurt/' 

And that last remark just about 
sums up Don Oulnn's philosophy 
of life: 

If you can lough ot yourself 
and really enjoy living, you hove 
a better right to ask the world to 
lough with you. 


Paa© 11 



The Little Maid 

Evelyn, the Little Maid of WLS, Chicago, is now singing at WLS' sister 
station KOY in Phoenix, Arizona. Evelyn's last name is Overstake, and she 
is a sister of Eva Overstake, now Mrs. Red Foley. With a third sister, Lucille, 
they used to be known as the Three Little Maids on WIS. 


gING CROSBY, Rudy Vallee and a little 

man who attended a Signal Carnival pro- 
gram incognito are Hollywood's best dressed 
men, according to Vera Vague, the brilliant 
and unbalanced NBC lecturess of many West 
Coast broadcasts. Seven other worthy char- 
acters made up Miss Vogue's list of the 10 
bsst dressed Hollywoodians for 1940. 

"I nominate Bing Crosby for first place," 
Miss Vague said, "because he has a sense 
of color, a sense of what not to wear, and 
the things he doesn't wear look so nice on 
the men who wear them. Or do they? 

"Rudy Vallee is my second choice, be- 
cause he looks so dashing, if you get what 
I mean. No one in Hollywood wears dark 
glasses with such an air. Rudy and Bing 
both sing nice, too, so let's take them as 
representatives of two schools of thought. 
Of course they might give a little more 
thought to me, don't you think?" 

Queried as to her third choice. Miss Vague 
said, "Oh, him? I just threw him in because 
he's cute. He always sits in the front row, 
wears horn-rimmed spectacles, looks as 
though he should have a goatee but doesn't, 
and he cracks his knuckles. He's about 
iive feet two, weighs about 100 pounds. And 
he wears suits exactly like my father used 
to wear when father was the best dressed 
man in the country in 1842." 

Miss Vogue's other selections were Joe 
the Newsboy; Bill Goodwin, because he 
wears toothpaste with such an. air; Basil 
Rathbone, because his Sherlock Hclmes cap 
is so practical (he can tip his hat to two girls 
at the same tim.e); and three ushers from 
Grauman's Chinese Theatre. 


DOB BURNS may go down in history as the 
inventor of the bazooka, but NBC's Music 
Hall comic has another spring to add to his 
laurel wreath — the waterproof fence. 

During California's rai - - er, heavy dew - 
- - of the past week, water begun pouring 
into low parts of Burns' ranch. Trenches 
and sand bags were of no help. Ever re- 
sourceful. Burns bought 2000 feet of 2x12 
lumber, nailed it to the wooden fence, mak- 
ing a 24 inch high solid barricade. To this 
he nailed waterproof roofing paper, one foot 
of which he laid along the ground and 
covered with dirt. 

It made the world's first waterproof fence, 
and Bob Burns, who never has been known 
to exaggerate, swears and deposes that his 
ranch was as dry as a Sahara safari, though 
the rest of his neighborhood was as wet as 
an Arctic aquacade. 

VIckl Voia, NBC-Red Network heroine In Mary Roberts Rlnehart't 
"The Window at the White Cat", as dramatized In "The Mystery 
Man" daily series, and right hand woman to "Mr. District Attorney", 
detective thriller heard Wednesdays, once worked as a grocery 
•tore cashier to pay for her flret lessons In acting. 



Tom Wallace, known to NBC-Red The country squire at the NBC 

Network listeners as "Uncle microphone Is none other than 

Walter" of the "Dog House" pro- Uncle Fletcher of the NBC Vic 

grami shares his haven from and 6ade series. In private life 
liarples with mascot "Penny.* he's Clarenoe Hartzell. 

Page 18 

(Continued from page 7) 

reer. As John explains it, he 
couldn't stand the screaching 
tones he produced when he start- 
ed at the age of five; they hurt his 
ears, and he had to give up the 

All the time this WLS pianist was 
Learning brass instruments, he 
was fooling around with the par- 
lor piano. There was no piano 
teacher in his home town out in 
Kansas, but being a natural-born 
musician, John thoroughly mas- 
tered it all by himself. Living at the 
Brown home was the noted com- 
poser and conductor, Thurlow 
Lieurance, who had come to 
Kansas to study Indian tribal mu- 
sic. He would frequently hand 
John the manuscript of a new 
composition and ask the boy to 
try it over on the piano. 

One day, he handed out a piece 
he had worked on only a short 
time. John played. Lieurance 
listened. "It will be a hit, I think." 
he confided to the youngster. It 
was. For that afternoon was the 
first time that anyone had ever 
played "By the Waters of Min- 
netonka." It was mailed to the 
publishers next day. 

At an early age John was play- 
ing his trombone in bands at par- 
ties and in theaters. Then he 
went into Chautauqua for six 
seasons, and toured the country 
in the same company as William 
Jennings Bryan, the Great Com- 

Only a short time after John 
Brown returned from France, it 
was obvious that radio was go- 
ing to be a big thing. So he 
settled down in Chicago, broad- 
casting programs of piano duets 
with Dean Remick on several sta- 
tions. He finally came to WLS, 
where he met the other talent, 
among them a girls' duo, Mae 
and June. June's real name was 
Ju£tnita Rae, but as June Ray she 
had been singing with Red 
Nichols, Don Bestor, Buddy Rog- 
ers and other orchestras. Today 
Juanita is Mrs. John Brown. They 
hove two children, Joan Juanita, 
iovi and one-half years old, and 
Betty Jane, 18 months. 
Page 14 

Charles Flynn, who plays a 17-year-old cub reporter In his mother'a 
NBC-Red Network dramatic serial, "Bachelor's Children", is looking 
forward to visiting his mother on Mother's Day. Mrs. Bess Flynn, 
awthor of the popular daytime feature, lives in New York while 
Charles lives in Chicago, show's origin. 

'Specially lovely Evelyn Lynne 
sings away thos« morning dol- 
drums on the Breakfast Club, 
NBC-Blue Network's autn. tMlgll 

Meet the new "Doctor 1. Q.", 
folksl It's Jimmy McClaIn, 29, 
announcer and producer," who 
now holdsforth in the ringmaster 
role on the NBC-Red quiz show. 


Decca's Delighful Duet 

Helen O'Connell and Bob Eberly, featured singers 
with Jimmy Dorsey and his Orchestra. Heard on 
Decca records and NBC on Fridays at 8:30 P. M. 


Page lb 

oLltUedt M"*^ 

Here's the littlest cowgirl radio star, Beverly Paula Rose, following in th» 
footsteps of her celebrated mother, Patsy Montana. Patsy is a former singing 
and yodeling star of the WLS National Barn Dance and is now broadcasting, 
with Beverly, from San Antonio, Texas. 

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