"WET I MARRI D A SANDMAN" - World Radio History

SEPTEMBER

BRINGINGHOLLYWOODTO THE MIKE

VIVIENNE SEGAL

"WET I MARRI D A SANDMAN"By MARJORIE OELRICHS

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Tower Radio, September, 1935 1

NEXT MONTH'STOWER RADIO

A Beautiful Cover of lovely

VERA VAN

An amazing story aboutRudy Vallee showing anew side of this famous

crooner's personality

Another colorful feature presentsthe vagabond orchestra leader,Willard Robison, who has takenhis deep river music from dancehalls of the desert to radio fame

SEPTEMBER COVER DESIGN

BY ZOE MOZERI

OTHER TOWER MAGAZINES MYSTERY SERENADE HOME NEW MOVIE 5 TINY TOWER

VOL. 3, NO. 6 VrIug !alCATHERINE McNELIS, Publisher

SEPTEMBER 1935

Behind the Dial Nellie Revell 4 Beginning All Over Again Mary Jacobs 24What About Next Year? Jesse Butcher 9 The Boy the World Forgot Hal Howe 25How I Bring Hollywood to the Mike Louella 0. Parsons 10 The Romance of the Lombardos Bob Taplinger 26Why I Married a Bandman Marjorie Oelrichs 11 Diction Medal Raymond Knight 28Daughter of the Theatre Tom Reynolds 12 Short Wave Department Captain Horace L. Hall 30Amateur Margaret Sangster 13 Home Service Section 31The Unknown Specialists John Seymour 14 Radio from the Inside The Man at the Controls 33Out of the East Side Martha Jones 16 Ask the Voice of Experience Voice of Experience 42Broadway Star Dorothy Ann Blank 17 Dial a Dollar Letters 44The Believe It or Not Story of Believe -It -or -Not Ripley. Tom Carskadon 18 Know Your Music Pitts Sanborn 55Tower Star Fashions Katherine Karev '.) Tower Star Fashions Stores 64

MIRIAM GIBSON, Associate Editor

FREDERICK JAMES SMITH, Managing Editor

AMY VANDERBILT, Director of Home Service VERNE NOLL, Art Director

Published monthly by TOWER MAGAZINES, Inc., 4600 DiverseyAvenue, Chicago, Ill. Executive and Editorial Offices: 55 Fifth Avenue,New York, N. Y. . . . Home Office: 22 No. Franklin St., Wilkes-Barre,Pa. Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal.

Officers: Catherine McNelis, President; John P. McNelis, Vice-presi-dent; Theodore Alexander, Treasurer; Marie L. Featherstone, Secretary;E. L. Schroeder, Eastern Advertising Manager; S. B. Galey, Western Ad-vertising Manager; R. M. Budd, Pacific Coat Representative.

Advertising Offices: 55 Fifth Avenue, New York, N. Y.; 919 No.Michigan Avenue, Chicago, Ill.; Russ Building, San Francisco, Cal.

Copyright, 1935 (Title Reg. U. S. Pat. Off.), by Tower Magazines, Inc.,in the United States and Canada. Subscription price in the U. S. A.,$1.00 a year, 10c a copy; in Canada, $1.60 a year, including duty,15c a copy; in foreign countries, $2.00 a year, 20c a copy. Entered assecond class matter September 9, 1933, at the Post Office at Chicago,

III., under the Act of March 3, 1879. Printed in U. S. A. Noth-ing that appears in TOWER RADIO may be reprinted, either wholly orin part, without permission. Tower Magazines, Inc., assumes no re-sponsibility For return of unsolicited manuscripts, and they will not bereturned unless accompanied by stamped, self-addressed envelopes.Authors submitting unsolicited manuscripts assume all risk of their lossor damage.

All subscriptions must be mailed to our New York office. When changing address send us both old and new addresses, and allow five weeks for the first copy to reach you.

NEW ISSUE ON SALE THE FIRST OF EVERY MONTHTower Radio, September, 1935

A CHALLENGE TO ALL SCREEN HISTORY!Think back to your greatest film thrill! Recall the mightiest moments of romance, action,

souLadventure of the screen! A picture has come to top them all! For many monthsHollywood has marvelled at the stupendous production activities at the M=G=M studios,

not equalled since "Ben Hur"; for many months three great film stars and a brilliant cast

have enacted the elemental drama of this primitive love story. Deeply etched in your

memory will be Clark Gable as the handsome seafaring man; Jean Harlow as thefrank beauty of Oriental ports; Wallace Beery as the bluff trader who also seeks heraffections. "China Seas" is the first attraction with which M=G=M starts its new Fallentertainment season. We predict its fame will ring lustily down the years to come!

-- --a.

-741er

-

CLARK

GABLEJE A N

HARLOWWALLACE

BEERY

with

Lewis STONE Rosalind RUSSELLDirected by Tay Garnett Associate Producer: Albert Lewin

A METRO GOLDWYN MAYER PICTURETower Radio, September, 19.35

ETTERS I have been getting from radio folksmaking movies in Hollywood this Summer-

) and there seems to be scores of them-havea common complaint. It is that the camera is cruelto their figures and makes them look bigger thanthey really are. "I reduced thirty-five pounds togo into pictures," confesses Grace Moore, "and stillhave to worry whether my shadow self is going toappear svelte -like on the screen. The camera makesyou look ten pounds heavier than you are-and putsthese extra pounds positively on the wrong places!"

WHICH reminds me there is a beauty shop inFifth Avenue patronized by Miss Moore,

Gladys Swarthout, and-believe it or not-Law-rence Tibbett! Lest you get a wrong impressionfrom this latter statement, I hasten to add that Mr.Tibbett goes there for hair and scalp treatment,and not for what you first thought. Indeed, twenty-five years ago no less a masculine personage thanMark Twain used to have his long, gray locksbrushed and treated there. The proprietress, RoseLaird, is famous with radio and operastars for her deep knuckle muscle mas-sages.

"T wish I had the same confidence in1 myself now that I had when I first

went on the air three years ago." Thespeaker was one of our best known fem-inine cooking experts.

you?" asked this in-quiring reporter. "Because then, I guess,it was a case of a fool rushing in whereangels fear to look with a telescope," shereplied.

And then she went on to explain that when shefirst faced the microphone she knew nothing abouttechnique, production men, nor the inhibitions ofsupervising advertising agencies. And she gave anaudition in a most natural voice reading from a scriptprepared by herself without regard for the "don'ts"that sponsors impose in their imperial wisdom.

The latest news of yourfavorites of the airwaves

By NELLIE REVELL

Paramount

Above, George Burns and Gracie Allenon the Paramount lot in Hollywood.Left, Lina Basquette is the newest ad-dition to the Princess Pat Players.Right, Alice McHenry, the "upsidedown" girl, was a guest recently on

Kate Smith's Hour.

THIS radio neophyte was immediately engagedfor a commercial. But in the intervening three

years, due to what she describes as "too much super-vision, too much editing and too much temperamenton the part of production men and others anxiousto assert their 'showmanship' and introduce 'newideas'," she has lost confidence in herself. Insteadof receiving the smiles and nods of approval sonecessary to the morale of anyone broadcasting, sheimagines now she scents disapproval. And as aresult she is fast losing her naturalness and the con-fidence which were her chief assets.

RADIO has done that to many other performers.Program managers and advertising agency

representatives like to take their jobs seriously andto invest the microphone with mysterious qualities it

doesn't possess. They become over -fas-tidious and bend backwards in their ef-forts to maintain what they are pleasedto regard as studio standards. But theeffect on the creative artists with allthese "Thou-shalts" and "Thou-shalt-nots" is something else again. Recruitsto radio from the stage and screen be-come bewildered and you can't blamethem if they also become resentful whensomebody never connected with the thea-ter tells them they don't know how todeliver lines. This attitude has chasedmany a famous star of vaudeville andmusical comedy out of the studios withthe determination never to cross theirportals again.

Perhaps by the time you read this paragraphMr. and Mrs. Paul Whiteman will have joined theranks of the foster -parents. They have been seek-ing an increase to their household via the adoptionroute for some time but adopting a baby isn't aseasy as it sounds. The demand is much greaterthan the supply. Eight thousand children havebeen adopted in this country in the last six

4 Tower Radio, September, 1935

Lanny Ross and Ed-mund "Tiny" Ruffnerconfer on the script.,

Special Wide World

years but something like 25,000 couples formallyapplied for children in the same time. Indeed, sucha famed child -placing institution as The Cradle ofEvanston, Ill., the foundling home where the Jolsonsand Burns and Allen acquired their babies, appealto the public via the radio for orphans to rear. Babygirls are most in demand-seven out of ten couplespreferring them to boys.

SPEAKING of babies, I am reminded of a storytold by Shirley Howard, who used to be a news-

paper gal once herself. It has to do with a reporterwho nearly got shot by an irate politician becauseof a typographical error. It seems that office -holder,all aglow over becoming a papa, waxed poetic indescribing the little stranger to the newspaperman."He is my pigmy counterpart," he declared proudly.But the paper the next morning made it read, "Heis my pig, my counterpart," and the politician tothis day insists it was an intentional insult on thepart of the opposition press.

ONE of the most gracious gentlemen of thestudios is Lowell Thomas. If you chanced to

hear my interview on the air with him you musthave sensed my great admiration and respect for his

personal qualities. And certainly, if you have everheard his breezy dissertations on the news, you havefelt his charm. Nothing throws a more searchingsidelight on his character than what happened whenLawrence of Arabia met his tragic death. A Londonnewspaper editor promptly reached Mr. Thomas bytransatlantic phone offering him $5,000 for the rightsto reprint in serial form his book, "With LawrenceIn Arabia," published more than a decade ago. Asit was Mr. Thomas' first book and one of his mostsuccessful, he felt it wasn't just proper to capitalizeon Lawrence's death in this way. "He was an in-spiration and idol of mine," protested the newscommentator, "and.I couldn't take money like that."The London publisher argued that it would helpperpetuate the bizarre Britisher's memory. ThenMr. Thomas had an inspiration. "I'll tell you whatI'll do, old man," he told the English editor. "Youcan reprint my story but send the $5,000 to Law-rence's aged mother in Thibet-I suspect she willneed it now." Lowell Thomas is like that.

Nellie Revell is the intimatefriend of the headliners of radio

IRELATED here some months ago that HarryRichman had purchased the yacht which Doris

Duke, now Mrs. James H. P. Cromwell and still therichest girl in the world, felt she couldn't afford tokeep because of the terrific cost of maintenance.It now becomes my duty, for the sake of the record,to report that the night club entertainer has soldthe yacht for the same reason that prompted itsoriginal owner to dispose of it. But part of theproceeds, some $20,000 odd dollars, Richmanpromptly invested in another airplane. He nowhas a fleet of 'em.

Society singers have faded from the kilocycles,for which Allah be praised. At one time theythreatened to become an epidemic, like amateurs,but listeners soon tired of their so-so voices and, inmost cases, absolute lack of personality. You havegot to have something more than your name in theSocial Register to register with the critical radioaudience of today.

BROADCAST briefs: Al Jolson gets $1,000 perbroadcast less when his programs originate in

Hollywood instead of Radio City. That's the sacri-fice he makes just to be home with Ruby and thebaby. Can you beat that for devotion? . . . JeanieLang, not so long ago a pet of the parlors, is singingunder another name in a New York church. . . .

There is a very good reason why "Chopsticks,"played on the organ by Colonel Stoopnagle, is thesignature song signaling the coming of Stoopnagleand Budd. It is the only bit of music the Colonelhas ever learned to play on the console . . . Rose-mary and Priscilla Lane are studying diction underFrancis Robison Duff, tutor to Katharine Hepburnand other stars. . . . They have to change the clocksin Radio City back to Eastern Standard Time thelast Sunday in September and gosh how they dreadit! You see there are just 291 timepieces that haveto be regulated and it is something of a chore.

GATHERING dust in studio cupboards, maintainthose familiar with the intricacies of radio pro-

duction, are finer and better scripts than have everbeen heard on the networks. They are ideas whichhave been auditioned and then shoved into the filesto languish and become forgotten because no sponsorimmediately discerned their worth. With the never-ending parade to the audition chambers of new per-sonalities with new plans for new presentations, yes-terday's script becomes as dead as yesterday's news-paper. Some day some way (Please turn to page 6)

Left, Ruth Elting deserts radio for a world'strip. Above left, Olga Albani whose mar-riage to H. Wallace Caldwell surprisedeveryone. Above right, Johnnie Davis, scat

singer on Waring's hour.


Ray Noble, whose suave British style of con-ducting lends a new note to American radio.

MAXIE BAER. in last month's TOWER RADIO,attributed all his pugilistic success to atraining course of radio and spinach.

Simultaneously with the appearance of the issue Mr.Baer had the bad judgment to go out and lose hisheavyweight championship to a chap whose radiopersonality is practically nil, James J. Braddock.

Naturally the Observer does not blame radio forMaxie's defeat. So it must have been the spinach.The Observer frankly confesses that he always haslooked upon this vegetable as a delusion and a snare.Now Baer's defeat proves it. The vitamin legendsare just so much high pressure publicity to camou-flage a lot of sand.

Shortly after his defeat the personable and pleas-ant Mr. Baer disappeared from the radio pageant,at least for the moment. What sponsor wants adefeated champ? By the way, they're still talkingabout the crack Maxie made when they shoved amike in front of him in the first breathless secondsafter his defeat. Baer was gracious to the man whohad beaten him but a little too flip for the morallyconscious radio commentators. The crack did notbring a blush to the Observer's cheek-but maybethe Observer is just a hardened watcher of the airparade.

A NOTHER prize for putting -his -foot -in -it goes to/a. the redoubtable old Maestro, Ben Bernie, whoupset some folks by reciting a burlesque of AbrahamLincoln's Gettysburg Address. The usual sensitive

RADIOage,CM/it

minded letter writers hurried to their desks to protestand the Old Maestro's ears must have burned furi-ously. It all goes to show how careful you must bewith the whole world listening in. One chance wordcan transform a hero into a goat.

THE Columbia Broadcasting System has engagedan expert child psychologist to supervise and de-

velop its kiddie features. Probably this will removesome of the blood -and -thunder from the air and in-ject a properly elevating tone to childhood entertain-ment. The Observer often wonders how the modernchild must feel, with keen -eyed psychologists observ-ing his every action. He is under a microscope fromhis sandbox days, through school, right to the collegecampus.

The old carefree dime novel days of childhood aregone. Now we have a regimented improvement andpossibly everything is for the best. But some of thezest must be gone, at that. Huck Finn couldn't havestood the strain.

ON other pages of this issue leaders of the radioindustry-the business of beguiling you into

turning dials from 8 A.M. to 12 P.M.-goes instrongly for predictions.

Judging from these, it will be a big year forairways. Bigger even than last, the bumper cropperiod to date. Here are some of the more interest-ing predictions:

Radio will play a big part in the next election.There will be less advertising on the air, less

blatant propaganda pushed at you. In a word, thesponsors will be more adroit and briefer with theirsales talks.

Afternoon programs will be better. In fact, therewill be a distinct sponsor trend towards daylighthours.

The established comedians will go on to continuedsuccess. So will the variety programs so much invogue these last twelve months. Too, the air willcontinue to go for good music in a big way.

Air authorities believe bigger and better radiodrama is just around the corner, but this is predictedevery year-and the Observer has his doubts.

More programs will comefrom Hollywood, home townof glamour.

All interesting trends, if youask us. And you can count onall of them, at least, all butone.

HERE'S one appointmentyou can put down in your

engagement book. EveryChristmas afternoon for thenext five years Lionel Barry -more is going to do Charles

A bumper radio year is in sight withbigger and better programs on the way

By THE TOWER OBSERVERCaricatures by Jaro Fabry

Dickens' "Christmas Carol" for you, enacting thedeathless role of old Scrooge, transformed to happi-ness by the spirits of Christmases past, present andto come. The Observer can't think of a finer na-tional gift than this present of a far-sighted andunderstanding sponsor.

This eldest of the Barrymores, by the way, gavean interesting performance of the David Warfieldrole in the old Belasco spook play, "The Return ofPeter Grimm." But the outstanding dramatic inter-lude of recent weeks, however, was the appearanceof Leslie Howard and his little daughter in momentsof Barrie's gentle fantasy, "Dear Brutus." LittleMiss Howard should be congratulated for an exqui-site performance. It was the child's first appearance-on stage or screen or air-and she revealed a rarepromise.

A NOTHER dramatic event was the appearanceA on the Jolson hour of that excellent film player,Richard Barthelmess, in moments from his recentfilm, "Four Hours to Kill." Barthelmess is an able,adroit actor-and he ought to do more things on theair. The radio needs histrionic experts.

THE amazing radio success of that literary gen-tleman, Alexander Woollcott, has brought a

whole lot of writers to the ether. All of them hope toduplicate the rotund critic's hit on the airways. Thelatest to try is Christopher Morley, the essayist.

Morley, the Observer regrets to report, has noneof the fine Woollcott indifference-or his oddly in-timate and gossipy style. Only one literary figurehas approached the Woollcott popularity. He isWilliam Lyon Phelps-and he isn't on the air now.

Frank McIn-tyre, ( right ),skipper of thelate lamented

Showboat.

Maxie Baer, (left),is off the air becausehe committed thefatal error of losingthe heavyweightchampionship. Whosponsors a losi?r?

8Tower Radio, September, 1935

What AboutNEXT YEAR?

WHAT will be next season's trends in raCioprograms? Will the popular variety pro-gram remain a prime favorite among the

21,000,000 set owners? Much criticism has beenlevelled against many of the children's programs.Have these adverse reports carried weight with theprogram builders? Will there be an avid audiencefor New Deal and Old Deal speakers, not forgettingpolitical big wigs who belong to neither school? Andwhat of a lot of other program variations that areof interest to the dialers?

As soon as radio's big season tapers off in the lateSpring when the majority of sponsors end their cur-rent offerings, the commercial program builders andstation directors study the year's successes and fail-ures. Elaborate and costly surveys of listener re-sponse are gone over in an effort to gauge what tyreof entertainment should be continued or avoided.With greater millions of dollars available for nextyear's programs, the hard put entrepreneurs of etherentertainment are making their predictions and hop-ing with crossed fingers that you captious fans willnot turn thumbs down on their programs.

Feverishly, during these hot days, they are work-ing on next Fall and Winter'sshows. Auditions by the hun-dreds are being held; the radiodepartments of the agencies arethronged with hopeful talent.Time on the air is at a premium,so great is the demand of spon-sors who hope that you will ap-plaud through buying. Millionsand millions of dollars will be

M. H. Aylesworth, presidentof NBC, says that more pro-grams will emanate from the

West Coast next year.

spent for the pleasure of the millions and mil-lions of fans.

Again this Summer, in behalf of TOWERRADIO readers 1 have made a canvass of the twochains and of the representative radio heads,getting the information that enables us to pre-sent pre -view of what the listener may expect.Not all of the Belascos and Ziegfelds of radiowere willing to be interviewed, several of themelecting to keep their thoughts on the subject asecret-as they do their auditions, but we shallpresent the forecasts of those who were willingto be quoted.

And first let us listen to the predictions ofM. H. Aylesworth, president of the National

Things to ExpectComedy favorites will go onsuccessfully next year.Less gag comedy, moresituation comedy.More and better radiodrama.More thought will be givenchildren's programs.More public and politicaldiscussions on the air.Less time will be givencommercial announce-ments.Popular variety programswill continue in favor.More evening type of pro-grams will be given in thedaytime.Waning of amateur hours.

Broadcasting Company. As president also ofthe Radio - Keith - Orpheum enterprises andchairman of RKO Radio Pictures, he speaksauthoritatively on what the great masses of ourpopulation like in the way of entertainment.

Mr. Aylesworth began by saying that as aresult of a closer cooperation and friendlier feel-ing between radio and motion pictures, therewould be many more programs emanating fromthe West Coast next season with many newstars as well as old favorites appearing beforethe microphone. He added that at the presentthere were more radio stars making movies thanpicture luminaries appearing on radio hours.

COMEDY on the air is holding up well,"Mr. Aylesworth continued. "The Ed

William S. Paley, presi-dent of CBS, sees a newera of better taste in

broadcasting.

Wynns, Fred Aliens andother fan favorites willgo on next season, I amsure, and new personal-ities in this field willemerge, in time. I be-lieve that comedians willgive more thought to

material that will give the listener a chuckle ora laugh. Amos 'n' Andy illustrate the great holdthat the veteran radio comedians have on the fire-side audiences. During the Weber City episodes lastWinter more than 2,600,000 listeners wrote in formaps of the city which were offered."

Radio drama, in which some splendid advanceshave been made, would be taken more seriously, inthe opinion of this executive. The producers mustavoid, however, not to overdue this form of etherentertainment as it had been established that toomuch talk annoyed the set owners.

"There has been much talk and discussion thesepast months on the subject of children's programs,"Mr. Aylesworth said. "We have been studying thissubject for a long time with a special departmentdevoting its entire time to it. Looking ahead, I seethe programs for the youngster perform their pri-mary function which is to entertain without crusad-ing too much."

Mr. Aylesworth was certain that the classicalmusic periods would continue to grow in favoramong sponsors and the mass of listeners. With thepress and radio enjoying cordial relationships, hebelieved commentators would he more and morefeatured and welcomed by the listeners. And hepredicted that news bulletins would be more fre-quent.

"Public affairs will (Please turn to page 58)

The radio experts tell you what thenext season has in store for you

By JESSE BUTCHERTower Radio, September, 1935 9

How I BringHOLLYWOOD

to the MikeThe hostess of "Hollywood Hotel" tellshow she gets Mae West and others of themovie famous to become stellar guests

IT has been both my pleasure and my problem for many months to induceHollywood's outstanding stars to appear as guest artists on a weekly nation-wide radio broadcast. There have been moments, of course, when I won-

dered why on earth I let myself in for so much grief. But on the whole I mustadmit the pleasure has far outweighed the pain.

It's been a thrill to have stars who've steadfastly refused to face the mike, eventurning down four figure offers, graciously consent to appear as my guests fornothing. It's been grand to sponsor Mae West's very first experience with the airwaves; to inveigle that confirmed hermit, Ronnie Colman, into addressing anaudience of millions; to have Fred Astaire get out of a sick bed rather than dis-appoint me. Each week's broadcast has brought some new, heartwarming ex-perience, some fresh assurance that these movie folk I've written about and triedto befriend for twenty years reciprocate my interest and affection.

They've been such marvelous sports. Not one of them has failed me. Not onehas balked at the repeated rehearsals and tiresome adjustment of details. Youknow a full hour program, like our "Hollywood Hotel" broadcast, requires hoursand hours of patient and meticulous adjustment. Each song, each bit of enter-tainment-even the applause must be regulated to a split second. Some of ourrehearsals would try the patience of a saint. Yet even the most reputedly tem-peramental of my guest stars have shown amazing understanding and Job -likeendurance.

Take Margaret Sullavan for example. I'll confess I expected Margaret to be aproblem child. She had been pictured as such an enfant terrible-a veritable

Louella Parsons at themike of "HollywoodHotel." Above, someof the celebratedguests: Fred Astaire,Ronald Colman,Carole Lombard,Fredric M a r c h and

Mae West.

Special Photo-graph !or TOWERRADIO by Wide

II' orld

interviewer's nightmare. Judging from my col-leagues' reports she spent wakeful nights thinking upnew ways to bring gray hairs to members of thepress.

Yes, I was prepared for the worst with that younglady. Imagine my delighted surprise when she notonly showed up for every scheduled rehearsal, butoffered to spend extra time on preparation.

"I'd rather spend twenty-four hours a day re-hearsing than go on the air and have it bad," shesaid and meant it. And that from the gal who isn'tsupposed to give a darn!

Lee Tracy's another who fooled me. Everyonesaid, "Oh, you can't depend on Lee-he'll nevershow up." Everyone, that is, except Sally Eilers.

Sally, who's one of my favorite children, told me,"Don't you believe them, Louella. I just finished apicture with Lee and I've never seen anyone morepunctual."

Well, Sally was right and everyone else waswrong. Lee kept every appointment-not only keptit but was there on the dot.

PERHAPS you'd expect Jean Harlow to take aradio program rather casually. Especially one

where she was donating her time and highly paidtalents. Yet on one of the days Jean was rehearsingwith me, she gave up her lunch hour and never saida word till late in the afternoon when it suddenly

occurred to someone that a snack might be in order.Freddie March was in the midst of making the very difficult "Les Miserables"

at the time he appeared on my program. We had to do our rehearsing right onthe set. They were filming the extremely dramatic and gruelling scenes in thesewers of Paris, and Freddie would emerge dripping, throw on a bathrobe and goover his radio script with me without taking time to change his wet clothing.

He realized that our air preview of scenes from "Les Miserables" was in asense as important to him as the picture itself and he worked tirelessly to makeit a success. As a result, his portrayal on the air of (Please turn to page 51)

By LOTJELLA 0. PARSONSAs told to HARRIET PARSONS


WHYI Married ABANDMAN

as told byMARJORIE OELRICHS

to

ROBERT D. HEINL

The famous society girl marriedthe maestro-and here she tells youall about her front page romance

FOREWORD: Miss Oelrichs, outstanding member ofNew York society who married Eddie Duchin, radio andsociety's foremost dance orchestra conductor and pianist,replied to the numerous questions propounded to her with agraciousness, resourcefulness, self-possession and general in-telligence that would have done credit to a leader in anywalk of life as well as to one in society.

From the movies and listening over the air, most of ushave a very definite idea what the marriage of two personswho lead such supposedly glamorous lives as Miss Oelrichs,whose distinguished family have been the very essence ofNew York society's Blue Book for years, and Mr. Duchin,amazingly successful radio -light, might mean.

We can also visualize their honeymoon, including, accord-ing to the best traditions, an indefinite romantic period atPalm Beach or Newport, or even a yacht trip around theworld. How different this popular opinion is from whatMrs. Duchin, a niece of the late Mrs. Herman Oelrichstells us.

HY I Married a Famous Bandman?" Well, Ilove music, so why shouldn't I marry an outstand-ing musician? Everything else being what was

desired, the musical part was but a detail. While we areon that subject though, I might say that Mr. Duchin playsclassical music as well. He received his musical educationat the New England Conservatory in Boston.

As for the "glamorous life" we led immediately after ourmarriage and the exotic honeymoon period, allow me to say it included neitherthe journey,to Palm Beach nor the yachting cruise mentioned.

On the night before our wedding, as listeners throughout the United Statesmay remember, Mr. Duchin's orchestra was the one chosen to make the broad-cast from the ball on the great steamship "Normandie," in port for the first time.There were several other orchestras, but inasmuch as the honor of broadcastinghad been accorded to my husband -to -be, he felt that he must be present. Mr.Duchin did, however, succeed in getting off the next night for our wedding atthe Hotel Pierre in New York, but not for long.

The next evening he had to play at the Central Park Casino, where six yearsago I met him. A romance? I don't believe there was anything more romanticthan leads up to the marriage of other people. He was the pianist in Leo Reis -man's orchestra, we were introduced, and what has happened since then is whathas happened to so many others under those circumstances.

Dashing from the Casino at twelve -thirty o'clock that night, we caught theone -thirty train to Washington for what was practically Mr. Duchin's first

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vaudeville tour. There had previously been a short, but successful, tryout inBaltimore, but now we were beginning a 15 -weeks tour to the Pacific Coast andHollywood. We went straight from, the train in the national capital to thetheatre, where rehearsals began without delay.

Backstage life was new and thrilling to me, even on a honeymoon. Mr.Duchin played his first performance at one -thirty o'clock that afternoon and atleast one visitor to the dressing -room expressed surprise when he learned myhusband had not been on the vaudeville stage all his life. There were extraSaturday and Sunday performances at the theatre, due to the fact that 100,000Shriners were assembling in Washington for their annual convention.

This, however, was the least of Mr. Duchin's troubles, as in addition to anew wife, to his first vaudeville tour, he had the very great responsibility ofstaging the first of his local talent guest -artist appearances on the Texaco FireChief broadcasts, calculated to hold the interest of the listening public in theabsence of Ed Wynn. There were auditions of several hundred. Mr. Duchintook this more seriously, I imagine, than would some (Please turn to page 59)


AVERY charming young wife and mother isgiving a special series of radio programsthis Summer. She does comedy-a very

refreshing kind of comedy based on charactersketches. Meeting her in person, you find her quitewilling to talk about her young son, her household,her husband-about the normal everyday concernsof American women the country over.

Unless you knew in advance, you would neverdream that she bears one of the most distinguishednames in American theatrical history. She is a suc-cessful actress who writes all her own material, andshe has written short stories, books and magazinearticles as well. She is so thoroughly of the theaterthat her mother used to carry her to rehearsals ina market basket-and yet spiritually she seems amillion miles away from Broadway.

This beautiful - and contradictory - youngwoman is Cornelia Otis Skinner. Her comedy ishailed as a distinctly new note-rich characterstudies instead of the usual knock -down -and -drag-out style of the typical Broadway "gag" comedian.In one short season, preceded only by a few gueststar appearances on the Rudy Vallee and other pro-grams, she is on her way to becoming one of theoutstanding stars of radio.

WOULD you like to make a call on Miss Skin-ner? Perhaps she will tell us some stories of

her childhood in the theatre; of her famous father,Otis Skinner; of her classmate in college, AnnHarding. Perhaps we can induce her to tell ussomething of how she combines the role of wife,mother and homemaker with a successful career.Perhaps she will tell us how she gets material forthose priceless sketches of hers-a fluttery house-wife getting her first automobile driving lesson; aprim school teacher teaching a class in physiology;a gushing society matron being presented at court;an endlessly amusing parade of characters. Let'sstart out right now to make our call.

We go to one of the most charming nooks in Man-hattan-the extreme end of East Eighty-fourthstreet, where it spreads out to overlook the EastRiver and gets a distinctive name for this one spot,Gracie Square. Here are stately apartment houses,standing in a row in quaint dignity reminiscent ofBerkeley Square in old London.

An elderly doorman with courtly manners greetsus at the entrance of the apartment house in whichMiss Skinner lives, announces us by telephone fromthe lobby downstairs, and escorts us to the elevator.We are whisked upward to the proper floor. A

Cornelia Otis Skinner is the daughter ofOtis Skinner, the retired stage star. In afew months she has established herself onthe air with her rich character studies.

DAUGHTEROF THE

sr., dal .hotoora phs for TOWER RADIO by WIde Word

middle-aged maid with a well -scrubbed face and amotherly smile admits us to the apartment andshows us into the drawing room.

We are a bit surprised to find the rugs taken up,and dust covers on the furniture. A basket of mis-cellaneous household articles peeps out from undera reading table, and-but here is Miss Skinner now.She comes forward to greet us. Her friendly, in-formal manner puts us at ease at once. She is astrikingly handsome young woman, with dark hairand brown eyes; rather tall, with a slender, well.proportioned figure and beautiful, erect carriage.Her dress, which is cut with that utter simplicitythat is the essence of smartness, is of brown silkwith a very small checked pattern and it has a grace-ful white collar that frames her face most flatter-ingly.

Miss Skinner makes a gesture toward the roomand smiles. "Please don't look at this room tooclosely," she says, in the manner of housewives theworld over. "We are just moving out to our littleplace in the country today, and are closing theapartment for the Summer. We plan to start thisafternoon, and if you think it is easy to keep a littleboy and a little dog quiet when there is a prospectof going to the country, you just ought to try it.Dick and Ted-Dick is my son and Ted is his dog-are out in the park now working off a little excesssteam before we start."

Miss Skinner seems very much the young wifeand mother as she goes over these details. Inprivate life she is Mrs. Alden Blodgett, wife of aNew York business man, and her home is a matterof very real concern to her. We have come to talkabout the theatre, though, and we soon get herstarted on that subject.

"One experience I missed," she tells us, "wasthat of being stage struck. I know it happens toalmost every girl at one time or another in her life,but the trouble with me was, I knew too much aboutthe stage already! Both my father and motherwere on the stage, and where most girls think ofthe theatre in terms of stardom, champagne suppersand eager admirers, I knew it to be a place of im-mensely hard work, miserable railroad journeys andeven more miserable hotels on the road. When Iwas a tiny baby my mother used to carry me torehearsals in a market basket-a traveling companycould scarcely include a perambulator in its equip-ment-and I knew everything about a theatre fromthe cold water in the dressing rooms to the dust onthe scenery in the wings.

"T WENT to school just like any other little girl.As I grew up, everyone would say, 'of course

she is the daughter of Otis Skinner, and naturallyshe will go on the stage.' But Father very wiselyneither encouraged nor dis- (Please turn to page 56)

How to combine the roles of wife, motherand homemaker with a real career

By TOM REYNOLDS


AMATEUR

He was a slim, fair man in shabbytweeds. Upon him looked hispast-old Russia and Oxford.

AMATEUR hour was just about finished-foranother week. A secretary was alreadymaking lists, another secretary was drum-

ming with impatient fingers against a broad desk-top. Even the audience-glamor-swept thoughthey were by this business of listening to, and watch-ing, a broadcast-was beginning to fidget.

The one man band had come and gone-with aclatter of bells and horns and tin cans. The twoplatinum blondes who insisted that they were twins,had done their dual imitation of the brunette LibbyHolman. The cowboy tenor had sung "Home Onthe Range" and had been applauded to a fare -thee -well by every synthetic Westerner present. Theschool teacher from the sticks had broken down inthe middle of her recitation and had been merci-fully hustled off stage by the handsomest of theushers.

The master of ceremonies presiding over theamateur hour with his ready smile and his readierwit, with his gentle voice and his eyes that wereas shrewd as they were kind-sighed. Mentally,while he waited the appearance of the ultimateamateur, he reviewed the evening's program. Asalways, he found himself wondering where thesepeople were going, and why. Would the vote thatcame in from the vast listening audience mean fameand fortune for any of them? And if it did, wouldthe fame and fortune bring them happiness? Per-

haps, he told himself, the cowboy tenor would be bet-ter off as a janitor-that's what his card had given asan occupation-than as a performer in the nightclub. Perhaps the blonde twins-he sighed againand consulted another explanatory slip of paper.For the last amateur of the evening was being leadforward.

The last amateur of the evening! He was a slim,fair man whose well -cut tweeds were shabby. Withthe tweeds he wore an air of wistfulness as evidentas it was undefinable. He bowed to the master ofceremonies-a slight formal acknowledgment to agreat man and a great man's multiple secretaries.Something in that bow lifted him apart from the restof the group. Suddenly the platinum twins werecheap and the cowboy tenor artificial and the oneman band overly blatant.

The master of ceremonies spoke. Talking withthe fatherly intonation, the intense human kindnessthat characterized his amateur hour, that made itdifferent from all other amateur hours, he asked aquestion.

"Your name," he said, "is Boris Maranoff.You're a Russian, I take it, although we-inAmerica-rather expect Russians to be dark."

The slim fair man bowed once more."Yes," he said in a low tone, "yes, I am a Rus-

sian. After my home and people were-" hechoked back some rising emotion. "I left Russia

Just an episode of anamateur hour, of a lostRussian of the old re-gime, but the famousstory teller gives itdrama and pathos

ILLUSTRATED BYJAMES SCHUCKER

MARGARETSANGSTER

nearly two decades ago," he finished.The master of ceremonies surveyed

the man who stood in front of him. Hehesitated briefly, and then-

"You've scarcely a trace of Russianaccent," he said, "despite your back-ground. But for your name I'd be in-clined to think of you as English."

The fair amateur smiled with a flashof white teeth.

"Before everything was lost," he said,"it was arranged that I should go toOxford. Maybe that is why you wouldsuppose-"

The master of ceremonies was asfrankly puzzled as he was interested. He

leaned forward on his desk. The girl who was hissecretary -in -chief leaned forward, also. The audi-ence, however, still fidgeted. The school teacher whohad broken down in the middle of her carefully pre-pared recitation-she had been screamingly funny.This wasn't even amusing!

THE master of ceremonies was speaking oncemore. He said slowly, almost as though he was

talking to himself:"The old Russia, eh? It seems more than twenty

years ago that the Soviet was born. And Oxford-with its lovely old gray stones and its green lawns,and tall trees. It's a far cry . . . What-" themaster of ceremonies was back swiftly in thecrowded room, interviewing an amateur-"Whatare you doing now, Mr. Maranoff?"

The fair young man spread wide his hands.They were very slender, but his involuntary gesturedisplayed the fact that they were work -reddenedand calloused.

"I," he said, "am a farmer. I work with theearth; I plow the land. That is why I hope tohave good fortune this evening. I am not of afamily of farmers."

The master of ceremonies said: "A farmer, inNew York? That's strange. and out of the ordi-nary. Is your farm nearby, Mr. Maranoff?"

The young Russian (Phase turn to page 56)


Elsie Vete G or d on -who van sound mopelike a parrot than a

real parrot.

yOU hear their voices on the air more oftenthan any others. Yet chances are that youdo not even know their names.

Although they are not in the top flight weeklysalary class many of them drive shiny cars and ownplaces in the country.

They rarely attain anything that could remotelybe called fame outside of their profession. Theysee the name stars rise and fade and disappear andthey go right on working.

Contracts and sponsors do not keep them awakenights, for they are always in demand.

They are the odd jobs people of radio.And when we say odd jobs, we mean odd. The

range of their accomplishments embraces everythingfrom maniacs to. Cheshire cats, with such way stopsas whinnying like a horse or delivering Moham-medan calls to prayer.

They have made a lucrative profession out ofbaby crying. They have raised dog barking to thedignity of a fine art.

As a rule they are Jacks and Jills of all trades.They pride themselves on being able to step intoany role at the drop of a cue.

But most of them have developed at least onespecialty, either by accident or design, for whichthey are known in radio casting circles.

Sometimes they are proud of it. Sometimes itcauses them acute embarrassment. Sometimes theyregard it as a handicap which has kept them fromgreater artistic recognition.

But they will all tell you, some of them defen-sively, some with the pride and satisfaction thatcomes of having attained success in this curiousfield:

"Well, anyway, it's a living!"Usually you will find that they are skilled actors

who have found that a parlor trick, a hobby or a

Bradley Barker-specializes on dinosaurcalls but imitates all kinds of animals.

J tee

TheUnknownSpecialists

By

JOHN SEYMOURDecorations by Ely Ginsburg

gag can be made to pay better in the hurly-burlyof radio than playing "straight."

The casting files are filled with ingenues, hand-some juveniles, even routine character men andwomen.

But where will a harassed producer be able tofind at a moment's notice, someone who can baylike a hound on the scent, or at a given signal turnon the authentic grunt of a pig?

Take Bradley Barker. That's his real name-nota gag. You've probably heard of him. He is prac-tically the dean of animal imitators.

In fact he has been so successful at it that heoften gets billing under his own name and sometimesappears with his bag of tricks as a guest artist, a

Kerstere

Jack Barraket has a radio monopoly ondoing the Mohammedan call to prayer.

distinction not often achieved by the specialists.Barker has played almost every conceivable ani-

mal on the air, from a mouse to a dinosaur-awounded dinosaur at that. But the hardest noisehe was ever called on to make was an elephant'strumpet. It took him hours to get that one.

He uses his own voice for all of the noises, too,with the exception of a lion's roar. The humanvocal chords just aren't capable of that. So heroars into a box to achieve the necessary resonance.

Barker used to be an actor and director in the

Stephen Fox-radio's favorite lunatic.Also a specialist in playing famous nun -

silent pictures. He was once leading man withMarguerite Clark.

He discovered his lucrative gift by accident oneday during the filming of a silent version of "Anneof Green Gables." They were trying to get a shotof a rooster crowing. But the rooster wouldn'tcrow. So Barker began to crow, until the rooster,out of sheer chagrin, responded. After that he wasconstantly in demand to coax moos, brays andmeows out of stubborn animals for the films.

His first radio job was barking like a GalapagosIsland seal on the Ever -Ready Hour. He didn'tstop there, but trained the rest of the cast intobarking like a whole school of seals.

Later, he was drafted to be the barnyard on"Soconyland Sketches."

In the meantime, he had become general managerof the Pathe Eastern Studios, but he kept up hisimitating more or less as a hobby.

Then when the studios closed after the fire heturned to radio more seriously. He saw at oncethat there were a hundred leading men availablefor every animal imitator so he set out to develophis specialty in earnest.

You hear him making noises and playing minorparts on the Bee Lillie and Joe Cook programs.


These odd job people of radio aren't starredbut they earn big salaries. They can imi-tate anything from a dinosaur to a Cheshire

cat, from a cricket to a dragon

But it is on the "Mickey of the Circus" dramaticshow that he is really in his element. There he ischattering monkey, snarling tiger, barking dog-almost every animal known to natural history.

He also did the animal noises for the Frank Buckpicture, "Wild Cargo." Once, at a showing of thepicture, an old lady behind him said:

"My, I wouldn't want that lion anywhere nearme!"

Barker could hardly refrain from roaring to showhis appreciation.

His proclivity for imitations cause him some dif-ficulty in his personal life. He gets to rehearsingaround the house sometimes. Then the neighbors

Sally Belle Cox-cries like a baby, in fact,a whole lot better than a real baby.

accuse him of keeping a menagerie in his apartment.Harry Swan is another radio naturalist who has

been everything from a turkey gobbler on a KateSmith Thanksgiving show to a cricket.

"In fact," he said, "I have been three crickets-all at once. Anyway, I think it was three."

Harry even has a sub -specialty which is dogbarking. He doesn't just go in there and yip. Hemakes a study of it.

He must know the kind of dog he is impersonat-ing, how old the dog is, and what the circumstancesare, whether it is a friendly "wurp" of greeting, ora warning "arp" from a watchdog.

He has been more dogs than you can throw astick for on the Thrivo Dog program. Sometimeshe has to be not only a dog but four or five peopleas well. Then it gets really complicated. On theThrivo show, he has been a dog barking and a manyelling out of the window, at almost the same time.

On Nila Mack's "Let's Pretend" program, he hashad to be a whole pack of dogs, as well as a manescaping from them.

Ray Collins-proud of a unique accom-plishment. He can whinny like a horse.

If you think this is easy, you ought to see himin action. He speaks into the microphone as a man,rushes to a far corner of the studio, barks into hiscoat, and rushes back to the microphone again.

He gets to feeling so sheepish about how screwyhe looks, tearing around the studio, alternatelybarking and shouting that he doesn't like to havepeople watch him broadcast.

For his other animal noises he spends a lot oftime at the zoo to make them authentic. It wasthere he found out that the kind of a noise a deerreally makes is sort of a soft "woof."

The hoarse whoop of a bear is one of the hardestthings to do, because it comes from the solar plexusand is quite a strain on the muscles.

Harry has been making noises in radio since thedays before they had mechanical sound effects. Hewent to war quite young and was gassed, and hethinks the slight hoarseness with which it left himhas helped him sound like animals.

He used to be a drummer in small bands and asa drummer learned how to make backstage noises,like thunder, for the theatre.'

IN one of his shows he met Nila Mack, who laterI sent for him to come and make noises on her pro-gram. Besides the dogs and other real animals,you hear him as the dragon. He just uses hisimagination for that one.

The one thing that stumps him is bird calls. Hehas thirteen canaries at home. He also has sixparrots who all call him "Butch." But he's not sohot on their trills and tremolos. It bothered himfor a while but he's pretty philosophic about it now.

Radio has a couple of bird call experts, though.They are Clarence Straight and Donald Bain. Theyalso run the entire gamut of animal noises. In addi-

Jean Sothern (left, below), does everything from Krazy Kat to leading roles onthe Red Davis program. Georgia Backus (right below), plays stoical radio squaws.

Frank Readick-an able actor, he has themost blood -curdling laugh on the air.

tion to his radio work, Straight also does ducks, dogs,and talking animals for the Disney cartoons.

Ray Collins is one of radio's most versatile dialec-ticians and character actors. But he is also proudof a rather unique accomplishment-his ability towhinny like a horse. Curiously enough, it is theonly animal sound he can make.

A whinny seldom lasts more than three secondson the air. But Collins is often called in to thatone sound because he has built up a reputation forthe most realistic whinny in radio. He has hadyears in which to perfect it for he started at anearly age, imitating the horses on his father's ranchin California. You hear him often on the H -Bar -ORangers program.

Collins may be tops on the whinny, but whenit's whole horse or none, the production men go toGeorge O'Donnell, of the CBS sound effects de-partment. Not only can O'Donnell whinny, he canblow, snort, neigh and whicker as well.

Where he really shines, though, is on the hoof-beats. He does these with halved cocoanut shellsin a tray of soft wet sand.

George says most people are wrong about hoof-beats because they think that there should only bethree beats, whereas there are actually four, two ofthem so close together they can be mistaken forone.

In order to get all the gaits just right-walk, trot,canter, gallop or singlefoot, he has spent days inthe country lying with his ear to the ground whilefriends rode by for him.

He is also one of radio's most accomplished crick-ets. You get that sound, he says, by drawing awhistle of air in through your teeth. The unini-tiated think it should be blown out.

George was once stage manager for Mae West,

Adelaide Klein-specializes on doing slowplodding, inarticulate peasant women.

and later an actor in a March of Time mob scene.He got so interested in the sound effects that heasked a lot of questions and eventually got hiredto help with them.

His most embarrassing moment on the air waswhen he was given the cue:

"Hark! Hear the dog bark!"And out of sheer force of habit, he whinnied!George is very adept at popping like a champagne

cork. He has popped all over a lot of radio pro-grams. But he doesn't (Please turn to page 45)


The Benny line-up: Jack, Frank Parker, MaryLivingstone, Don Wilson and Maestro Don Bestor.

WHEN a romantic tenor leads adouble life, there's usually somescandal attached to it. We hate

to gossip. . . . but everyone knows FrankParker is wedded to his art, which is sing-ing. At the same time he's playing aroundon the side with a fickle dame calledComedy, aided and abetted by all hisfriends, including that wag, Jack Benny.Yet the name of Frank Parker is as unsul-lied as a fresh dish of pineapple j -e -l -l -o.

Nobody who knows him well was sur-pri.,ed to find that Frank could be funnyon the air. He has been the bright youngman of radio ever since he joined the chain gang. He is alwaysfirst with new gags and catch phrases, first with new gadgetsand dress accessories. He can always get a grin from anybody,from the shyest boy up to the grimmest executive. So it wasno news to them when he turned stooge-and then almostchanged Jack Benny into one!

But it did surprise audiences, and sponsors, and movie mag-nates-and that's why Frank needs a manager these days.Offers from musical comedy producers and cinema companieskeep a staff of employees fairly rushed-not to mention theproposal department, which Frank wishes we wouldn't. As faras he's concerned, the phrase "romantic tenor" is a descriptionof his voice, not his character; and he wishes the ladieswouldn't take it quite so much to heart.

"Sure, I'm a tenor," he says, looking extremely romantic."But I'm not very romantic . . . And besides, I'm really atenor with bass habits. Say, you're a good speller, aren'tyou?" he asked anxiously. "Because it would ruin me if youspelled 'bass' incorrectly!"

"Don't chase opportunity,be prepared for it," saysTenor -Comedian FrankParker, not so long agoa Manhattan choir boy

ByMARTHA

JONES

Frank has the world on a string these days. He can fencewith words, and he can "take it" as a stooge on the air. Buthe could not always treat everything with a light -handedtouch. It's just one of the things life has taught him in aseries of stiff lessons, over a period of twenty-six years. Andthat is why, even today, when he is funny he is very, veryfunny-and when he is serious he is almost sad.

In his serious moment, you seem to seeagain the sensitive, dark eyed little Italianboy who left his home on New York'slower East Side one Sunday, to sing inthe choir of the Holy Cross Church forthe first time. You sense his mother'sjoy at hearing her twelve year old son'spure, clear voice raised in a Latin chant.

That was a big day for "Ciccio" andhis family-or at least it should havebeen. But as he left the church, thegang of tough boys with whom he swamaround the docks every day approachedhim with taunts of "Sissy! sissy!" Thewords of praise he had heard insidechanged to ashes. Frank couldn't takeit, in those days. He never returned to

the choir, and four years went by before he would sing again.Now he realizes that he might not have been where he istoday, if his voice had not had that long rest during itschanging period.

FRANK'S father planned an engineering career for him,and he attended public and high schools in New York

with that end in view. In class plays and operettas he re-discovered his voice. No one else in his family had the samepassion for good music, but even with money scarce as itwas in the Parker household there was always enough for"Ciccio" to sit in the topmost gallery seat at the Met andhear his idol, Tito Schipa. And (Please turn to page 57)

Frank Parker has been transforming Jack Bennyinto a radio stooge. This story tells you why.

1G

Special Photographs for TOWER RADIO by Wide World

Tower Radio, September, 1935

Vivienne Segal's life has beentouched by tragedy and ill luck-but she has won a new place

for herself in the sun

pLENTY of radio songbirds find it necessary topinch themselves occasionally (in private, ofcourse) to convince themselves that they are

actually the piece de resistance of important programs.Much ether stardom comes overnight-and all toooften it goes to the pretty heads of those who ex-perience it.

But it didn't surprise Vivienne Segal to find herselfa leading lady in radio. Why should it? She was aleading lady in her early 'teens, when she was, toquote her, "just a red-headed shrimp." Since then shehas always played the lead, first on the stage, then inthe movies, now on two important radio programs.Fame neither confuses nor flatters her; she knows itsfickle ways too well. She takes it tranquilly, grate-fully-and gracefully, as a leading lady should.

She was born in Philadelphia, an only child in awell-to-do family-and from the time she could walkand shake her auburn curls, she had something thematter with her. Although her father was a doctor,a famous diagnostician and specialist in children's dis-eases, he never diagnosed her case properly. It was'Mrs. Segal who realized what ailed Vivienne. Shewas stage-struck! She had apparently never been ex-posed to footlights, but she had a bad case of them.

She was given piano lessons and vocal lessons withthe approval of her father, who thought it quite theproper thing for an eminent doctor's daughter to studymusic with an operatic career in view. It never en-tered his mind that Viyienne had an eye on a stagecareer, or that her mother was secretly delighted withthe child's determination to become a star. You seehe didn't know that his wife had always had thatsame ambition in the back of her mind. It's easyenough for one woman to fool a man, but when twoof them (one with red hair) put their heads together,he might as well quit guessing.

When Vivienne was eight years old, she was electedpresident of the dramatic club in school. Some wayshe and her mother worked in dancing lessons on theside, and at the age of twelve the Segal shrimp wasappearing regularly in the ballet of the famous Phila-delphia Operatic Society. Perhaps you are beginningto understand why things like press notices are no par-ticular thrill to her. In that same twelfth year ofher life, she played Puck in "Midsummer Night'sDream" with charm and utter nonchalance. "Therole," the newspapers reported the next morning,

BROADWAY

STARBy DOROTHY ANN BLANK

Spezia Photograas bi. Ewsraak.

Segal scyr she was "j -st a red-hccoiedshrim ...viten she wade her fiat it on Broad--tuty.

"fitted her Letter than aer tights.' i'mag:r_e her blushesShe was already a great actress hi 7er own min l's Eye-

and she was act far wrong. Her splendid soprano 7312E wasfeatured ii _zany amabir n-oductiois in Philadelphia datingthe next f a -w- years. He poise and t<lcnt were remarkable :aa girl of 13r years; long weary hou-s d practice never tiredher or dimmed the slow sweet smile which is still we of h.greatest c s.

She never wmit through th3 "awkward age." When the wasfifteen, sh.3. was taken cut of the ballez of the Operate Sccietyto sing tie tile role of "Carmen." Sze has never been S3

thrilled be'cre or since, revEz expect: to be again. BLt ceLyan incroaee ceterminat:on to get ou-. Ito Cle world mj tryher wings

1-(HERI. wasn't mu:h tall: abotr it whea Dr. Sep' -vasarm:11:f, lit Vivienne and her r_o:fier planned a week's

"shopping trio" in Net- York soon afte her triumph in 'Car-men." A; soar as they arrived, they started pulling wires foran appo ntment with the Shuberts, o .were casting far a nev;operetta -critter by an anlatown clornoser named Sig,rnanclRomberg. If the great Shvberts .-.Plrise turn to fa.;.- 36,


Back in 1918, on the old New York Globe.Bob Ripley drew his first Believe -it -or -notb\ chance. Now 71,000.000 readers followhi...cries every day in 38 different coun-

tries of the globe.

WHAT are you going to say about a guywho was born on Christmas day, who wasbrought up in Luther Burbank's home

town, who started out to become a professionalboxer and now receives more mail than any otherliving human being?

Well, about all anyone can say is that, believeit or not, his name is Robert L. Ripley. What'smore, that really is his name, and it is signed dailyto the most popular cartoon in the world. The bignews for radio is that after several guest star ap-pearances on the Rudy Vallee and other programsduring the Summer, Believe -It -Or -Not Ripley willstart a new program of his own in the Fall. He re-places Joe Penner and co-stars with Ozzie Nelsonand Harriet Hilliard on the Bakers' broadcast, tobe heard over the National Broadcasting Company'sBlue network on Sunday evenings, starting Octoberfirst.

This brings to radio a man who has visited both1Tell and the Kingdom of Heaven, who has seen,(I, -, ribed and drawn more fantastic and unbelieva-ble sights and facts than any living person. He hasvisited a land where sausages grow on trees, and hehas proved that snakes have hips and that GeorgeWashington was NOT the first president of theUnited States. He has been called a liar oftener thanany ten men you can think of, but he has yet to beproved wrong on any of his incredible statements,and he will gladly furnish proof of any fact usedin his radio broadcasts, his daily newspaper cartoons,or his movies.

Back of the story of all the oddities and marvelsthat Ripley collects is the story of a man, and thatis the story we want to tell now. Who is Ripley,anyway, and where did he come from? How doeshe collect his Believe-It-Or-Nots, and how does hecheck up on his facts? What is he like in privatelife, how did he ever get started in this business,and what is his ultimate ambition? These are someof the questions we want to have answered, and tohelp matters along let's stroll over and meet RobertL. Ripley in person.

Instead of some puffed-up, strutting celebrity wemeet a diffident, almost bashful, and very younglooking man who will be exactly forty-three yearsold next Christmas day. He is solidly built, nowgrowing slightly plump, and his fair hair, pinkcheeks and blue eyes give him a very youthful ap-pearance. His manner is most friendly, and we findhim smiling and agreeable in disposition. We hap-pened to meet him in a studio at Radio City duringrehearsals for the Rudy Vallee program, and he ischuckling with a small boy's delight over the quipsof Tom Howard, who at that moment is rehearsingthe comedy part of the program.

As we talk with Ripley we find he is that rarityin California-a native son. He was born in SantaRosa, metropolis of historic Sonoma county, whichlies some fifty or sixty miles to the northeast of SanFrancisco. He comes of pioneer stock, and we learnthat his grandmother crossed the plains by ox -trainand his mother was born in a covered wagon alongthe banks of the Russian River above Santa Rosa, in

IT -OR -NOT STORYof

BELIEVE -IT -OR -NOT RIPLEYthat gorgeous country that Jack London called those hands could manipulate a pencil and a dry -:-the Valley of the Moon. ing board. His debut as a cartoonist was made at

the tender age of fourteen, when he sold a cartoonAS a growing boy in Santa Rosa, young Ripley to Life. Ripley nowadays blushes at the horrible

went in heavily for athletics, and his first am- pun involved in that drawing-it was entitled "Thebition was to become a prizefighter. He didn't go Village Belle Was Ringing Low" and showed a coun-very far along that line, but later on he became try girl wringing out the week's wash-but Life(and still is!) something of an amateur champion thought it was good enough to accept, and paid himat handball and for a short time-believe it or not eight dollars for it.-he played baseball with the New York Giants. Thus endowed with an enormous fortune of eight

What turned Ripley aside from athletics was the dollars, this fourteen -year -old Columbus of the artsdiscovery that his hands were talented for some- decided to embark upon a career as a cartoonist.thing else besides throwing a baseball or pushing The opportunities in a small California town wereboxing gloves in somebody's face. He found that rather limited, however, and besides, Santa Rosa was

18 Tower Radio. September. 1935

1

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The (loom of liabyf( II efts writt( nrcry which /?i,dis- hai aisThis palace I. -ill looked down opr.xt (Ivno,..or-to-be-)0.-.z:ateit feast of Belshazzar

Crossing the (user( from. Bagdao to ;ran,RivIer came ipon this nomad Bodoniafamily. All ,h z po.,:s.)ss:ons are under thesetents. They 7,J b.. day. 'ravel 'v nigh-

Nuxt to Meeva, f. in Iraq, is thecity in the 1C'arld ti, ilohaminedans,would rather le !Lurie 1 there thar anywhere else. (A moieties sit -round th-- city.

His mother was born in the Valley of the Mconand he has visited Hell and the Kingdom of Heaven

By TOM CARSKADONsufficiently famous as the residence and workplaceof Luther Burbank not to bother much about theunrecognized cartooning genius in her midst.Ripley thus devoted his talents chiefly to the blankpages in the front and back of his schoolbooks,and to drawing posters for school dances and ath-letic events. When he reached the ripe old age ofseventeen, a very handsome young woman cameto board at the house next door to the Ripleyhome. She happened to notice Robert sitting outunder a tree (when he should have been hoeingcabbage in the back garden) and she asked himwhat he was doing. For answer, he held up adrawing board.

The young lady was greatly impressed. She hap-pened to know the editor of The San Francisco Bul-letin, H. L. Baggerly, and on her next trip to thecity she went in to see Mr. Baggerly and spoke soglowingly of her discovery that the editor was in-duced to offer Ripley a job on The Bulletin.Young Ripley could scarcely believe his own earswhen she came back with the news, but in duetime he set out, with high hopes in his heart, forthe big city and for the paper that had given astart to two famous cartoonists, Tad (T. A. Dor-gan) and Rube Goldberg. The small town boy wascertainly traveling in fast company!

ALAS, he had scarcely got started in his newjob when the axe descended and he was fired.

This disaster turned out to be a blessing in dis-however, for he immediately went righthe street and got a better job on The San

I t ti Chronicle. He was put to work underHarry B. Smith, who is still on The Chronicle,one of the ablest and best liked sports editors inAmerica. Smith set Ripley to work illustrating aspecial series written by W. 0. McGeehan, thusreleasing Harry Herschfield who had been doingthe McGeehan illustrations and was eager to getstarted on a new project of his own.

A

Ripley made good on The Chrot, 'c, and, afterinch in r tr his salary from the $8 per week at which

r started him to the $20 per week TheChroni, , was now paying him, he decided the timehad come to ask for a raise. This was all very well,except for one slight detail. The owner of TheChronicle, that gruff and sturdy old personal jour-nalist, M. H. De Young, happened not to agreewith Ripley. This was sad indeed, for the re-sult of the interview was to leave Ripley once morefree to accept any jobthat came along-if hecould find one.

Friends on TheChronicle staff ralliedaround and got Ripleya commission to illus-trate a book of rem-iniscences by an o 1 dbarnstorming actor,Joe Taylor, for whichhe was paid $100. Withthis to buck up hiscourage, Ripley de-cided to make the greatplunge and go to NewYork. He had a letterof introduction toRalph Renaud, then areporter and later man-aging editor of The(Please turn to page

54)

Want to see real pov-erty? Bob Ripleysays this beggar ofKasvin, Persia, is theraggedest m a n he

ever set)

Above: Ripicy reports that the br,,a: I r,,val Co in-bodian dan,,,rs of Bangkok. Siam. (lip th, ir fay, inwhite flow before they start their perfortnno,,,s.

Left: Bob Ripley declares this to be the anthenti,Tree of Life in the Garden of 1;1) rep,garden to be at the junction of fin.! I II-

phrates rivers. not far from tit,, I', ;Oh.

Right: Bob Ripley close to the !hr.Center of the nircrse. This is within theSepulchre in Jerasalem, the sacred goal of so noon

crusades and pilgrimages all through history.

4;

1.,itver Radio, Si 1935

LASTMINUTE

KIDyOU know those stories about the little under-

study suddenly achieving fame and fortunewhen the star has a bad cold and can't go on.

Well, Lucy Monroe is the original last minute kid.She's all those stories rolled into one. Except onceshe wasn't even an understudy. She was just achorus girl and fifteen minutes before curtain . . .

But wait a minute-that incident comes later.It was Fate which brought Lucy to the theatre.

She could no more have kept off the stage than a boycan keep out of the jam pot. The stage was in herblood and yet had her father lived she might rightthis minute be taking dictation instead of singingto you over both the National and Columbia net-works.

Lucy's mother was Anna Laughlin, a soubrette ofthe early nineteen -hundreds. In "Wizard of Oz"and other extravaganzas she sang a little and danceda little and was-being just five feet tall-reallypretty cute, and then Anna Laughlin married a dia-mond and pearl importer and, as so often happenswhen an actress marries outside the profession, sheretired from active stage work.

Occasionally she came back to the theatre to playfor a few weeks, but her husband did not approve,and when their daughter was born he insisted that

Learn toLISTEN

Howard Barlow believesjazz is the slang of music

" F anyone tells me, generally with a sicklygrin," says Howard Barlow, director of theColumbia Symphony Orchestra, "that he

cannot understand the great composers, but that heknows what he likes, he has given me a blueprint ofhis makeup. What he really means is that he eitherdoesn't want to understand fine music, or that he'stoo lazy to learn, or, saddest of all, that he is men-tally gaited to appreciate only such melodic gems as`Sweet Adeline.' In any case he might as well beleft wallowing in his sea of ignorance, for it wouldbe a waste of time to throw him a lifebelt."

Plain words, you see, but they come aptly enoughfrom one who sounded his first A in Plain City,Ohio, and lived there until, at two years of age, hepersuaded his parents to move over to the more in-

tellectual atmosphere sur-rounding the college town ofUrbana.

"On the other hand," con-tinued Mr. Barlow, emphasiz-ing each word with a rap onhis desk, "give me thoseothers, especially the ladies,Lord love them, who are gen-erally more sincere in theirdesire for self-improvement,and I could play for them allevening. To them I wouldsay, if you want to learn, firstlearn to listen. Hear all thegood music you can. Soak itup the way you would absorba sunbath, and after a whileyou will find yourself a newand better person to live with.Let the average modernwoman keep listening, and herinner beauty-the beauty of

Anna give up the stage completely. Also he wasdetermined that Lucy should not follow in hermother's light footsteps.

Even when she was very little the child had anaturally sweet and naturally skillful voice, butevery note she sang brought pain to her father, whofeared she might choose the theatre as her profession.

One evening at a summer resort a group of hotelguests, thinking Lucy a cute kid, asked her to singfor them. And she, like all children, eager to showoff, stood up on a table and entertained them.

Right in the middle of a song her father cameinto the lobby. She saw at once the scowl that cameover his face. Of course, she realized that she haddispleased him, but how she did not know. Andthen he came toward her and with one commandinggesture lifted her off the table and sent her to bed.

The next day he told her that she must never,never as long as she lived sing or dance for anyone.

Yes, Lucy was thoroughly squelched and if evershe had entertained thoughts of going on the stageshe put them completely out of her mind.

WHEN she was thirteen her father died and afew years later, both she and her mother took

stock of the family finances and realized that moneywas badly needed. Lucy must go to work and theonly way her mother could help her was to intro-duce her to the theatrical friends she had.

And so she went into the (Please turn to page 38)

Lucy Monroe became astar on a moment's notice

By NAN CAMPBELL

the soul-will come to match that of her outwardappearance."

That is Howard, the old symphonic smoothie,talking now. Give him time, and this earnest, selfeffacing young man who worries lest he be mistakenfor an inaccessible highbrow, could talk a MaeWest addict out of the lineup for her latest bit ofcinemagnetism and steer him into Carnegie Hall.This gift of eloquence got its start when he used towangle an old pawnbroker at Mount Carmel, Illi-nois, into selling him various musical instruments ata loss.

From there the family headed westward, for Bar-low, Senior, being in the lumber business, found itnecessary to go where the forests were thickest. Butto the parental eye Howard seemed a bit frail, so hewas sent to a cattle ranch near Denver for a tough-ening process, while the family moved on to Port-land, Oregon. Music faded into the backgroundunder the sweep of Colorado sun and sky while theyoungster grew up in an ideal boy country. There,where the only nocturne is the strangled wail of thecoyote, he might have been surprised could he haveseen ahead.

Twenty years later his baton was to guide an or-chestra through the maze of brilliant melody that isthe "Ballet Egyptienne" in the very first programof the Columbia Broadcasting System. Howard willdiscuss that program today with as much enthusiasmas if it had occurred only last week, and then, fear-ful lest he grow too lyrical, he will mention a hithertounknown sidelight. The new studio was incomplete,no control room having yet been built, and the soundengineer went looking for a place to set up his port-able control apparatus. He found one, wires werelaid, and the newly born (Please turn to page 61)

By JOHN PROCTER


Keep On TryingBob Lawrence is not satisfied half way up

the ladder of success, his goal is top

B' OB LAWRENCE, baritone light of the PaulWhiteman program, is a professional singerin spite of himself. It is quite believable

that his father and mother, both voice teachers, in-spected their son the day he arrived down in shad-owy New Orleans, and decided, human nature beingwhat it is, that he was going to be different. Theygave him singing lessons as a matter of course, butthat came under the head of culture, and when Bobdid his share of piping at parties and church socialssuch antics were viewed without misgiving. Evenwhen, at nine, he undertook to coax sweet music outof a violin, it was held to be no more dangerous asign than that he would always have a hobby.

Life flowed smoothly by for the Lawrences whenthey moved to such diverse localities as Birmingham,Alabama, and Cos Cob, Connecticut, and by thetime Bob graduated from Rutgers he had chosenthe greasiest way. This meant a career as a petro-leum engineer, and for several years he pursued famein Pennsylvania and Canada, not omitting to keephis bathroom singing up to the mark, for Bob is oneof those lithe and handsome six footers who do nothave to shrink before the stark intimacy of a shavingmirror.

About this time a well known song and dance team

Out of theWEST

VIRGINIA VERRILL, radio's youngest andbluest of "blues" singers, is fresh from Holly-wood where she sang on that popular West

Coast program, -California Melodies." Hollywoodand New York are swapping talent these days.Actors sweep westward toward the movies-andradio entertainers come East for big contracts. Sofar -California Melodies" has given us Bing Crosby,the Boswell sisters, and Vera Van. Now it's Vir-ginia Verrill, and from all reports she is going tosing some of our famous "blues" singers into thebackground.

Virginia's first public appearance dates back to thetime when she was three years old. Paul Whiteman,who was a friend of the Verrills, lifted her up onthe bandstand to croon "I Never Knew I Could LoveAnybody." That was fifteen years ago, and Virginiahas been singing ever since. In fact, she ate herspinach with amazing rapidity whenever mamapromised to teach her another song.

As she grew older, her voice grew lower, and Mrs.Verrill, who sang contralto herself, listened with dis-may to her little girl's attempts to carry a tune. Nosong written was low enough for her tone range.She tried to discourage her, but she was hardly theperson to influence her along those lines. For yearsshe herself was in a vaudeville act, and later becamepublicity director for the Pantages Theatres. It

began to loom large on the hori-zon. Always unpopular, but ap-parently quite able to do theirstuff without the aid of applause.Old Man Depression and MotherNecessity came clumping intoBob Lawrence's consciousness and forced him tolisten to their act. In other words, his job went theway of yesterday's tabloid. Then came an intervalas counselor at a boys' camp in Maine, but Bob be-gan seriously to limber up his voice, and from the setof the Lawrence chin you gather that he went at itin earnest.

-Ancestry helped me there, I guess," says Bobthankfully. "One side of our family had some crossgrained, stubborn Scotch away back in the past, andwhenever I felt like quitting, those old Highlanderswould gang up on me, and keep me from being aflop. But after I did get my voice in shape I beganto wonder what I would do with it."

Reason enough for that. The mysterious, ineffi-cient gods who attempt to regulate supply and ,de-mand always seem to be stocked with more person-able baritones than the market can absorb. Ob-viously, the most needful thing for Bob was a break,and, characteristically, he forced the first one for

himself by tramping around from place to plate untilhe got a job entertaining in a Greenwich Villagecafe. Having a sense of humor, he didn't allow thearty and crafty atmosphere to upset his balance, andafter a while Break Number Two came through theclouds.

"The village attitude toward life was a spur tome," is the way Bob puts it, "not because I agreedwith it, but because it disgusted me to see a lot ofyoung people sitting around talking frustration andenvy, and singing the blues about a world theywanted to conquer without a struggle. It all lookedoff center to me, so when the WTIC directors camedown from Hartford to (Please turn to page 40)

BySTEWART ROBERTSON

was she who conceived the idea of presenting theiracts on the air. She was master of ceremonies forthe hour-and sang the opening and closing num-bers. Virginia sat at home with her little chair closeto the radio, listening to her mother's voice anddreaming of the time she too would sing to an un-seen audience.

Mrs. Verrill had other plans for her. She wantedher to play the violin beautifully, to go to college,and there find out what she was suited for. Virginia,in her usual accommodating way, did learn to playthe violin, but she kt pt on singing to please herself.By the time she was graduated from high school inthe Spring of 1934, Mrs. Verrill decided that it wasbest to let Virginia do what she wanted to do most.

At the age of fifteen Virginia Verrill got her firstjob. Barbara Stanwyck was making a picture forColumbia called "Ten Cents a Dance" in which shewas supposed to sing. At the time when the pro-ducers and director were wondering what to doabout the fact that the star had no voice, a memberof the studio happened to attend a high school con-cert. The representative then and there got a brightidea. That Verrill girl with the deep voice couldhelp them out of their difficulty. They could useher voice in place of Miss Stanwyck's, and the pub-lic would be none the wiser.

Virginia received $50 for singing something thatBarbara Stanwyck later appeared to sing in the pic-ture-and a precedent was established. It had neverbeen done before. Now "dubbing voices," as it iscalled in movie parlance, (Please turn to page 50)

Virginia Verrill first sangat the age of three and now

she is a radio star

By EVE BERNSTEINTower Radio, September, 1935 21

z.

New clothes-bright and shiningwith metal highlights

I 'h t.graph, left,-Vet Boswell, viva-cious member of the famous trio, picks,for afternoon, this tailored Cellophane -striped crepe with lavish monkey -fur trim.Above, left to right, sketched: A form -fit-ting sports coat for the crisp fall days.Shadow -plaid Kragshire woolen with a tabheneath the chin for football weather.

Next: A Cross Fox trimmed afternoonensemble with cape -sleeved jacket. Thedress has a full, shirred bodice and a slimgored skirt. And another afternoon dress,gay with lame ascot, vestee and cuffs witha bright note of color in the eyelets of thePersian -cut bodice. Last: The first wooldress of the on -coming Fall, a soft, brushedwool plaid. The neckline is high and isfastened with a button link. The sleeve -and -front and sleeve -and -hack are set inOne to route bulkiness.

Photograph. above, Miss Boswell again.in a Contour Crepe afternoon dress of

peasant origin. Cartridge pleats hold thefull bodice to the raglan yoke. Rich metallattice embroidery on the bodice andsleeves indicates the more elaborate trendof Fall clothes. Upper right, sketched:Metal again, in the inlinidered epauletmedallions of this Ater -noon ilre,s. Thebishop sleeves are held in place by cart-ridge pleats and the blouse is full, with astraight peplum. The fabric is satin -

backed Rough one Crepe.

Sketched right. below: A stunning eve-ning gown with a gold striped chiffonblouse and chiffon skirt over satin. Thecollar is a stand-up Chinese affair fastenedwith chiffon frogs duplicated on the belt.The blouse and the skirt end in fish tailsin the back. Ph.,,,,,:zraph, right: Vet Bos-well's afternoon fri.ek of Cera Crepe, verywearable, quite F,g ptian, a rag of a dressin the hand, but quite something when youput it on. Tucked metal bands make thewide sleeves and the girdle. The skirt isdraped. harem fashion, and wraps around.


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At the left is the BlancheSweet of today. At t h eright Miss Sweet as she wasin an old film. "I'm hap-pier today than I've everbeen," she says and herreasons give an interestingsi a n t on a picturesquecareer started at the age of

sixteen months.evIrer .3ervire

At 38 Blanche Sweet,after all sorts of heart-breaks, comes up smil-ing, starting anew in

radio

MARY JACOBS\\ I, \ TY-FIVE years ago, Bio-graph Films offered fourteen -year -old Blanche Sweet $100 a week to

accompany them to Los Angeles, wherethey wanted to open a motion picturestudio. There you could actually takeoutdoor summer scenes in the Winter!

Now $100 a week was a fabuloussalary for a girl who was getting $20 aweek as an extra. You or I would havejumped at such a chance.

But simultaneously Gertrude Hoffman,the dancer, offered Blanche $18 a weekto dance with her troupe. And Blanche,without a moment's hesitation, acceptedthe $18 a week offer.

"I like dancing better than acting,"Blanche Sweet tod me. "And moneyhas never meant very much, to me. Justas long as I made enough to get alongon, that was all that mattered."

She hasn't changed very much in thisrespect, throughout the crowded quarterof a century that has followed. A yearlater she was to accept the Biograph of-fer, go West and make history as one ofthe finest screen stars of the early days.She was to become phenomenallywealthy, with the world at her feet.Then she was to meet reverses: in herhealth, in business, in her home life, andto sink into dire poverty.

DAY, at thirty-eight, she has comeTODAY,smiling and is beginning all over

again. Building stardom in a new me-dium, radio. You hear her three timesa week, on the Outdoor Girl program,

relating her experiences with famous motion picturestars, letting you and me in on the secrets of howthey become beautiful and keep themselves youngand attractive.

She told me, "Money never brings happiness.Too much of it destroyed mine. It's silly to nrayfor great wealth. That's been my experience, any-way."

One of her many experiences, since she began herstage career at the ripe age of sixteen months oiluenher mother, Pearl Alexander Sweet, dancer andactress, died, leaving the infant Blanche for Grand-mother Alexander to care for.

Mrs. Alexander didn't know what to do. Shehadn't worked a day in her life. But she had trav-eled around with her troup- (Please turn to page 46)


THE BOYTHE WORLD FORGOTIHAVE just heard one of the most poignantly

pitiful stories that has ever come to these earsof mine.

And there is no reason for the victim's plight-unless you consider the ruthless lack of appreciationthat follows in the wake of true accomplishment,and the amazing stupidity on the part of people whodon't but could right such wrongs.

But-no-the crown prince of the Americantheater is dead-the stage's and the silent screen'sgreatest juvenile star is denied a hearing. At least,so say those in authority.

All of which may sound ambiguous to the reader.So I will tell you a story of a boy from Highland

Mills, N. Y., a raw untrained lad who, wonderfullygifted, came to New York City, unheralded, andunsung, and in a short time rose from Zero toZenith.

Glenn Hunter, the ace of American juveniles, tooksuch a flight. Public adulation and the applause offriends followed him for many years in season afterseason as success followed success in such plays as"Clarence," with Helen Hayes, "The IntimateStranger," "Merton of the Movies," "Behold ThisDreamer," "She Stoops to Conquer," with Mrs.Leslie Carter, "Pollyanna," with Patricia Collinge,"Young Woodley," "Trial of Penrod," "WaterlooBridge," "Peter Ibbettson," etc., etc.

And during the same period he made twenty-twosilent pictures, including "West of the Water

. Tower," "The Silent Watcher" and "Merton of theMovies," all of which brought him further laurels.

But Glenn can now tell you the story of morethan a rise from Zero to Zenith, he can tell you thealmost hopeless task it is to rise again after the fallfrom Zenith. It is even more human and appealingthan the many songs which have been sung abouthis rise to the heights.

As he says: "It is one thing to work your wayup and arrive, but it is quite another thing havingarrived to toboggan down and have to start the longtrek upward all over again."

TODAY Glenn is facing the long trek upward.He must start all over again. For through some

weird streak of fancy those who control the talkiesand the stage cannot see Glenn nor a place for him.There is no spot apparently for the popular juvenile,who was the crown prince of players, and who onthe stage and in the silent films made dramatic his-tory and never gave a bad performance.

We asked Glenn to give us his reason for his un-warranted dip into oblivion.

"I guess," he opined ruefully, "I am a good deallike the boy soprano who had the world at his feetuntil his voice cracked and changed. Later he triedto climb back into his former place as a tenor butnobody could see him. I was stamped as a juvenileand now that I am no longer a youngster (he isonly thirty-six), I can no longer play juveniles andthey will not give me a chance at anything else.

"I went out to Hollywood where I enlisted some- old friends in my behalf. I am an actor of wide

experience and capable of winning some sort of aspot in character roles if I am given half a chance.But in the past three years of oblivion everyoneseems to have forgotten me. Hardly anyone knewme. I waited outside offices for hours and in manycases never even got a hearing. It is curious tothink," he added, "that it is only a few years agowhen the mention of my name would open all doors

Glenn Hunter's luckcarried him to thetop and to the bot-tom. Now radio isgiving him anotherchance. Above,Hunter as Merton.

By

IIALHOWE

A famous Broadway and Hollywood star not solong ago, Glenn Hunter is making a comeback

and I would have been passed quickly enough to thevarious 'throne rooms' of the same outfits.

"I do not want you to think I am a sorehead.But there have been times this year or two when itseemed as if the end of the world had come and thewhole industry was against me. There were eventimes when I sat in front of my little beach houseat Santa Monica and wondered if it would not be agood thing for me to learn what it was the sad seawaves were saying. But I revolted at the idea.If I meant nothing any longer on the stage andscreen, if I had been dropped off many social lists, ifthose who had borrowed hundreds from me nolonger were 'at home' surely back in New York Imust have some friends left.

"But in the big town and along the Great WhiteWay, where my name had been up in lights formany years, I met the same fate. So-called friendswhom I had helped in my heyday hurriedly crossedthe street when they saw me coming. Others avoidedme expecting a touch.

"So I came down to earth as far as friendships

were concerned. An unlimited circle simmered downto eight persons who were loyal and helped. Andone of these was a fan who had followed mycareer for years and became a friend. One daywhen I was at my lowest he wrote me out of a clearsky that not hearing from me lately and not seeingme cast for a play or picture he figured somethingmust be wrong. He enclosed a check for two hun-dred dollars and asked me to call it a loan or any-thing but please not to send it back. He said therewere hundreds like himself who waited for my re-turn to grace and please not to run out on him. IfI wanted more funds to write him.

"HIS note galvanized me. I made up my mind tocall it a day as far as being through was con-

cerned and start all over again. Several times I hadbeen a guest star on the radio during my flare andliked it. Why not follow that line for a change? Butno one was interested Apparently I was as dead inthat field as in the others. But I really laughed thatoff and a few days later I (Please turn to page 53)


Photograph fcrTOWER Rota:)by Hide JVori

TheRomance of theLOMBARDOS

E'S a great Guy l " That's the way a storyabout Guy Lombardo usually starts out.I wanted to make this lead different. But

I'm afraid I failed. For having known him inti-mately for almost seven years, I still can't think ofanything in a few words that is so typical and ex-pressive of this purveyor of smooth melodies than torepeat-"He's a great Guy."

Let me first tell you a little yarn about Guy Lom-bardo that never found its way into print before.Back in the days when Benny Friedman was an All-American quarterback at the University of Michi-gan, Guy Lombardo and his Royal Canadians pro-vided the music at one of the school's major proms.It was the kind of evening that every undergrad-uate loves to idealize-pretty girls in lovely frocks,

handsome escorts, decorations de luxe, a helpfulmoon, stars and all that sort of thing - and, ofcourse, superb dance music. Friedman, the footballidol, and Lombardo, the band idol, struck up a fastfriendship. After the strains of "Auld Lang Syne"had closed the night's festivities, Guy and Bennycemented their new-found friendship with a fewdrinks. An observer might have thought these twohail fellows, just met, were a modern Damon andPythias. As they made their way across the col-lege campus they unloosened their sentiments on lifeand matters in general.

"You know, Guy, old fellow," spoke Friedman,"I'd like to get married some day soon. Don't youthink it'd be a good idea for me?"

"Say, Benny," replied Comrade Lombardo,

"you're a swell fellow, but you're too good an athleteto do that. Athletics take up too much of your timeand interest. You'll never get married."

"Gosh, do you really think so, Guy?" asked thefootball man.

"I just don't think you're the marrying kind, myfriend," opinioned Lombardo, "and to show you thatI think so, I'll tell you what I'll do. The day youever get married-I don't care where we are-theband'll play at your wedding. And there won't beany cover charge."

Three years ago Benny Friedman got married inWestchester, New York. The marriage took placein beautiful garden surroundings. Benny furnishedthe ring, and Guy Lombardo and his Royal Cana-dians furnished the music. Guy and his boys tray -


Here is a story of brotherly love thatbrought its reward in riches and fame

By BOB TAPLINGER

Illustration byErerett Shinn

eled two hundred miles after a late night engage-ment to be on hand for the noonday merger. Hehad kept a passing promise.

Not an important happening, to be true, but onethat tends to show "he's a great Guy." There areothers, too.

While Guy will readily admit that he occupies alofty pinnacle in the realm of dance rhythms-aswho won't-he's also the first person to kid bis ownrenown. His sense of humor encompasses himself.He told me what had happened just a few days be-fore.

He took his boat, "Tempo," up the Hudson Riverfor an outing. Docking at a yacht club pier he leftthe craft in charge of his captain. An employee ofthe club, an old-timer, asked Guy's captain the iden-tity of the boat's owner.

"Guy Lombardo," replied the captain."Oh yes," was the answer. "The big banker.""Can you imagine that," was Guy's epilogue.

"Ten years on nationwide hookups and someonethinks Guy Lombardo's a banker."

As a matter of fact, though, when it comes tofinancial intake, Lombardo's income bears muchsemblance to that of a banker's. Since he cameinto national popularity in 1928, when his soft,smooth syncopation first was wafted over the Co-lumbia System, Guy has been the premier money-maker among all the orchestras. He's made musicalnotes pay even greater interest than banknotes.

After a year's absencefrom his Alma Mater-Columbia Broadcasting-during which time hefulfilled commercialduties on theNBCchain,Guy has brought hisbrothers and his othermusicians back to theirold stamping grounds.He's heard every Mon-day evening now, broad-casting for the goodwillof Esso products, spon-sored by the StandardOil Company of NewJersey. His pay for thishalf-hour tops any sum he has made before. Whileother orchestras have their trials and tribulations-hiring and firing musicians and soloists, encounter-ing union difficulties, and trying to weather thevicissitudes of the business, the Royal Canadianscontinue blithely on their way, winning added tri-umphs with the style of music first set by them-selves.

It's one type of band that doesn't play any andevery type of popular music that happens to become a vogue. There's a distinctive "LombardoStyle," and unless a composition is suited for theirbrand of music it isn't even considered.

Left, the Lombardoson the roof of NewYork's famous hotel,the Waldorf-Astoria.Below, the Lom-bardo brothers: Vic-tor, Leibert, Carmen

and Guy.

Photograph by Bert Lawson, Columbia

icI X THEN we formed the Lombardo orchestra," our endeavor then, as today, was to get a

distinctive tone quality. You see, every composi-tion has a melody. We try to take that melody inits simplest form and give it a frame. Instead ofobliterating the melody, with unnecessary soundsand rhythm, we try to keep it simple, and to stressit, so that it stays in the listener's mental ear longafter he's heard it with his physical ear."

"Suppose," I asked him, "there should be a radicalchange in the type of music popular with the Ameri-can public. Would you change your orchestra andyour style to conform to (Please turn to page 48)


DICTIONMEDAL

THE twenty-two piece orchestra built thetheme song up to a stirring finale, the blondecontralto blended her voice with the tenor of

the Purid Dream Man in one triumphant note-andthen a sudden silence fell upon the studio. A youngman in dinner clothes stepped up to the microphoneand talked into it ingratiatingly. His voice wasresonant and the syllables fell from his lips smoothly,with perfect articulation.

"And so concludes the first of a series of programssent to you by the makers of Purid Products, theworld's finest pharmaceutical goods. Remember, thename Purid' on every package is your protection!Be sure to listen to our program next Friday nightat this same time. This . . . (and he hesitated animperceptible fraction of a second) . . . is a Puridprogram!! . . . Okay . . . off the air!"

Immediately the studio was a babel of voices.Friends pressed forward to congratulate the PuridDream Man and the blonde singer. The engineerappeared from the control room and began puttinghis microphones away from the center of the studio.The musicians stood up and noisily passed ribaldremarks to one another as they packed the instru-ments into their respective cases.

John Byron, the young man in the dinner jacket,and recent winner of the Radio Diction Medal, care-lessly stuck his script in his pocket and airily madehis way out into the foyer. At the hostess' desk sata smart young lady toying with a pencil.

"Hello, Gorgeous!" Byron greeted her with aneye of appreciation.

"Hello, Don Juan," replied Anne Miller. "How'dit go?"

"Perfect-couldn't have been better.""Not worried about saying it any more?""Saying what?""This is a Putrid Program.""Listen, baby, I was never afraid of saying that.

Some of the boys around here are trying to rib me,that's all."

"But, John-it would be so easy to say 'Putrid'instead of `Purid.' You must be careful. . . . Theboys are telling you for your own good."

"They're still sore because I got that DictionMedal the first year I was here and they're ridingme, that's all."

"Just remember that Frank Travis lost the Pyo-rene account because he said-`This program comesto you through the courtesy of Pyorrhea.' "

"That was Frank Travis. . . . I'm John Byron!""The great Lord Byron! Oh, John, why don't

you cut it out and be yourself."

"IAM myself, Beautiful. Can I help it if I'mgood? Give me plenty of tongue -twisters. I

eat 'em up. You'll never catch me saying 'Putrid.' ""Oh, you're impossible!""Nope . . . just improbable. How about a bite

to eat when you get off at eleven?""Listen here, John Byron." Anne looked the con-

fident young man up and down slowly. "When youget deflated, then come around and I may talk busi-ness. Right now-you're-you're-insufferable."

And with that she picked upher purse and fled to the modern-istic solitude of the ladies' lounge.Byron looked after her, faintlytroubled, but then his browcleared and with an amusedlaugh he strolled over to the ele-vators and in a moment disap-peared through a chromium -plated door.

A few minutes afterward theannouncers' room was the sceneof a heated discussion. It seemsthat Byron's remarks had beenoverheard by a colleague, who hadrelayed the conversation to hisfellow announcers.

"Somebody ought to take thatbird down a few pegs."

"Ever since he got that damnmedal, it's gone to his head."

"He told me last night he nevermade a mistake."

"He's too blasted cocky.""The worst of it is-he is

good!""Yeah-good and lousy!""Somebody ought to teach that

guy, a lesson.""How about it, Frank?"All eyes turned to Frank Stan-

ton, dean of announcers, stoutish,erudite, affable and an old hand in the business. Theoracle spoke.

"For his own good, we've got to teach Lord Byrona lesson. By the time we get through with him, he'llsay 'Putrid'!"

And for several minutes thereafter their headswere together in earnest conversation.

It was only the next evening after a session with

the microphone, that the Purid Announcer, whiteascot muffler about his throat and ebony cane underhis arm, paused at the hostess' desk to speak to Anne.

"Hello, Gorgeous. Still mad?""Good evening, Mr. Byron," Anne replied coolly.

"Here': a telegram just came for you.""Brr. It's cold in here.""This will warm you up. It's undoubtedly a wire


4[1.118.59,343*.

The famous radio humorist writes his firstshort story-and it will give you a grandlaugh. It's a yarn of a dashing, cocky air

announcer called Lord Byron

colookatiAto.y.t. Lips,

"Hello, Gorgeous, stillmad?" asked the PuridAnnouncer, as he pausedat the hostess' desk.

"Good -evening," Annereplied coldly. "Here'sa telegram for you."

telling you how good you were . . .""You're telling me."Amused, Byron opened the wire and

read it. Then he threw it on the deskand laughed. "There's a bunch of catsback in the announcer's room-get this."

Anne was about to toss it back to himwhen she caught sight of one word. Sheopened it out on the desk and stared at themessage.

"SOME DAY YOU WILL SAY PUTRID.""Oh, John . . . that's horrid of them.""Don't worry, Baby. I can take it.

They're just wasting their money onwires."

"But, don't you see-if they keep this up-you'llget it in your head-and-then-you will say it."

John Byron laughed loud and long. "The boy an-nouncer never makes a mistake, Beautiful. Howabout a Planter's Punch over at the Weylin?"

Anne threw the wire back at him. "That's a swellidea, Don Juan. You go right over to the Weylin

By

RAYMONDKNIGHT

ILLUSTRATION BYCHARLES LA SALLE

and sit up at the bar and look straight ahead.""What do you mean?""There's a nice big mirror there and you can get

a splendid view of yourself.""But listen, Anne . . .""No, I won't listen. That's all I do-and that's

all anyone does-listen to you talking about your-self. You-you-oh-you make me sick!"

"But you said you liked going out with me.""Well, I don't, and that's final.""Anne, please . . .""No! When you get over your cockiness, come

around and let me know. Until then please . . .

leave me alone!"And once again, she was gone.

THE following week the Purid Program went onthe air and signed off successfully. The blonde

contralto sang hoarsely bluer than ever and the tenorcrooned softer than usual. With an air of carelessnonchalance, the Purid Announcer signed off with-"This is a Purid Program!"-and thumbed his noseat the two announcers he saw watching him throughthe control room window.

As he left the studio, Anne called impersonally-"Telephone Mr. Byron." Another fan. . . . Oh,well.

"Hello?""Hello, Lord Byron?" (A strange man's voice

. . . strange, yet somehow familiar.)"Yes, this is Byron.""SOME -DAY -YOU -WILL -SAY -PUTRID!""Hello . . . hello . . . who is this? Say, you big

stiff, if you think . . ."But the caller had hung up. Byron was about to

burst out in indignation to Anne, then suddenly hecaught himself. Maybe, if he started talking aboutit-it might-He threw off this idea and turned tothe hostess' desk. But Anne, her back ostentatiouslyturned to him, was talking to a page boy. Byronshrugged his shoulders and moved off into the night.

The third week there was another telegram . . .

the fourth week a second telephone call. Each onesaying-"Some day you will say 'Putrid'!" Then theletters began coming in his fan mail. In differentkinds of envelopes, with typed addresses and withhandwritten ones. It seemed to Byron that there wasa steady stream of letters, each containing only sixwords-"SOME DAY YOU WILL SAY PUTRID!"

At first he treated them contemptuously. He hadsomeone else read his fan mail first. Then the warn-ings assumed other shapes. One morning he openeda large parcel post package to find in it nothing buta typewritten slip of paper saying-"SomE DAY YOUWILL SAY PUTRID!" He found one in the top of abox of candy and one in a cake sent by messenger.

Week after week they came, and still his cockinessdid not desert him. One night he had a dream inwhich an electric sign flashed and typewriters rattledand ticker tapes clicked-all bearing the words-"SOME DAY YOU WILL SAY PUTRID!" Finally he beganto imagine that people were saying it to him on thestreets, and once he could have sworn that a girlleaned over the top of a passing Fifth Avenue busand shouted-"SOME DAY YOU WILL SAY PUTRID!"

The weeks rolled on. Anne was still icily polite.The announcers were still watchfully wait-ing. And Lord Byron was still. . . . Yes,he was still confident.

ANDthen came the big news! The end

of the thirteen weeks contract was ap-proaching and the rumour was that theprogram had been so successful that PuridProducts was re-signing for fifty-two moreweeks! Byron figured hastily. Fifty-twoweeks at fifty dollars was . . . $2600.Twenty-six hundred to be added to hismodest announcer's salary. He could getthat car-pay some debts-and have plentyleft over. He was walking on air . . . atlast he was cashing in on that medal . . .

and then suddenly, he remembered theweekly messages. Damn them . . . Damnthem all! He'd show them! He'd showAnne!

Three weeks passed. Still the hidden handworked, and to Lord Byron's amazement one Fridayevening he almost slipped. The following week hehesitated a bit longer before he said . . . "This is a. . . Purid Program." That night he broke into acold sweat as the end of the program approached.

Finally it was there . . . the last program of thefirst series. The new contracts were to be signed atthe conclusion of the (Please turn to page 52)


FALL is almost here again! The short wavelistener hardly noticed the passing of theSummer season that a few years ago would

have meant almost a "closing down" of your shortwave equipment! The warm weather did not dis-astrously affect any particular country's transmis-sions. Even the South American stations, whoseprograms formerly passed by because the averagelistener is not overly partial to hearing bursts ofstatic, were tuned in during our warmest evenings.Their programs always radiate the spirit of music,flowers and love. One can almost be inclined to tryto live their carefree life and many a short wavelistener would willingly exchange places with thesweet voiced tenor who so longingly sings of hisunrequited love to an imaginary senorita.

The countries bordering on the equator fairlybristle with transmitters. Heretofore when someunknown South American city wanted to be "put onthe map" an ingenious and enterprising gentleman

Fall is coming and with it better short wavereception for the army of DX fans

By Captain HORACE L. HALLForemost authority on short wave in America

would throw a few cheap parts together and, loand behold another below the Equator station wason the air! Times have changed and so have ideasof the Spanish speaking countries. Now, when acity or a province wants to radiate the feeling offriendship, so prevalent in South America, they buythe best American made equipment, erect toweringaerials and their voice is heard round the world!They are not satisfied with "flea power" but nothing

Right: Edward Startz,announcer of PCJ andPHI, Haizen, Holland.who broadcasts in sev-en languages. He is a.favorite with DXers.

voice of Mr. Van den Enden, whose monologue overHJ4AB1 fairly radiates with fun. This Dutch,Spanish and English announcer caused this Mani-zales, Colombia, station to be christened, "The Voiceof Friendship." Mr. Van den Enden invariablywould say "This is station HJ4AB1, and now youwill hear a nice piece of Colombian music while Idrink a cup of Colombian coffee, the best coffee inthe world!" Then this clever announcer audibly

would pour a cup of what we were sup-posed to believe was a cup of coffee!

Now we will leave the Colombiansto their coffee and their music andtravel to Lima, Peru. There we willfind several stations but the one thatis heard here the best is OAX4B. Thisstation changed their schedule butcontinued to operate on 4,230 KC. onWednesday from 6 to 11:30 P.M.,EST. They also increased theirpower and to quote from a letter re-ceived from the owner, "We are heardall over the world when the heaven'sconditions are fairly good. Our pro-grams consist of talking, music andup to date noises of all kinds!"

Center: the interesting veriof JUN. Japan. 7'his Ori-ental station can be snaredeasily. Left: the toweringlowers of YV6R1'. Valencia,

Venezuela.

less than one hundred watts pleases these experi-mentors.

"La Voz de los Andes" or Radiodifusora HCJB,Quito, Ecuador, cleverly abandoned the difficult -to -hear wavelength of seventy-three meters and chose36.5 meters. This station is on the air each eveningof the week except Monday, from 7 to 11 P.M.,EST., and Sundays, from 4 to 10:30 P.M. ClarenceJones, the station director, says that HCJB gladlysends its verification card to all radio fans who provereception of its program with short report and whoenclose in International Reply Coupon.

"La Voz de la Victor" or HJ3ABH, located inBogota, Colombia, was heard with indifferent signalstrength and poor quality when it operated on6012 kilocycles, utilizing two hundred and fiftywatts power, but after a hasty move to 5970 KC.and an increase in power to twelve hundred watts,this station is heard during their evening operatinghours, with fine quality almost every day during theSummer season.

Moving from one frequency to another is just somuch fun for the South American stations and "LaVoz de los Laboratorios Fuentes," after much jump-ing around, settled down on 6115 KC. and thereforethis Cartagena, Colombia, station reaches out andis heard by listeners in every part of the globe.Their programs are always good and their Englishannouncements are a delight to hear.

What tuner on the short waves has not heard the

ONE does not really know whetherthe South American stations

were the first to realize the importanceof increasing their power, or the Eu-ropeans. In either case the entireworld seems to be going in for morepower behind the transmissions.

When the Daventry stations firstcame on the air we all agreed that theBritish certainly had short waveequipment that they could be proud

of. Now we are informed through the BritishBroadcasting Corporation that they have decided toincrease the power of the "G" stations. When thesetransmitters were designed the power was ten kilo-watts but by the addition of two new transmitters,the "G" station's power will be increased one hun-dred percent. The transmitters now in use will becombined and form one transmitter. Old timers inthis game of short wave reception, will recall thetime when the only short wave outlet for the Britishprograms was the now deceased G5SW. This sta-tion is again being brought to life and used for ex-perimental purposes.

England has not been the only country realizingthe importance of being heard by its coloniststhroughout the world.

Following in the wake of the Daventry engineersare the Frenchmen, who are making radical im-provements in the Pontoise transmitters. A verita-ble flock of frequencies has been assigned to thenew French station but up to the present date onlyone or two are active. What little we have heardradiating from the newborn French station has beenof excellent quality and fine signal strength.

Rome experimented with various frequencies aftercompleting an excellent transmitter and programsradiating over 9.64 ME are a joy to hear.

These countries' transmissions are known in everycorner of the world as the "foreign locals." Shortwave listeners in the Amer- (Please turn to page 36)


A COWBOY NEEDSA LOT TO EAT

A young lad with his own daily radio programmust pay careful attention to his nourishment

By CORNELIA BROOKS

BOBBY HALLOP is only fourteen years old,but he's been a radio artist for eight years,and for the last two, star of his own "Bobby

Benson" program.Bobby, in spite of the necessity for going to school

(he's in first year High), seems to live a real storybook existence. His program dramatizes the won-derful H -O Ranch, and Bobby knows what he's talk-ing about. He wears a real cowboy outfit completewith a ten-gallon hat Colonel Johnson, of Sar An-tonio, gave him last Fall when Bobby was in therodeo at Madison Square Garden. He has :cis ownhorse, "Silver Spot," also a gift from Colonel John-son, and "Silver Spot" has a cowboy outfit, too-ahand -carved saddle.

Bobby says he likes to eat. No kid's food for him.But he manages to get a well balanced diet, anyhow,and has considerably more than the required quartof milk a day for a boy his age. His breakfast is thesame every day Force and sliced bananas, two eggsand broiled bacon, orange juice and a glass of milk.For lunch he has an appetizer or fruit, and an enor-mous combination salad, the ingredients of w h'ch hepromises must always be: onions, radishes, tomatoes,cucumbers, beets, carrots and lettuce. After thatorgy of vitamins, he feels that a generous piece ofcake is quite in order, and his favorite is Devil'sFood, with, I regret to say, both marshmallow andwhipped cream. Dinner, that is, his very favoriteone, consists of both appetizer and soup, steak, po-

t -

tatoes, a green vegetable, a small salad and dessert.He says he's "feeding up" for his appearance in theRodeo again this Fall.

Feeding a boy or a girl of fourteen is not so diffi-cult as his meals are, basically, the same as thoseof the adults of the family. But as most adults paymore attention to what they want, than what theyshould have, it is well to see that your adolescentgets, as Bobby does, first, a full quart or more ofmilk every day. That he gets green vegetables,raw and cooked, and at least one egg a day. Meatis necessary, too, for growth and for strong teethand to build resistance. The cheaper cuts are justas nourishing as the more expensive ones, and, asthey are not quite so tender, probably do youngjaws more good. Fruit is important, too, and ifplenty of it is available, with other natural sweetssuch as honey, there will be less insistent pleas forcandy and too rich desserts. At this time there is agreat drain on the child's energy and if his diet isinadequate in some way, he will, somehow, stoke

himself with sweets, with, usually, a very ill effecton his complexion.

Here are some suggestions for fourteen -year -oldsthat the rest of the family will enjoy:

Orange and Meat Salad

This decorative salad, illustrated, in its individ-ual wooden bowls, is novel as well as a sure -to -be -popular method of adding vitamin C to the diet,with oranges and lettuce. It makes a mainluncheon dish, too, because of its left -over meatcontent (a little economical hocus-pocus).

Cut 2 cups of cold roast meat (lamb, veal,chicken or duck) into small pieces and marinate

in Salad Marinade, made by mixing thoroughly 6tablespoons lemon juice, 3 tablespoons oil, 1 tea-spoon salt and Y4 teaspoon pepper, with the addi-tion of Y2 teaspoon onion juice, if desired, or rubthe bowl in which Marinade is made with a cutclove of garlic. Let stand until well seasoned.Then combine 2 cups oranges with meat and servechilled, on crisp lettuce leaves with FrenchDressing.

Send 10c to Home Service Dept., Tower Radio,55 Fifth Ave., N. Y., for our circular, "Food

Children Like to Eat."


MEATS FORHUNGRY MEN

Fred Warirg, radio's new jazz dynamo,needs meat to carry him through a heavy

working schedule

By AMY VANDERBILT

FRED WARING who, for the staggering sumof $12,000 per broadcast has agreed to con-tinue on the Ford Dealer's hour over CBS,

is, domestically speaking, a gentleman of very simpletastes. True, he has just moved to a penthouse onupper New York's fashionable East Side, but itmight just as well be a house in the country. Iteven has a games room and a flowered terrace whereeight month Dixie Waring can play, safely. He hasa real Southern colored cook who prepares his fa-vorite American dishes that he prefers vastly to anyforeign flourishes. On the cook's night out he has ahabit of sneaking off to a chain cafeteria where hecan drop coins in slots and get what he considersgood, plain food that's clean and wholesome.

Fred likes huge T-bone steaks with grilled apples,mushrooms and rice, mixed grills and roast beef withYorkshire pudding, dislikes fish. He drinks gallonsof orange juice with and between meals. But hedoesn't smoke or drink, although guests at the War-ings are never bound by any blue laws. He nibblescrackers at odd moments with evident enjoyment.He even orders packages of graham crackers by thecase, just in case.

But here are some recipes five -foot -eleven, suc-cessful young Mr. Waring can really okay-andgraceful Mrs. Waring says she thinks most Americanmen would like them too:

Smothered ChickenCut up a roasting chicken. Season with salt and

pepper. Dredge thoroughly with flour. Place in aroasting pan, add hot water to about half the depth.Cover tightly and roast in a medium oven until ten-der. About 30 minutes before serving, turn andbrown on other side. Remove to platter-add asmall amount of flour and make a gravy.

Veal and MacaroniPut 2 tablespoons butter in large kettle or Dutch

oven. Add 1 onion, chopped fine, l/2 cup celery andone carrot, both diced small. Put in a four poundbrisket of veal, brown on both sides for 5 minutes.Add 2 quarts of boiling water, 1 heaping teaspoonsalt, pinch cayenne pepper, and one clove. Covertight and cook slowly for 4 hours. Break macaroniin 1 -inch pieces and cook until tender in salt water.Drain, dash with cold water and cook in broth for 15

Above, Thick broiled steak, rt healthy man'sdelight, surrounded by tender broiledmushrooms, glazed apples, new peas andflaky rice. Below, Rice, combined withmeat left-overs makes a man's luncheon.Flaked fish, with cheese sauce, is good, too.

minutes. Place meat on platter-macaroni aroundsides. Thicken broth and pour over all. Serve withtomato sauce or catsup.

Stuffed Pork TenderloinHave a tenderloin of pork split lengthwise, almost

through. Stuff with a dressing made like roastchicken dressing. Fasten with toothpicks and roastin oven slowly until thoroughly done.

Baked Sliced HamPut a slice from the center cut of smoked ham, an

inch or inch and a half thick, in a small roasting panpartly covered with sweet milk. Spread meat wi.hprepared mustard. Sprinkle with brown sugar, andground cloves. Cover tightly and bake in ovenuntil tender.

Roast Beef with Yorkshire PuddingSchedule the roasting of the beef so that it will be

done about 35 minutes before you plan to serve it.When it is ready, place it in the warming oven onits platter. In the meantime the following puddinghas been prepared:

2 cups milk 2 cups flour2 teaspoons baking powder 3 eggs separated and beaten

1 teaspoon salt

Sift dry ingredients, add milk, then yolks andwhites. Mix to a creamy consistency. Pour intotwo round biscuit p^.ns some of the drippings fromthe roasting pan and fill each pan with the puddingand place them in a hot oven until dinner is readyto serve, in about 35 minutes.


Radio from the InsideAS a followup on the Gracie Allen's

missing brother stunt which en-circled the globe about a year

and a half back, George Burns thoughtit would be a good idea to reverse thegag and have the "brother" hunt forGracie. The funny situations and thepublicity campaign was mapped out. Butin the meantime, Gracie's real frere-anice, quiet chap named George Allen, inthe oil business in San Francisco, gotwind of the idea. He hurried to Holly-wood to plead his case. He told Georgeand Gracie that he took enough kiddingpunishment from his friends and thenewspapers when her "brother" wasmissing-and he couldn't stand the gaffof another ordeal. So it was cancelled.

JOHN BARRYMORE has announcedthat he's planning to turn his still

handsome profile to the microphone inthe future. Although, at the time ofthis writing, none of the big radio outfitshave any information about his broad-casting activities, Barrymore says thathe's all set for a regular series. His pro-tege, nineteen -year -old Elaine Barrie,will be his leading lady if the actor getshis commercial. But I'm wondering howthe great Barrymore will relish the ideaof doing one audition after another andhuddling with theadvertising a g e n-cies and sponsors.I don't think suchdoings will suit histemperament.

MARK WAR -NOW, CBS

orchestra leader,was a tired musi-cian when he lefton his vacation inJune. He wantedcomplete r es t-and the thing hewanted to be mostremote from wasradio. So Markdidn't tell a soulhis destination. Hedidn't even wanthis mail forwarded-"just chuck itall in the drawer,"he told his secre-tary, "and don'tbother opening it.It can wait until Iget back."

That's whatMark thought.Upon his return helooked through hismail. One par-ticular letter was from a prospectivesponsor who wanted him for an impor-tant air show if he were prepared for aJune 14th premiere. But on that dateMark was fishing for trout in some dis-tant stream when a sponsor would havebeen a much more preferable catch.

BY THE MAN AT THE CONTROLS

THE Baer -Braddock fight is past his-tory now, but its memory lingers on.

Especially lingering in the ears of thelisteners to its broadcast is the passingremarks made by the ex -champ Maxiefrom his dressing room after the dethron-ing. Some newspaper columnists and ahandful of dial -twisters claimed to havebeen horribly offended by what I thoughtwas an innocuous jest. It was natural,human and typical of the man who madeit. If folks are going to feel that theirpropriety is besmirched every time sucha kidding emanates from their loudspeaker, they'd better keep cotton stuffedin their ears-or else, retire to a desertisland, providing the chatter of themonkeys doesn't convey a smutty mean-ing to them.

WONDER who'll steal the comedyhonors this Fall. Personally, I don't

think it'll be a newcomer, but one of theold standbys-a Fred Allen, a JackBenny or an Ed Wynn. But they'll begiven a close race by the two womencomics-Gracie Allen and Beatrice Lillie.In the meantime, their gag writers areindustriously at work, preparing to givethe country something to laugh about.

ONCE, a number of years ago, whenjack Benny played a vaudeville date

in Kansas City,Goodman Ace wasthe dramatic criticon a local newspa-per. In reviewingthe suave comed-ian's act, Ace com-mented that "hisformal manner is agreat asset, but thenasal quality in hisvoice is a liability."

Now both Bennyand Ace are doingnicely for them-selves on the radiotoday, but for along time listenersgot them confused.Their voices soundso much alike.

Facts About Radio FolkJames Meighan, the husband of

"Marie, the Little French Princess,"has a broad educational back-ground. . . . He attended StauntonMilitary Academy, St. Ignatius Lo-yola and finally the Carnegie Insti-tute of Technology, after which hestudied art in Paris. . . . Floyd Gib-bons has bought a house at Miami,Florida. ... Al Jolson wears pleatedtrousers, English style, but no beltor suspenders. . . . Joe Granby re-turned in the role of Black Barney tothe Buck Rogers series and his fanmail started again. . . . Anne Jami-son, heroine of the "HollywoodHotel," was born in Belfast, Ireland,her father being a British army offi-cer. . . . Peter Van Steeden, themusical director, was horn in Am-sterdam, Holland, and brought tothis country when he was but three.. . . Years ago Nick Dawson was acircus billposter. . . . He still is amember in good standing of theMontreal local of the Billposters'Union. . . . Al Pearce was born inSan Jose, California. . . . At fifteenhe played in an orchestra at theInside Inn, at the San FranciscoWorld's Fair. . . . He has been inradio for six years.

WITH the focus of attention centeredon the "G -Men," the radio networks

endeavored to present broadcasts of itsorganization and work direct from head-quarters at Washington. It would havemade an absorbing air feature, but theofficials vetoed the idea. They said theydidn't want to publicize their activities.Yet, they maintain a public relationscounsel staff.

IN June the firstremote pickup

was made of enter-tainment from in-side a prison'swalls on the KateSmith Hour. Theprisoners of theWallkill Peniten-tiary in New YorkS t at e displayedtheir glee club andband in several

popular numbers. Since then, Kate hasbeen deluged with mail from prisonsthroughout the country which would liketo show the home -bodies that their insti-tutions harbor good radio material. Oneletter stated that "The boys would liketo sing on the air their favorite number,`Time on My Hands.' "

ACCORDING to the newest Crosleyreports-supposedly the barometer

of a program's popularity-some of theton air features suffered a decline in pop-ularity. This bi-weekly nation-wide sur-vey is obtained by telephone interviewswith listeners, and the tabulations arecompiled to prove what percentage of

the potential audience the program drew.Anyway, the program producers blamethe lesser ratings on the fact that thecompetition at similar schedule timesthis past season has been tougher thanever before. But I think the rivalry willbe even more acutethis F a II - andthen what?

NOW that he'soff the air for

a spell, Bing Cros-by is crooningwords of encour-agement to hisstring of racehorses just beforeeach event. Henow has nine thor-oughbreds stabledat Rancho SantaFe, his ranch nearCaliente. "Zombi"is his favorite two-year -old ; and "Sa-ragon" is his fa-vorite three -year -old. "But," saysBing, "if thosenags don't hurryup and win someraces I'll be need-ing another com-mercial soon topay for theiroats."

ALBERT WIL-SON was a

radio hopeful. Forseveral years thisaspiring singer tried to find a niche in thebroadcasting world, but didn't even se-cure an audition. Finally, he found hisway to one of those amateur hours.Throughout the program he patiently sat,waiting to be called upon for his bigchance. The minutes ticked away. Fi-nally, his name was announced. Hestepped before the microphone and be-gan his song. Suddenly the gong soundedand he was whisked away. He missed hisopportunity-not that he wasn't a goodsinger-but because it was his misfor-tune to be called upon too late. The pro-gram had only thirty seconds left andthe master -of -ceremonies figured thegong was the only way to interrupt hissong.

pOR years Ben Bernie has had an ail-ing back, but only recently did he find

a reason for it. Bernie, who only wentto colleges to play dance dates, told theHollywood natives that "I hurt my backfor the dear old Alma Mater while play-ing football." It made a good story.

WHEN the sailors and officers of anArgentine training ship arrived for a

special short-wave broadcast to BuenosAires from the CBS studio, a spokesmanapproached page boy Tommy Dunne andasked directions in Spanish. Tommylistened attentively, but bewilderedly.Then, thinking he grasped the situation,he beckoned the men to follow him. Theuniformed lad showed them to a nearbydoor. As they stood bowing politely andsaying "Muchas Gracias, Senor," dozensof others arrived in later elevators andfollowed the crowd toward the door.Promptly, after entering, the first fewburst excitedly out while the rest jammedforward unknowingly. Suddenly the pagediscovered where they really wanted togo. Hastily and blushingly he led themaway from the door on which was sol-

years.

emnly lettered "GENTLEMEN" to thedoor of Studio No. 1.

BOAKE CARTER has done verynicely for himself these past few

Not long ago a $40 a week news-paperman, he nowis a radio head-liner with a long -run commercialthat has nettedhim many shekels.This should beenough to satisfyany man-but notBoake Carter. Hestill wasn't con-tent. His ambitionwasn't realized.Then, a few weeksago he rode fromPhiladelphia toNew York in theengineer's cab ofthe train. And nowhe's happy.

Radio PersonalitiesTheodore Webb owns a large farm

at Sharon. Conn.... Joe Cook's old-est boy has been making his firsttheatrical appearances in vaudevillewith a partner, Fred Sweeney. . . .

Boake Carter was educated at Tun-bridge and Christ College, Cam-bridge. . . . His work for the collegepublication, The Cantabrian, gothim a job with The London DailyMail. . . . He is now in his sixthyear of broadcasting. . . . Julia San-derson and Frank Crumit have beenColumbia stars since 1929. . .

Jacques Fray is a Parisian the sonof a French banker and a formerstudent at the University of Paris.while Mario Braggiotti is the son ofan American mother and a Floren-time father, his dad being a teacherof singing. . . . Fray and Braggiottifirst met at a music publishing housein Paris. . . . Blanche Sweet madeher stage debut as a child in arms.. . . The play was "Blue Jeans," thescene was Cincinnati. . . . Chris-topher Morley, the story teller andauthor, was born in Haverford, Pa.. . . Once Nelson Eddy was a boysoprano in a Providence, R. I.,church choir. . . . Ramona made herdebut as a pianist at the age ofseven, playing with a hotel orchestra.

LAST month arehearsal of

"Hollywood H o -tel" was throwninto a high state ofexcitement. MarieJeritza, opera starand guest on theprogram, and Ray-mond Paige, mu-sical director, gottheir chewing gummixed, pluckingthe wrong wadsfrom the director's

stand. They both learned their mistakeat the same time.

IT'S always a great day for the negroporters at the broadcasting studios

whenever a dramatic script calls for amurderous stabbing. The sound effect iscreated by plunging a knife in a nice,ripe watermelon, and you can't tell thedifference from the real thing-even ifyou're an authority on stabbings. Afterthe program, the watermelon, havingserved its bodily purpose, is bequeathedto the porters who lose no time in pro-viding the sound effects of colored boyseating watermelon.

JOHN ROYAL, NBC vice-president incharge of programs, now is touring

Europe in search of new radio talent.But he's just as liable to sign up someAmerican air acts on the Continent in-stead of natives over there. For it wasin London that Burns and Allen, MortonDowney and Fred Waring first made animpression on the kilocycles.

THERE'S one gentleman who knowswhat he's going to do every Christ-

mas Day at 5 o'clock for the next fiveyears. He's Lionel Barrymore who'sbeen signed by the sponsors of "Holly-wood Hotel" to portray Scrooge inDickens' "A Christmas Carol" over CBSeach Christmas for five years. It setsa precedent in long time radio contracts.Barrymore isn't new to this air role ashe played it before the microphone lastYuletide in a special one-time program.Although he will be Scrooge for thatduration of time, it won't be possible tomaintain the same Tiny Tim. Young-sters' voices have a habit of changing.There was a kid actor who was TinyTim on the air each Christmas for threestraight years.


HOLD THAT LINE! Sagging contoursand a double chin are definite danger sig-nals to women of any age. If you detectone or the other, or both, marring yourpretty faces, how about a contour -mold-ing bandage (chin strap to me) for ban-ishing said sagginess and double chin?The newest one to come to my desk doesa neat job of face-lifting at home. It'sneither uncomfortable nor unattractiveand you could answer the doorbell whilewearing it without frightening the laun-dryman into spasms at the very sight ofyou. We noticed that it was quite rea-sonable in price, too.

ACNE ADVICE: Acne, that nightmareof adolescence, has caused many younggirls to write to THE MAKE-UP BOXfor advice. My answer to these poordistressed souls is, first of all, consult adoctor. The condition may be causedby improper diet, glandular disturbances,or a skin infection. Often internal treat-ment is necessary but external treatmentis advisable, too. The little kit picturedbelow contains a medicated acne lo-tion, six herbal cleansing packs, a roll ofcotton, and a jar of circulation cream.The directions for use are simple, andthe results are heartening.

OF ALL THINGS: A perfectly grandmask cream to fight five o'clock fatigue.Try it when there's no time for a salonfacial and it's imperative to present aradiantly smooth face to your best beau. . . Be beautiful and hairfree with oneof my favorite depilatories. It's mildand perfumed and removes hair like no-body's business, but your own . . . Mylatest rave is a creamy liquid containingthe very oils which sensitive dry skinsneed. Just the thing for those whosunned themselves well but not wiselythis summer . . . then there's a gay dec-orative box that holds three flacons ofdelightful summer fragrances. Use themduring the warm weather; they're as airyand cool as a plunge in the salty sea . . .

More anon-

If you would like further in-formation about the articles de-scribed, and other beauty news,write enclosing stamped envelopeto the Beauty Editor, Make -UpBox, TOWER RADIO MAGAZINE, 55Fifth Avenue, New York, N. Y.

TALKS ON BEAUTYISN'T it discouraging to slip into last

summer's evening gown only to findit just a bit too snug? You say

carelessly, "Darn those cleaners, they'veshrunk my dress!" but down inside youknow that the dress is the same, it's youwho has changed. Too many ice creamsodas, beach picnics, and that comfort-able habit of going without a girdle isanother summer sin which has resultedin extra pounds in definitely the wrongplaces.

Here's a simple and effective way toget rid of those unwelcome pounds.What's more, it's a healthy and good -for -you method.

Your weight -losing regime starts witha one -day liquid diet. In the morningbefore dressing, drink a large glass ofwater to which the juice of half a lemonand a pinch of bicarbonate of soda hasbeen added. For the remainder of theday, take only liquids. Allow yourselffive glasses of skimmed milk, one everythree hours. The first glass at eighto'clock, then at eleven, two, five, andeight o'clock at night. If you don't likemilk, substitute fruit juices and drink atleast eight glasses of water in betweentimes. The one -day liquid diet is an ex-cellent way to shrink the stomach andyou may repeat it one day a week with-out any harm and with much benefit.

Then, after your day of liquids, youare ready to resume three meals a day.

Photoorovhed at the Blue Heron

But do drink your water -lemon -and -bi-carbonate every morning and don't slideback into bad dietary habits. Drink lotsof water and fruit juices. Avoid al-cohol, starches and fried foods. Eat lib-erally of crisp salads and green vege-tables, without sauces or mayonnaise.Choose fresh or stewed fruits and ber-ries for desserts. On a warm afternoonwhen you yearn for a frosted chocolate,take a tall orangeade for vitamins in-stead of curves.

Now, in addition to counting yourcalories, how about popping out of beda few minutes earlier each morning anddoing a few setting -up exercises to theradio? If that doesn't appeal to youparticularly, why not join a gymnasiumor tap-dancing class. There's real satis-faction in learning trick acrobatics ormastering an intricate dance step quickerand better than some of the others inyour class.

But for sheer enjoyment, there'snothing quite like a Swedish massage.Under the strong capable hands of themasseuse, and to theaccompaniment of theregular slap - slap - slap,you gratefully relax andreduce, while she copeswith flabby tissues andunwelcome pounds.Sometimes, when theservices of a masseuse

are not available, a friction -rub may besubstituted. One of my friends who hasan exceptionally lovely figure quitefrankly admits that she loathes exercis-ing and refuses to walk a step when shecan ride in a taxi. But every morning,without fail, she devotes a half-hour toher "mock massage" and this is the wayshe does it:

After your bath, slap on handfuls ofeau de cologne. Your favorite scent canbe had in toilet water, you know, and alarge bottle of it costs very little. Witha rough Turkish towel (it must be verylarge and very rough) give yourself avigorous friction massage. Grasping thetowel firmly at the corners, hold it atarms' length. Then with machine -likeprecision, rub the towel over the body,concentrating on the fat or flabby spots.You can work up a nice glow if you goabout it with energy and enthusiasm.The eau de cologne acts as a stimulantand closes the pores and the friction -massage with the towel whips up sluggishcirculation and sends the blood racing

through the body. Tryit tomorrow morning.

In the foregoing, Ihave listed some shortcuts to a better figure.There is no need forany girl to go on afreak diet which maydeplete her strength.

A crisp, greensalad, wholewheat bread, andiced tea is a non-fattening lunch.

If you have any beauty problems,Miss Hilliard wig keep them instrictest confidence and send youher suggestions. Send a stamped,self-addressed envelope with yourquestions to Harriet Hilliard, incare of TOWER RADIO, 55 Fifth

Avenue, New York


Sniffles!

"I'm sorry, but Anne is in bed. Shehas the sniffles and I can't let hergo to school or play with anybodyuntil she is well again."

the forerunner of any one of several infectiousdiseases and she helps to protect other people'schildren while she protects her own.

A mild case of sniffles may seem so unimportant atfirst that little or no attention is paid to it, but itmay be the warning symptom of a threatened attackof measles, whooping cough, scarlet fever, diph-theria or influenza. These diseases, combined, causeabout one in every five deaths of children betweenthe ages of one and nine.

The child who is "coming down" with one of thesediseases is likely to spread the germs in class atschool or to give them to other children at play.

An attack of measles may be a simple affair, soonover; but sometimes it causes serious complications

-injured eyesight, deafness. Whooping cough mayso reduce resistance that the child is more sus-ceptible to pneumonia or tuberculosis. Scarletfever frequently affects the kidneys and ears. Allof these diseases-including diphtheria-may affectthe heart and leave it permanently weakened.

If your boy or girl seems well one day and developsa case of sniffles the next, the child should be keptat home under close observation and should notbe permitted to play out-of-doors or with otherchildren. If there is no improvement withintwenty-four hours and the child is feverish, sendfor the doctor.

Any or all of the following booklets will be mailedfree on request: "Measles," "Whooping Cough,""Scarlet Fever," "Diphtheria," "Colds, Influenza,Pneumonia." Address Booklet Department 935-B.

METROPOLITAN LIFE INSURANCE COMPANYFREDERICK H. ECKER, PRESIDENT


ONE MADISON AVE., NEW YORK, N. Y.© 1935 M. L. I. co.

33

Short Wave Departmenticas, Japan, New Zealand, India andAfrica, all agree that the Four Musk-eteers, i.e., England, France, Germanyand Italy (with Spain a close fifth), arestand-by stations and are heard daily,providing fair atmospheric conditionsexist.

THE South American and Europeancountries are not the only ones who

have a monopoly on increasing theirpower! Among the first to really ac-complish anything very definite were the"J" stations. Less than three years agothere was a short wave station in Tokyobut few short wave listeners heard it.

Without rhyme or reason, all of a sud-den a "flock" of Japanese stations madetheir appearance on the high frequencies.What had happened was this. The old"J" station had been scrapped and a newand powerful transmitter, capable ofutilizing twenty kilowatts power, hadbeen built without any fanfare or fuss.There are very few short wave listenersin any part of the United States thathave not tuned in to one of the "J" sta-tions. The listeners' response to this Ori-ental country's rapid advancement wasso great that the Japanese BroadcastingCorporation has instituted a series ofbroadcasts intended for over -seas listen-ers. The programs are varied and con-sist of music, the news spoken in Englishand Japanese, playlets in the nativetongue and various other items of in-terest to all .of us. Personally we are

would listen to unknowns, perhaps. . . .

Perhaps was right. Lee Shubertlistened to Vivienne sing and read herpress notices. And then he offered hera job in the chorus!

"I was just a shrimp with red hair,"Vivienne says today, with a roguish lookin her great brown eyes, "but I stuckup my chin and said no. I had justplayed the lead in `Carmen'-and Iwasn't interested in getting any more ex-perience. The lead was the only thingI was after; if I couldn't have that, I'dgo back home to Philadelphia where atleast I'd be a big frog in a smaller pud-dle. . . . Well, we went back-back tobridges and teas. I should have beendiscouraged-but I wasn't."

SOMEHOW neither Vivienne nor hermother felt that they had seen the

last of the Shuberts. And they wereright. The shrimp with red hair hadimpressed Mr. Lee more than she real-ized, and a few weeks later she receiveda wire which threw both of them into afever of excitement. It asked MissSegal to come to Long Branch, New Jer-sey, where "Blue Paradise" was beingtried out. That was all it said.

They still didn't dare tell Dr. Segalanything, so they casually announced areturn trip to New York, for fittings ongowns they had bought. But inside, theyfelt anything but casual. This mightmean anything-or nothing.

When they arrived in Long Branch,Lee Shubert told them that the operettawas scheduled to open in New York in

(Continued from page 30)

very partial to the musical programs andderive sincere pleasure from them.

When it was announced that a newstation was to be put in operation in theFiji Islands, many fans were inclinedto believe that listeners living in theEastern part of the United States, wouldnever receive this distant catch. Con-trary to this belief, the Suva station hasbeen heard, reported and verifications re-ceived by nearly every listener whotuned to 13,075 KC. between 12.30 and1.30 A.M. EST.

The programs radiating from this sta-tion have consisted of recorded musicwith "Aloha" and "Good -Night, Sweet-heart," taking first place. Station an-nouncements are given either as "VPD,calling," or "Radio Suva, Fiji Islands."For several months this station alwayssigned off with the playing of the BritishNational Anthem but then they changedthis and have inaugurated a style all theirown. Sometimes they sign off with "Al-oha," other nights the station engineerscontact Sydney, Australia, and carry onextensive tests. A plan in which theseengineers hope to span the world is wellunder way. A "link hook-up" betweenSydney, London and Suva is their aimand we know from past experiences suchas the Canada, Australia and Java"chain" that anything in radio the Eng-lish engineers attempt is always a suc-cess. We are awaiting the outcome ofthese tests with interest and suggest thatour readers tune for VPD, 13,075 KC,

Suva about 12.30 P.M. and listen to the"contact talk."

There are little almost unknownstories that can be told about some ofthe stations that the short wave listenershear daily.

PCJ, 17.77 meg. and PHI, 11.73 meg.Huizen, Holland, are known as the "Hol-land Twins." Edward Startz, the stationannouncer, speaks Dutch, Malay, Ger-man, French, English, Spanish and Por-tuguese and identifies the station in eachof these languages. PCJ was one of thefirst short wave stations of the world butafter operating for several years wasclosed down only to resume operationabout a year ago. And to quote froma card received from Mr. Startz. "Thereis still life in the ol' gal yet!"

THE voice of the German announcerthat is heard nightly over the "D"

station has become well known to allactive short wave fans. One evening wenoticed a change in the announcer andthe gentleman who was "pinch hitting"for our favorite informed the listenersthat, "The usual announcer is gone on alittle three day vacation because he is tobe married. I am announcing for himand I want to take this opportunity tosend greeting to all my fellow country-men in California." Just these few per-sonal words made us realize that theGerman short wave station knows thatwe are listening to their transmissionsand that they have thousands of friendsin this country.

Broadway Star(Continued from page 17)

four days. The leading lady had beentaken ill, but the show must go on.

"Can you learn the part on such shortnotice, Miss Segal?" he asked doubt-fully.

Four nights later there was no doubtin his voice as he congratulated his newfind in the wings of the Casino Theatreafter the performance. A new star hadbeen born on Broadway, a girl with amilk -white skin and auburn hair-a girlwith a slow, sweet smile who sang herway straight into the cold hearts of crit-ics and first nighters in that bitter-sweetballad, "Auf Wiedersehen."

It was too late now for objectionsfrom her father, but, from that time on,the Segals were a family divided.Vivienne's dad never saw "Blue Para-dise," never became reconciled to hislittle girl's being an actress. He blamedhis wife, and eventually Vivienne sawher parents divorced. Since then hermother has always been with her, animportant part of her career, sharing hertriumphs and sorrows alike. Because itwas not always to be so easy for her tosmile . . . but the tears came later.

"Blue Paradise" ran for a year and ahalf, and, following it, Vivienne Segalcontinued to be the musical darling ofBroadway, leading lady in "Yankee Prin-cess," "Desert Song," "Three Mus-keteers" with Dennis King, "Oh, Lady,Lady," "Chocolate Soldier," "Rio Rita,"several editions of the Ziegfeld Folliesand other successful productions. When-ever a show closed, vaudeville beckonedto her with gilded fingers.

DURING one of these short vaudevilleengagements in Baltimore, she met

a young man who had also been touchedby fame. She fell in love with RobertAmes, who was in Baltimore for the try-out of "Ice -bound." He had planned toleave that night for New York, but heand Vivienne could not bring themselvesto say "Auf Wiedersehen"; instead, hewent on to Cleveland with her act. Thiswas the first of many long journeys hewas to take in order to be in her com-pany for a brief hour or so. Severalmonths later they were married, andVivienne left the theater.

But someway she was never happyaway from footlights; a packed housewas more of a home to her than her ownapartment, and her name in electricbulbs meant more than a candle -lit tablefor two. Both her mother and her hus-band thought that the arrival of her babywould make her content-and perhaps itmight have worked that way, had thechild lived. Both Vivienne's baby andher estranged father died within a shorttime, and she became ill with grief.

Young Ames opened a stock companyin Washington so that she might oncemore be a leading lady, but she had noheart for it now. Listlessly she accepteda part in the new Ziegfeld Follies, atan extravagant salary, while her husbandwent on to the nation's capital with hiscompany. The separation was a mis-take, though neither of them realized itat the time. They grew farther andfarther apart, and on his return Vivienne

A radio fan in Lancaster, England,heard a discussion about the chain letterepidemic, over W2XAF, 9.53 meg.Schenectady, New York, and when he re-ceived a ten cent "faith, hope and charityletter" from Topeka, Kansas, he wroteto Schenectady saying, "You will see howvaluable such talks as that given fromyour station really are to those peoplewho might unwittingly become dupes ofthese tricksters."

RV15, 4.27 meg., Khabarovsk, USSR.,was never known to verify reception re-ports sent to them but now Inna Marr,the Moscow station "directoress," is an-swering all correspondence intended forthe Siberian station.

The Japanese short wave station has ayoung lady in charge of their "Interna-tional Broadcasting." Her name is Dor-othy Mizoguchi and at times she makesthe station announcements. If you heara sweet voiced female talking over the"J" station, you are listening to MissDorothy at the microphone in far awayTokyo.

COH, 9.42 meg., Havana, Cuba, in-vites you to join in a half a million (oris it a million?) dollar lottery. The win-ning numbers are broadcast during theirregular time on the air. If lotteries in-trigue you, listen to the Santo Domingostations! From what we hear, one mightalmost think the wealth of the worldwas sent daily to lucky short wave fanswho were foolish enough to send theirAmerican dollars to these stations.

knew that romance, if not love, wasdead.

They were to meet again, in Holly-wood, however. Mervyn LeRoy, themotion picture director, was presentedto Vivienne one night after the show.He took one look at her very white skinand brilliant hair and asked her to playthe lead in the first Technicolor picture,"Viennese Nights." (Incidentally, thiswas Sigmund Romberg's first movie ven-ture-Vivienne Segal seems destined tosing his haunting waltz melodies.)

It took Technicolor a long time tobecome very successful, but it tookVivienne only one picture. "VienneseNights" was followed by "The GoldenDawn," "The Cat and the Fiddle,""Bride of the Regiment," and otherscreen musicals. Robert Ames came toHollywood, to be starred with Ina Claireand others. Vivienne remained the lead-ing lady of his heart, however. But theymet only casually. The old magic couldnot be recaptured.

Moving pictures go in cycles, and col-ored musicals soon became passé. Whenthis happened, there was nothing left forVivienne except her palatial home atMalibu-and without the panacea ofwork, that too seemed empty. She re-turned to New York, and there she raninto Ames again. Things had gone badlywith the young actor too; he looked ill,discouraged. They went to his hotel andtalked for hours, even discussing the pos-sibility of going back together.

But he was too tired, too broken to(Please turn to page 38)


`Are Blackheadsdue to Faulty Cleansing?"

YOUNG WOMEN ARE ENDLESSLY TROUBLED

BY BLACKHEADS.THEY FREQUENTLY

WRITE: "ARE BLACKHEADS JUST DIRT?

IF SO, WHY ARE THEY SO STUBBORN?

WHAT CAN I DO TO GET RID OF THEM?"

Here is an answer that sets these questions at rest. It providesan intelligent understanding of the real nature of this commondifficulty, and the approved method of combating it.

BLACKHEADS are not "just dirt"-that is, dirtfrom the outside.

Did you ever press a blackhead out? Behind thatblack speck on the surface came a little plug of cheesymatter. That cheesy matter consisted of thickened se-cretions from the oil glands inside your skin. It chokedand clogged the pore opening just like a tiny cork. Tillfinally outside dirt lodged in it-You had a blackhead!

24ese aMMONSAinAtiltsallbegin tkyottr

Under SkinNot only blackheads, but practically all the commonskin faults have their start in the underskin.

Blemishes, enlarged pores, even lines and saggingtissues-you can ward them all off with the steady useof Pond's Cold Cream.EVERY NIGHT, give your skin this pore -deep cleansingand underskin stimulation. It flushes out of the poresevery speck of dirt and make-up, as well as wastematter from within given off through the skin.IN THE MORNING and the daytime before making up,freshen and invigorate your skin again with a deep -skinPond's treatment. It leaves your skin satiny so it takesyour make-up evenly, holds your powder smooth and long.

Just send for the special tube offered below, contain-ing enough Pond's Cold Cream for nine treatments.See your skin grow clearer, fresher, smoother-free fromlines and blemishes.

Pond's is absolutely pure. Germs cannot live in it.

The Underskin-whereskin faults begin

If you could see throughthe epidermis into yourunderskin, you woulddiscover a network oftiny blood vessels,nerves, fibres, fat andmuscle tissues, oil andsweat glands. Whenthese grow sluggish,look out for skin faults.

Proper cleansing will remove that blackhead. Cleans-ing and stimulating, will prevent new blackheads.

Have you CV Cr tried the Pond's way of dealing withblackheads?

With clean finger tips, spread Pond's Cold Creamliberally over your face-pat it in briskly till it has madeyour skin warm and supple. Pond's sinks deep into thepores and softens the thickened accumulations in them.Wipe the cream and loosened dirt off. Then, with a cleancloth, gently press the blackhead out.

That is all! Do not force it. Do not break the skin.

1. LINES form here when oil glands underneath fail tonourish, and the underskin grows thin and wasted.

2. PORES stretch and grow larger when clogged byimpurities from inside the skin.

3. BLACKHEADS form when the pores remain cloggedwith thickened secretions from within the skin.

4, BLEM ISHES follow when the clogging accumulationsare not removed from the pores.

5. DRY SKIN occurs when oil glands slow up, cease tosupply the oils that make skin soft and supple.

6. TISSUES SAG when circulation slows, under -tissuesgrow thin, nerve and muscle fibres lose their snap.

Do not use your bare fingers. A stubborn blackhead isbetter left alone. Or it may yield after hot cloths havebeen applied to the face, to relax the pores further. Youcan close the pores, after this, by bathing the face withcold water, or rubbing it with ice.

Now this rousing Pond's treatment does more thanclear the pores. It invigorates the underskin! Stirs thecirculation. Wakes up the faulty oil glands. Brings backsnap to weakening fibres. As the underskin functionsactively again, further clogging of the pores is avoided.Your skin keeps clear, fresh, trinsparent.

Marjorie Gould Drexelnow Mrs. John Murton Gundry, Jr.,daughter of Mr. and Mrs. Anthony J.Drexel and granddaughter of the lateGeorge Jay Gould, says: "Pond's ColdCream is all I need to keep my skin Inperfect condition. It cleanses everypore and smooths away tired lines. Iam never without it-even for a day."

Mail this Coupon-for Generous Package!POND'S, Dept. 148, Clinton, Conn.

I enclose :00 (to cover postage and packing) for special tube of Pond'sCold Cream, enough for g treatments, with generou. samples of 2 otherPond's Creams and 5 different shades of Pond's Face Powder.

Name

Street

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Coproght.Staje_


ARE YOURS FOR THE ASKINGWHEN YOU ASK FOR

says DOROTHY HAMILTONNoted Beauty Authority of Hollywood

Dorothy Hamilton, heard every Sunday afternoon in the"Maybelline Penthouse Serenade" over M B. C. network

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Broadway Starmake definite plans. And two days laterhe was dead. With him romance mighthave been dead for Vivienne-but she isnot the sort of person to look back. Norwill she accept something "just as good."This is probably why she has never re-married.

Certainly it is the reason she turneddown the parts which Broadway man-agers now offered her. They were notleading roles; they did not suit her. Ifmoney ran low, as it did-what of it?Both she and her mother knew some-thing would come along. Just whenthings looked blackest, Vivienne went farinto debt to buy herself a completewardrobe, because she believes you can'tget a job unless you look well-"andbesides, new clothes make you feel evenbetter than you look!"

r RS. SEGAL got herself a job'man-aging an apartment house. Thatreally hurt, for Vivienne knew hermother would never have had to workhad she not given up all she had for herdaughter's career. And now that careerseemed so remote-and fame had goneaglimmering. . . . Still she kept herpretty chin up.

And sure enough, something did comealong, right out of the blue-a phonecall from her old friend Abe Lyman. thebandsman, asking her to drop everythingand come to Columbia for an audition.He needed a voice like hers. Did shethink she could sing into a microphone?

After the audition, there was no moredoubt in his mind, or in that of his spon-sors, than there had been in the Shu-berts' when a red-headed shrimp liftedaudiences from their seats with her sing-ing in "Blue Paradise." They had asked

(Continued front page 36)

for a sweet and lovely voice-and hereit was, in person. She rapidly becameone of radio's favorite prima donnas.

"But," she says, regretfully, "Iwouldn't have needed to go in so deepfor clothes, just to sing in front of amicrophone to an audience who can't seewhether I'm in an apron or a Chanelgown!"

Outside of her professional popular-ity, which is a -plenty, Vivienne is a swellgirl. Her friends call her "Sonny" be-cause her middle name is Sonya-andoccasionally, for some unaccountablereason, they address her as "Fagin." Shehas a grand sense of humor, and admitsto being a bit superstitious. For in-stance, she believes the number thirteenis luckiest of all, partly because hername has thirteen letters, partly becausethere are thirteen letters in "Auf Wieder-sehen." And she dotes on fortune tellers.

She likes living in a big place and re-quires lots of space. In her huge NewYork apartment in the fashionable EastSide section she has a very swank redlacquer bar, complete with red leatherseats and much shiny chromium. Sheloathes housekeeping, but is very muchinterested in a home if some one elsewill attend to the details. She and hermother love entertaining their great cir-cle of friends, many of whom are celeb-rities of the stage and screen and of theliterary world. Her very favorite personis Fannie Brice, whom she claims isthe most thoughtful, unselfish person inthe world.

Her clothes are exquisitely simple.For daytime wear she prefers severesuits or tailored dresses, topped with finefurs. Even her evening gowns have al-most a Grecian simplicity, and every-

thing she wears is designed by a famousartist, who chooses unerringly the subtlegreens and blues which are such a per-fect foil for her auburn loveliness. Shegoes without a hat whenever possible.We can't imagine anyone objecting.

NOTHINGruffles her much, any more;

she sometimes wishes it would.Opening nights she used to die of stagefright; the microphone scared her a littleat first, but now she's all right. Shenever worries.

"According to my horoscope, I'll al-ways have money," she says. "I'll neverstarve. And it's always worked so far.I never get very excited about any suc-cess which comes my way, because Iknow it goes as quickly as it comes.Nothing is very permanent.. . . I'vehad jewels so beautiful I never thoughtI could bear to part with them. But Ialways could, when it seemed necessary.. . . People think I'm sitting on top ofthe world now, because I've a good radiocontract. They don't realize it costsmoney to be famous-and more whenyou stop being famous for a while! I'mstill in the red-but," she smiled hope-fully, won't be long."

She is amazingly practical and sensi-ble for a girl who has been immersedto the ears in romantic music practi-cally all her life. When you hear hersing, you think of magnolias and moon-light. Of course, she may actually bethinking that her life insurance has tobe paid tomorrow-but her honey -sweetvoice probably makes you see shadowson the wall of ghosts you thought youhad forgotten long ago. And that, myfriends, may not be strictly cricket-but,in a leading lady, it's art !

Last Minute Kidchorus. In spite of the well laid plan ofher father, a plan which would keep herfrom before the footlights, Anna Laugh-lin's daughter cast her lot with the worldof the theater. It was Fate. It couldnot have been otherwise.

For two years Lucy remained a chorusgirl. And then she was literally throwninto a leading role.

She was in the chorus of a show called"Criss Cross." The ingenue lead wasplayed by Dorothy Francis. Dillinghamhad produced it. The out of town open-ing was scheduled and, although therewas talk that Lucy might have the jobof understudy, the place had not yetbeen assigned to anyone.

And then, just fifteen minutes beforecurtain, Dorothy Francis became too illto go on. There was the usual backstage pandemonium. But someone re-membered that the chorus girl, LucyMonroe, had stood in the wings all dur-ing rehearsal watching the leading lady,that she.had a very pleasant voice indeedand that there was a chance that shemight be able to pinch hit.

They called her from her dressingroom, rushed her on the stage and-forhalf an hour (they held the curtain fif-teen extra minutes)-rehearsed her inthe dialogue and action. The songs shealready knew.


Lucy remembers few of her emotionsthen. She knows that she was not fright-ened since she was too young to beamazed at her own courage. Theenormity of the situation left her unim-pressed. She was excited-but notafraid.

One thing stands out in her mind.During those hectic thirty minuteseveryone was telling her where to standand how to move and which entranceand exit to take when suddenly the stagemanager shouted, "My God! Don't betelling her all those things. The childwill be lucky if she can open her mouth.Don't be confusing her with gestures.She'll probably be paralyzed when shegets out there anyhow."

But she wasn't paralyzed. She gave avery excellent and very spritely per-formance and afterwards she reaped thereward when the director and principalsalmost wept with delight because shehad saved the show for them.

Her mother-not knowing what tre-mendous things were going on-had notbeen there for the performance. Shearrived when it was over to see herdaughter surrounded by a respectful andadmiring group. "Lucy's a real trouper,"they said to Anna Laughlin.

For a week she played the role shehad so suddenly created, and after that

there was no going back to the chorus.Broadway roles were in store for her.She was definitely launched upon a stagecareer.

But her second greatest opportunitywas to come at the last minute, too.

The famous "First Little Show" hadbeen running for a few weeks when Bet-tina Hall, the ingenue, became ill. Andmore amazing still-the understudy wassuffering from-of all things-trenchmouth.

Someone of this desperate crew ofmanagers who knew that tickets hadbeen sold for weeks in advance remem-bered that once a girl named Lucy Mon-roe had saved a show called "Criss Cross"by stepping in at the last moment. Ateleven o'clock in the morning Lucy'smanager told her to report to the theaterand at eight -forty that evening she sangand acted Bettina Hall's role.

It was very exciting, because the au-dience was let in on the secret and theywere all pulling for Lucy. And thatnight Anna Laughlin witnessed herchild's success. It must have been aproud moment.

BUT there were other proud momentsyet to come. For Lucy attained a

great ambition, to sing in opera. As(Please turn to page 46)


how to keepaVIA/Va aflameMary Jean (below) knows that Luxhelps any girl's game. Ted and Tim arebeaten before they start by a swanky pinkshantung. Lux keeps Mary Jean'scottons and summer silks fresh and gay,her sweaters soft as down.

-'A

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"That dress is a knockout!" compli-ments Ralph (below), married fiveyears. Stepping out with his wife alwaysgives him a kick. "You darling," purrsFran, delightedly. "I do adore thisblue printed silk even if it is madeover. It's silly to let things get fadedand dowdy when you can keep colorslooking gorgeously new with Lux."

404\ \ov10.4*\,-41V,400

At parties, Sally (below) is always thecenter of things. Her lovely yelloworgandie, fresh from its Lux bath, panicsthe boys. "The swellest femme on thefloor," they agree. Never would Sallytrust dainty washables to ordinaryharsh soaps or cake -soap rubbing.

"Mercy no! Lux is a girl's best friend!"

Of course, you want romance-dates by thedozen-an adoring husband through the years.Lux helps to make all this come true! Luxis made to keep you attractively dressed atlittle cost-to keep colors like new. Avoidordinary soaps with harmful alkali and cake -soap rubbing. They're apt to fade colors,shrink, woolens, mar the adorable freshness ofcottons and linens, wear out things far toosoon. But Lux, you remember, is safe foreverything safe in water alone!

Connie (above) is pleased with her green peasant linen-color-fresh, like new, thanks to last night's Luxing. "Lookslike a million," thinks Jerry, the new man at the office.Connie knows how to keep her pet frocks gloriously colorful-always ready for a big moment. That out -of -the -bandboxlook brings down the strongest men! Moral: Stick to Lux!


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Keep On Tryinghold auditions, I jumped at the chanceto put the village behind me. It turnedout that I was the lucky one."

YOU like Bob for that last remark.His steady gray eyes are serious as

he makes it, and there is no pose in hishonest acceptance of the fact that a cer-tain amount of luck will come to thosewho keep on trying. He was whiskedaway to Hartford, and for six monthswas the vocal spark on radio in the Con-necticut capital. No rest for the am-bitious, however. Trained by his mother,who is his principal coach, Bob keptsmoothing and burnishing those richtones until they got him Break NumberThree.

That came about because a certainhefty gentleman known as the dean ofmodern American music was having abusman's holiday. Everyone knows theletter carrier who goes for a walk onhis day off, and it seems the great havethe same peculiarities, otherwise whyshould Paul Whiteman, between spellsof baton gymnastics on the leader's dais,have his ear glued to a loudspeaker downin Philadelphia.

"He wired me to join him as fast asI could," said Bob happily, "and I'vebeen with him ever since. There's no-body like Paul. Some people call hima driver, and make it sound like a knock.Sure, he's a driver, the same as any manwith vision, but what an encourager andteacher as well! You don't mind thelong rehearsal periods because Paul hasyou believing he has your interests atheart, and he shows it in a score of ways.If I'm slated to sing an operatic num-ber, for instance, he will send me to thefinest teacher available for that particu-lar piece of music, pays the extra costwith a smile, and only asks that you doyour best to make good. And no matterhow good you think you are, Paul willmake you better.

"Another way he helped was whenthe producers of 'Thumbs Up' wanted me


for the Broadway company." (BreakNumber Four, you'll notice.) "I'd havesigned up right away, but Paul held meback. 'He's not quite up to it yet,' hetold the producers. 'Just wait until weget back from another tour with theband, and then you can have him.' Hewas right, as usual, worked extra hardwith me for several weeks, and thensent, me into the show in better voicethan I'd ever been."

Gratitude along Broadway is likelyto be found only in the dictionary-ifyou can find the dictionary. Many ayoung singer has been taken under thewing of a famous bandmaster, has fatu-ously assumed there was nothing left tolearn, and after a short while has goneskittering off into the dark corridor ofobscurity. Nothing like that is going tohappen to Bob Lawrence.

Easily the best looking of the youngergroup of singers, you are certain to seehim in the films when he is fullyequipped for them. Break Number Fivehas put him in the Paramount TrainingSchool, and somewhere ahead in themisty future another break is waitingthat will usher him into the concert field,according to Paul Whiteman, becausehere is one newcomer who has bothbreeding and brains to blend with hisgrowing ability.

"Singing is like medicine to me," ad-mitted Bob. "When I'm in front of themicrophone I want to pear my vitalityinto whatever I'm singing, and I neverfeel exhausted when I'm through. Moreas if I'd been riding with the wind inmy face. It's still an adventure to me,entertaining people I'll probably neversee, and for that reason I dislike studioaudiences because they have a tendencyto swerve one from the people who real-ly matter. Just figure what a singer owesthe followers who are loyal enough tolisten to him, when, no matter wherethey are, plenty of other programs areright on tap. I prefer to concentrate onthem, and studio thrill hunters are a hin-drance.

"For some reason I enjoy singingsongs with a saddish tinge to them, al-though they have no such effect on myspirits, but sometimes an especially sen-timental one may bring up complica-tions. I had one such experience when alady wrote, after hearing a weepy ballad,that she had recognized me as her longlost Mike, and went into pages of snappyreminiscences. It appeared that Mikehad trifled with her and then departedfor parts unknown some forty years ago,but now, if I would return, all would beforgiven. Well, we finally got it straight-ened out that I couldn't be Mike, but ifhe ever reads this I advise him not topass up such devotion."

In spite of a mounting mail that comesfrom men as well as women, Bob is abit foggy as to what people like abouthim. A good guess would be the sin-cerity that gleams through his manner ofworking. He's a likeable chap, is Bob,and in another calling you would findhim sitting beside you on the 5:15 to thesuburbs, happily married and thereforeunafraid, talking of the tennis and fenc-ing which are his hobbies, and of thebaby that will have arrived by the timethis is in print.

Yet because of the subtle alchemy ofsong and that Greek medallion profile,he is the epitome of bright, romanticyouth. Add courage to that, and the an-swer is that Bob is bound for glory. Hispresent ideal is John Charles Thomas,and he speaks feelingly of the help hehas drawn from singing with Helen Jep-son and Jane Froman.

The strains of melody are always thesweetest when the singer is lost in thesong, and that is a trait of Bob's whichis intensified for the listener by radio.As Bob Lawrence forges ahead, pre-pared, resourceful, eager to see whatlies around the bend in the River ofSong, remember the bit of wisdom somequiet, philosophical old fisherman, longvanished, has left behind.

"Only the gamefish swims upstream."

Behind the DialHall, a real radio pioneer, lives in Wil-mette, the North Shore suburb of Chi-cago, with his wife and two children.Mrs. Hall is the former Marion Martin,of Chicago, whom Hall married in 1924,in the studio of Station WEAF whilelisteners, tuned in on three other stations,"ear -witnessed" the ceremony. . . . Oz-zie Jacoby, member of the Four Aces ofBridge, is the husband of Mary ZitaMcHale, the former Texas tennis star.

EVERY morning for weeks a lady pos-ing as a fervid fan phoned Edna

Odell, the Hoosier songbird heard fromthe Chicago NBC studios, to inquirewhat numbers she was broadcasting thatday. Then one day Edna received a bigbill from a local hotel with a notation toplease remit. It developed her persistentadmirer had been posing as Edna Odellat the hotel whence came the big bill. Toadd verisimilitude to the deception thepseudo -Odell gave the hotel clerk a dailylisting of her musical numbers, the samebeing authentic since obtained from thereal Odell. But don't you try that trick


on Edna. She wouldn't give her songschedule to her own mother, now.

A MOVEMENT is under way to or-ganize the radio stooges. They

claim to have a lot of grievances whichthey hope to straighten out with an asso-ciation to back them up and go to thefront for them. Meanwhile Benny Baker,once one of the best of the stooges hav-ing served with Phil Baker, Jack Bennyand Lou Holtz and now a Hollywoodcelebrity himself, expresses a very pooropinion of his former calling. "It re-quires no brain work to be a stooge,"says Baker, meaning Benny and not PhilBaker, of course. "When you haveenough brains to think the comedianisn't funny you lose your job. I held onto mine so long because I did nothingbut what I was hired to do. This mademe very lazy, for which I am thankful.Lazy people enjoy life at its fullest."

Amos 'n' Andy certainly try to keeptrue to character. They turned down asmall fortune the other day because theycouldn't consistently endorse a certain

popular cigarette. Andy, you know, likescigars and Amos for years has been tell-ing listeners he doesn't smoke. So whenthe ciggie concern approached them witha certified check and plans for a hugeadvertising campaign they rejected theoffer. "Our audience knows we don'tsmoke cigarettes," said Amos 'n' Andy,in effect, "and our endorsement of anybrand would be too contradictory to ourcharacters for the public to accept." Andthat was that.

GRAHAMMcNAMEE has been so

busy this Summer with broadcastsand his job as Universal's News ReelReporter that he has been obliged to domost of his traveling by airplane. It hasgot so that every time the ace announcersees an airliner he just naturally backsup to it. The other day a Goodyeardirigible was flying over their New Yorkpenthouse and Mrs. McNamee hastenedto close the window, notwithstandingthat the cool breeze was very welcome."Why did you do that, dear?" Grahamasked. "So my darling husband won'ttry to crawl out on the window sill and

(P.1ease turn to page 60)


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ASK THE VOICEOF EXPERIENCE

Here the famous counselor considers the problems of our restless age

By VOICE OF EXPERIENCE

IT has been aptly said that one ofthe most typical characteristics ofthe present age is the universality

of restlessness.If this state of unrest were a reach-

ing toward more idealistic conditions ofliving, more practical avenues throughwhich to express emotional and mentaldevelopment, the restlessness would beamply justified. But, sitting as I doin a position to get the reactions fromtens of thousands every month, I havecome to the conclusion that one of thegrave dangers of this present restless ageis the throwing overboard of ideals andstandards and social customs of yester-year in a mad rush toward individualis-tic expression with the idea that, sinceman is greater than the law and thelaw was made for man, therefore, mancan use or abuse the law as he sees fit;and by "law" I mean the edicts of or-ganized society.

DEAR VOICE OF EXPERIENCE:I am 34, my girl friend is 37. She

cannot make up her mind to acceptme because I do not belong to anychurch. She says, therefore, I am noChristian. Now, I believe in the GoldenRule, and everyone who knows me canvouch for the fact that I live up to andpractice what I preach. Will you kindlygive me your advice, as I want to marrythis girl?

THEODORE.

ANSWER: Well, Theodore, maybeyour girl friend doesn't realize that justputting one's name on a church bookdoesn't mean that he is really an ad-herent to the faith that he claims toendorse. I know many people whosenames are on church books that are notChristians. I am not judging them, buttheir lives are an open book and youcan see by their lives, because it is notwhat we say that makes us what weare. It is what we do. Our actionsspeak louder than our words in exem-plifying what our beliefs, our ideals, ourprinciples, really are.

Now, if you are living a Christianlife, certainly the thing for you to dowould be to affiliate with some church.I believe in that. No matter what yourrace, no matter what your creed, I be-lieve that one should affiliate himselfwith an organized faith. And I do notbelieve that you would be knuckling toher in any sense of the word if in orderto make things more compatible betweenyou, that you were to affiliate yourselfwith perhaps the church to which shebelongs, if you can accept that faith.

But, on the other hand, just to saythat a person is not living the kind oflife he should has no opportunity forattaining the ultimate goal after death,simply because he does not have hisname on a church book, I do not believewill hold water. That argument to me isnot sane, it is not sound, it is not logical.

DEAR VOICE OF EXPERIENCE:I am at present courting a young lady

of this city who recently wrote to youfor some of your pamphlets among

which was one about kissing. Now shethinks that you condemn all kissing whileI say that it is only petting parties andexcessive kissing that you are opposedto. I ask this because she will hardlykiss me good -night any more since shewrote you and received this particularpamphlet.

WILLIAM L. E.

ANSWER: Well, William, I'm sorryto have tread on your toes and to havecut out some of your fun. Evidentlyyour sweetheart has misunderstood, yes.I am not condemning osculation or kiss-ing. I am condemning the thing thathappens when that is resorted to overlong periods of time or promiscuouslywith a number of individuals. Supposethat you, William, sit down with yoursweetheart and take that pamphlet para-graph by paragraph, the one on "Pro-miscuous Kissing," and analyze it care-fully. I think if you are a logician atall you will be able to convince her.

Most of you fellows are pretty goodsalesmen, you know, and no mat-ter how much we who are supposedto be old foggies advise, you fellows havea pretty good line and usually you getby. Now then it is not that I am en-couraging that line of yours. I don'tknow what that line is. There are somany different ones and they have alla different kind of bait on them, verymuch the same bait but with a difference,a little different color, that's all-but Iam depending on you to analyze thatyourself instead of my stepping in andsaying "No."

I haven't seen your lips. I don't knowhow clean they are or how clean yourmind is. I don't know very much aboutyou. I am not encouraging anything. Iam leaving that to you and your sweet-heart to work out together.

DEAR VOICE OF EXPERIENCE:I have been married five years and

have a lovely girl of three. We werevery happy until a year ago when I wastaken ill and was sent to the hospital.While I was there my husband estab-lished his mother in my home and gaveher complete charge. When I returned,I expected her to leave, because wenever could get along. But my husbandinsisted that she stay.

My mother-in-law hasn't any use forme and speaks against me to my hus-band. He never defends me, whether Iam right or whether I am wrong. Lifeis miserable under the same roof withher, especially when she turns even myhusband against me. I have tried totalk it out sensibly, but it is of no use.He admits that I have been a goodwife and mother. Yet he maintainsthat his place is with his mother ratherthan with me.

Am I justified in leaving and findingmy own happiness and that of my childwith my own mother?

MRs. T. E. F.ANSWER: Mrs. F., if you are going

to correct that situation that you find::ourself in now, certainly you are notgoing to correct it by remaining there

and anchoring in your heart and harbor-ing there the ill -feeling you have towardyour mother-in-law, and having that ill -feeling reciprocated by her. Open ar-guments are going to follow that smoth-ered material that is now welling upwithin both of you and there is goingto be a lot of trouble ahead.

Certainly you would be justified atleast in going temporarily on a visit toyour mother until you and your hus-band can sit down and talk it out. Icare not how fine a woman is, I care nothow fine a younger woman is, when oneis the mother-in-law of the other, thedaughter-in-law, and they try to live, asthey must, day in and day out, most ofthe hours of the day together, each onefeeling that the house is hers, the man-agement is hers, there is bound to beinsurrection somewhere. There is boundto be trouble, too. That is, if bothare positive in their nature. Two nega-tive women, or one positive and onenegative, can get along very nicely to-gether occasionally: but they are the ex-ceptions that establish the rule, not therule and the other side the exception.

I'd go away on a visit for a littlewhile and then meet your husband andseeestablish your home, not the kind of aplace in which you are residing now.

DEAR VOICE OF EXPERIENCE:I was a member of a college cross-

country team in High School. I wason the distance team also, and I havenever been able to overcome the im-pulse to quit when I am very tired-not exhausted, sir. I seldom reach thatstage. but I quit before I get that way.This exasperates me. I am a goodrunner, being fifth on the squad, butwith my speed, my wind and my en-durance I could be first if I weren'tso doggone yellow. My teammatescome in after giving all in their power.They can exert themselves to the ut-most. Poorer runners than I, with morenerve, can always beat me. In football,though no one has ever found it out, Iam dreadfully afraid, and am much thepoorer player for it. At the start of therace I feel determined to start out andwin. After the first mile, I say: "Whatam I running for? There's no senseto it." I invariably stop and walk upa certain big hill. Later on in the raceI pick up a bit and I always have astrong finishing sprint. I shouldn'thave that sprint left. I should expendmy energy during the race.

Can you give me some advice on thisproblem?

EDWARD S.

ANSWER: Edward, I had as a dearfriend, until he was taken untimely inan accident, a wonderful man-KnuteRockne. In fact, he and I were col-leagues in a western college for a whileduring a summer course, and early inthe morning-we had early classes there-Knute Rockne and I used to get outon the old gridiron and walk around thetrack, and we talked many things over.And here's one thing he said: "Athletes

(Please turn to page 44)


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- 20 -

HIGHLIGHTS OF AMERICAN COOKERY 10cAmerica's best cakes and pies . . . appetizersand salads ... New England dishes ... Southernfood . . . popular sandwiches . . . meat dishes... fish dishes.

- 21 -

FOOD FOR CHILDREN OF ALL AGES lOcNursery and kindergarten menus . . . diets forgrammar school age . . . food for high schoolchildren . . . school box lunches . breakfastmenus . . . dinner menus . . . lunch and suppermenus . . . favorite dishes of Hollywood schoolchildren.

- 22 -

MORE FLAVOR WITH CHEESE 10cCheese appetizers and soups . . . cheese youshould know . . . main dishes .. . for lunch andsupper . . . sandwiches . . . salads . . . cheesedesserts and foreign cheese dishes.

- 25 -

ENTERTAINING-FORMAL AND INFORMAL...10cChart for formal table setting ... chart for in-formal table setting . . . company luncheonsand dinners ... afternoon refreshments ... lateevening refreshments . . . Sunday breakfasts

. family luncheons and dinners.

- 26 -

FOOD FOR SMALL TOTS lOcMilk in the diet of babies and young children... vegetables and how to serve them ... fruitin baby's diet . . . fruit juices and cereals . . .

meat and eggs.

- 27 -

INTERESTING BREADS 10cYeast breads ... rolls and buns with yeast .. .

breakfast breads ... baking powder loaves ...biscuits . .. griddle cakes and waffles ... toastin many forms.

- 28 -

SOUPS FOR APPETITES 10cLuncheon and dinner menus with soups ... soupvariations ... cold soups and aspics ... luncheondishes made with soup ... soup accompaniments... salads made with soup.

- 30 -

GETTING THE MOST OUT OF FRUIT 10cOrange recipes . . . special uses for pineapple... bananas ... apples and other core fruit ...peaches and plums in interesting ways ... bestberry recipes ... melons and grapes.

- 31

SPECIAL ICE BOX RECIPES 10cModern mousses and parfaits . . . ice creamsand ices ... chilled desserts . .. ice box cakes. .. frozen and chilled salads .. . chilled meatsand vegetable dishes ... beverages ... refrig-erator pastry and rolls.

- 32 -

SALADS-OVER AND OVER AGAIN 10cSalad greens and dressings . . . simple salads. . . vegetable salads . . . meat and fish salads... cheese and egg salads ... fruit salads . . .

dessert salads.

- 34 -

BETTER BREAKFASTS lOcBreakfast menus . . . how to prepare fruits forbreakfast ... fruit juices for breakfast ... wayswith cereals . . . muffins and small breakfastbreads . . . eggs . . . more hearty breakfastdishes.

1 -----------------------------------1

JANE OSBORNE,I Tower Magazines, Inc..

I I am enclosing $ -------- for which please send me right away theI 55 Fifth Avenue, New York, N. Y.

Icirculars I have checked here

according to the numbers above.

I A B 2 3 9 13 14 17 20 21 22 25 26 27 28 30 31 32 341

1

Name ..........................................................Street ..........................................................City .................................

State ...................

1.................................Tower Radio, September, 1935 43

GRIFFINALLWITE

FOR ALLWHITE SHOES

BOTTLE OR TUBE

GRI F 1 0 C.1.111116.°5"AlLµ,TE and

WnFFIM 25cSIZES

DIAL A DOLLARHonoring Lux Theater

May I nominate as the winner, theLux Radio Theatre? Let's give praisefor the greatest of plays enhanced bybrilliant adaption and superb presenta-tion. Comedy, romance, adventure,and drama are ours on Sundays! Weenjoy the brightest stars of stage andscreen in endless succession. What agift to the country, dwellers who see amovie rarely and a stage show never!How it must brighten the lives ofshut-ins.

Murray D. Bryce,Route 1, Royal Oak,B. C., Canada.

Don't Spurn Santa Claus"Ingratitude, thy name is Radio Audi-

ence." When will people learn that ifit were not for "plugging" there wouldbe no radio? Radio is really advertise-ment on a lavish and distinctly enter-taining scale. What if the announcerdoes take three minutes of the timebefore and after the broadcast? Becauseof those few minutes that radio bringsyou thrilling drama, glorious music, de-lightful comedy-anything and every-thing while you sit at ease before yourloudspeaker. Radio Audience, it is upto you to repay radio sponsors for thefine entertainment given to you, abso-lutely free, at a high cost of time, laborand dollars. Why not show a little ap-preciation by refraining from grum-bling!

Jeanette Brown,273 Court Street,Plymouth, Mass.

Paging Nelson Eddy

Why is it, with all the great artiststoday, that the music lovers cannot hearthe beautiful music they would love tohear? Nelson Eddy has such a wonder-ful, powerful, rich voice, it is a deepmystery to me that he has not been on

Everyone has a thought or two aboutbroadcasting. TOWER RADIO willpay one dollar for interesting ideasabout radio. This prize will go to allwriters of letters selected for publica-tion. Send your communications (in200 words or less) to the Dial a Dol-lar Editor, TOWER RADIO, 55 Fifth

Ave., New York, N. Y.

the radio lately. I am sure that therewould be at least a million steady lis-teners. Why doesn't some large corpo-ration select a beautiful musical programstarring Nelson Eddy as soloist? I ampositive that this would please thousandsmore than some of the irritating, vulgarprograms that are on the radio daily.

Catherine Yeager,628 Mt. l'ernon Street,Camden, New Jersey

Congratulations, RadioI think everyone has been gratified

with the improvement in summer radioprograms. Sponsors have at last cometo the realization that if they continuegood features through the summermonths, they can hold their fickle un-seen audience. True, there are strongoutdoor attractions that have alwaysrelegated radio to the background dur-ing the warm season, but that was partlydue to the fact that sponsors anticipatedthe slump and substituted mediocreprograms. Now they seem to havechanged their tactics. Brilliant newfeatures are being introduced or theold popular ones retained, and the radioaudience whole-heartedly approvesclever strategy. Laurels to the newly -enlightened sponsors!

Miss Mildred Meeker,816 East 20th Street,Anderson, Indiana

Sponsors, Take NoteI think the objection to radio adver-

tising lies in nauseating dialogue suchas this:

Bob-"Gee, dear, what perfectly de-licious cake; just like Mother used tomake."

Ann-"Thanks, darling, I simplycouldn't fail as I used So and So's Spe-cial Cake Flour."

How do intelligent people react to suchpiffle? It is enough to turn us againsta worthwhile product. Advertising canbe both effective and amusing. Considerthe riotous way in which Jack Bennyplugs his references to Jello, making ad-vertising an asset instead of an irritatinginterlude.

Corinne Childers,506 Clement Avenue,Charlotte, N. C.

Give a Boost

A deplorable trait in most radio fans,and one of which I am guilty, is theirfailure to write in commending worth-while programs. When one of my petprograms leaves the airways I alwayswish I had sent that penny postal cardvoicing my approval. Radio listenerscontrol the sponsor's choice of material,and we should exercise our privilege ofkeeping good programs on the air.

Mrs. D. W. McCravy,554 Poplar Street,Spartanburg, S. C.

Against Baseball Broadcasts

I wonder if we are going to have thebaseball "World's Series" broadcast overthe radio! I hope not. We all haveour favorite programs and miss themvery much when they must be discon-tinued to make way for baseball gamebroadcasts. My feelings are aroused inthe same way by football broadcasts.I like these games and attend as manyas possible, but please keep them off theradio.

Schuyler C. Hill,P. 0. Box 756.Centralia, ll'ashington

Ask the Voice of Experiencewith hearts are born; they are not made.In other words, I don't care what aman's speed may be, I don't care howmuch strength he may have, I don'tcare how much endurance."

I disagreed with Mr. Rockne on thatpoint. It is the fellow that the minutethat the temptation comes to him toquit, just puts a little extra ounce intohis speed, that is the fellow who canconquer that in himself. But, lad, itmeans there is only one that can do that,and that is yourself. You are sprint-ing now not just against a few men ina race. You are sprinting against some-thing that you are carrying right insideof you. And when it begins to lurk thereand slow your footsteps down to a dogtrot, that is the time that you have gotto put on your spurt to outdo the onethat is right with you-your shadow in-side yourself.

And even though you lose that race,you may win the race that is far moreimportant, and this is conquering your-self. Don't you realize that no onein any walk of life can ever amountto anything until he is master of everysituation that arises-not outside, butinside himself? His emotions, his de -


sires, his passions-those things mustbe under control. And you have a pas-sion just to lie down on the job. Don'tcall it yellow. I wouldn't call it that.You wouldn't have written me this letterif you were yellow, Edward. Now thething to do is to put yourself to the testand try it out. You will find it willwork just as I say it will.

DEAR VOICE OF EXPERIENCE:

I am a young man of 22, married twoyears and separated from my wife. Iwas dancing in vaudeville and thingsgot slow so I gave it up and went towork as a taxi driver. In turn I gavethis up and am now leader of an or-chestra, working steadily for two years.

I gave my wife every cent I earned,never receiving anything in return. Allthe money I gave to her was spent buy-ing clothes for her own back. Shenever suggested that I purchase anythingfor myself. For this reason I left herand am now at home with my parentswho tell me to forget her, that she willnever be good as she can't cook or doanything else.

Now I am wondering what to do and

I have decided you are the one to an-swer me.

J. B.ANSWER: You started out wrong.

For a man to hoard all his money anddole it out to his wife, to his bride, alittle at a time makes her a dependentupon him, robs her of her individualityand her personality. For the man to turnover his entire pay check to the wifeand to be dependent upon her for evenhis money for tobacco and things ofthat kind is just as ill-advised.

Now, I would not say with your fam-ily that the thing to do is to forget her.Maybe as you have trained her wrongyou could train her right even yet.I certainly would sit down and have athorough under ding with her beforeI took her back. And I would in thefuture-you say you are working now-I would only turn over 50 per centof the check to her or work out a budgetfor the family expenses at home andsee that she meets those expenses, butkeep some of the money for yourself.That isn't selfish. This is just beingfair and just and square and economicin the administration of householdaffairs.


The Unknown Specialists(Continued front page 15)

like to do it. Makes him too thirsty.Jean Southern, who does everything

in radio from being leading lady on theRed Davis program to character women,has a talent for playing the parts of ani-mals who talk like peonle. She isn't al-together happy about it. She is alwaysapprehensive lest people think of her asan animal imitator instead of an actress,which she much prefers to be.

Her first talking animal was a KrazyKat in the "Modern Classics" program.Radio had been combed for a KrazyKat. Then she tried it, and hit it "onthe nose." She has been in demand fortalleng animals ever since. One animalpart she did like, was the Cheshire Catin "Alice in Wonderland." She willnever forget the time she had to play"Mrs. Mouse" on a Christmas Eve pro-gram when she had laryngitis, and hersqueak was most authentic.

In order to talk the way animalswould talk (if they talked) she has tomake movements like the animal she isimitating, arching her shoulders whenshe is playing a cat role, stretching herneck when she is doing a duck. She canusually do it without self-consciousness,but when she stops to think about it,it makes her quite shy.

THERE is a real parrot in radio. Hisname is John Teal. He has appeared

on the Vallee program as a novelty anddraws quite a fancy salary. John Teal'smorals are as carefully guarded as anyschoolgirl's and he is only allowed tolisten to things that it would be politefor him to repeat.

Parrots are frequently called for inscripts. But they are usually imperson-ated by Elsie Mae Gordon, who cansound more like a parrot than a parrotcan.

Elsie Mae is a little reticent about herparrot work. She is rather fearful ofgetting "typed" as a parrot imitator.

She is a young woman who, pridingherself on her versatility, has created,during her radio experience, more than900 characterizations.

She specialized fora time as an emo-tional actress, but decided she would dobetter in the long run by playing manydifferent types. This is possible for herbecause of her unusual voice range,which she deliberately trained and devel-oped herself.

She did a parrot once, in an emer-gency, and now is usually summonedwhen a parrot part comes up. She canplay a very adequate parrot all by her-self. But there is a certain enragedsquawk which feminine vocal chordscan't quite manage. When she wants todo a parrot complete with squawk, sheworks with Bradley Barker. She doesthe talking and Bradley does the squawk-ing.

ELSIEMAE does other animals too.

But she would rather do odd charac-ter parts, of which she has an enormousrepertoire. One animal role that she didenjoy immensely was being the Piglet in"Winnie the Pooh." That had whimsy.

She is pretty resigned now to beingcalled for any cock-eyed assignmentimaginable and accepts them all like agood trouper. Only once did she drawthe line. That was when some one calledher and asked her to take the part of ared blood corpuscle. Somehow she justcou!dn't get the feel of a red blood cor-puscle.

Elsie Mae, besides her other accom-plishments, was one of the pioneer babycriers on the air. But she preferred not

to specialize, and so she had to giveway in these assignments to others whodid.

Among these are Sally Belle Cox andMadeline Pierce. Both of them havecried all over both networks. They useshowmanship. They carry a little pillowwith them and cry into the pillow. SallyBelle features baby parts above all else.Right now she is a baby on Ray Knight'sCuckoo Hour.

The baby criers get a lot of fan mailfrom mothers who tell them they are sorealistic that they have had to go lookin the crib to make sure that their ownbabies weren't crying.

The two babies on the "Betty andBob" program are played by nineteen -year -old Loretta Poynton, a Chicago girl.She also finds plenty of baby roles aswell as other parts to keep her busy.

Madeline Pierce can play a cooing,prattling baby and go from that rightinto being the toughest ten -year -old youever heard. She gets called to play boysof all ages.

While some have cried their way toprominence, one man at least has laughedhis way to the top. Frank Readick isan accomplished actor. But he is alsoknown for possessing the most horrible,the most blood -chilling laugh in radio,and he has made quite a good thing ofit. You have heard him as "TheShadow," and you have heard him onthe "Eno Crime Clues."

On "The Shadow" program his laugh,more effective than creepy orchestra-tion or verbal effusions of script writersstrikes the sinister keynote.

One of the oddest specialties inradio is Jack Barraket's. He does theMohammedan calls to prayer and prac-tically has a monoply on this curiouscommodity.

It is almost impossible for an Occi-dental to execute them just right. Theymust be sung, not spoken, and sung innative Arabic, at that.

Now Arabic has three syllables, allguttural, that no western tongue pos-sesses. In order to pronounce them cor-rectly, one must be born with the palatefor it. Jack Barraket was. He is oneof those rarities, a native of Mount Le-banon, and he can wrap his palatearound those syllables without any trou-ble at all.

Naturally, it is sometimes a long timebetween Mohammedan prayers in radio,but Barraket has a number of equallyunique accomplishments, such as rattlingoff the Maori tongue .of native NewZealanders or speaking any number ofremoter Russian dialects. He has beenat various times, an Indian Rajah, aKing of Abyssinia, a Chinese War Lord,and an Innkeeper in "Roadways ofRomance."

The son of wealthy parents, he trav-eled extensively in his youth, picking updialects as a hobby. never dreaming thatthey would serve him later in adversity.

Up until 1929, he was a successf'dmerchant and trader. Then came thecrash and he turned to radio with abackgammon program. The backgam-mon craze passed and he had to thinkup something else.

AT one time in a varied career he hadbeen an auctioneer in New South

Wales. Remembering his flair for thedramatic, he turned to radio acting andhas remained at it ever since.

Stephen Fox, popular leading man,is radio's favorite lunatic. His rec-ord was a period of sixteen weeks on


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Last Minute KidIllicaela in "Carmen," in "Faust" (whichshe sang without ever having seen an-other opera company do it), and in otheroperatic roles she received lauditorypress notices and was chosen for thesummer season by the St. Louis OperaCompany which boasts many Metropol-itan names.

Radio was the next-and the natural-step. An audition brought her a sus-taining program. That led to a com-mercial. She is now replacing BerniceClaire while Bernice is in Europe. Itseems almost inevitable that she stepinto other performer's shoes.

Lucy has never been married, so sheand her mother live together, but Lucywants it distint 'y understood that Annais not the typical obnoxious "stagemamma." Of course, she, knowing somuch about theatrical life, could not beone of those pests. Lucy manages herown affairs, handles all her own businessand her mother is the greatest help toher.

"No one criticizes a performer reallyhonestly," Lucy told me one day. "Thepeople at the station invariably say thatthe program was fine. The boys I goaround with always tell me that I sangbeautifully. My mother is the one whois absolutely honest."

At rehearsals Anna comes along andtakes notes. Later she tells Lucy

(Continued 11-JII: page 38)

wherein she thought she was wrong.And between numbers on a really bigprogram the two talk over the telephone.It is the most valuable help that Lucycould possibly have, because her motheris no easy critic. And that Lucy likes.

ONE night, for instance, over aColumbia program she was broad-

casting from one of Columbia's theatres.A real live audience was present and thissort of went to Lucy's head, because sheloves the feel of an audience.

When she talked to her mother laterin the evening Anna said, "You faded onsome of your notes. Be careful of thatduring the next number."

And then Lucy realized that she hadforgotten the microphone, and in her en-thusiasm for the real audience, hadleaned away from the instrument as sheaccented a certain part of the song.

You can imagine how invaluable thistype of criticism is. And yet it is alldone so sweetly because Anna franklyadmits that the theatrical world demandsmuch more from its performers todaythan it did when she was appearing. Shetold Lucy once, "I couldn't have got bytoday. I actually did not know enough.The merest chorus girl now is a betterdancer than I was then."

But she does know show business andpasses on her invaluable knowledge to

Lucy, who certainly welcomes it.Although she loves radio and all the

good things it has brought her, Lucy'sgreatest desire is for a real and worth-while operatic career. At the time whenshe first wanted to study voice there wasnot enough money, so she got along asbest she could. But now she is a pupilof Estelle Leibling, and she works veryhard indeed. So hard, in fact, that out-side of seeing the shows-which is herpassion-and an occasional horse backride amusements are out.

Her father did not want Lucy Monroeto go on the stage, but Lucy was des-tined for it-as we've seen. Certainlyall those chances of playing roles meantfor other people could not be a seriesof coincidents. It is destiny. Of thatI'm sure.

And if the Metropolitan Opera is nowher goal I believe she will reach it. ForLucy is possessed of a brisk vitality anda tremendous force which denies theexistence of the word failure.

That night when she stepped beforean audience with only a half hour's re-hearsal she did not know she could fail.This carried her through. Greater tri-umphs are ahead for Lucy. And, of allthe people who will be pleased, none willhave such great delight as that cutelittle trick, Anna Laughlin.

Beginning All Over Againing daughter. The baby and she had toeat. The child was beautiful, blonde,blue-eyed, curly -headed. Perhaps theycould both get jobs on the stage. Soovernight the grandmother turned ac-tress.

Together they toured cheap vaudeville,a middle-aged, gray-haired woman car-rying a tiny, blonde baby. The the-atrical agents grew to know the pairquite well. And Blanche Sweet becamea confirmed trouper when she couldhardly toddle around.

Little Blanche didn't like stage life,nor did she hanker for a career. All sheremembers is that she was a crankychild, dreadfully lonely, always protest-ing. And always longing for a home andmother and daddy, for sisters andbrothers and children her own age withwhom to play. She actually begged tobe permitted to go to school, like otherchildren!

In fact, there is only one pleasurablememory she retains from that period.This was acting in a vaudeville sketchwhere she had to eat huge slices of toastand jam. To this day toast and jam arefavorites with her.

UNTIL she was nine, she trouped invaudeville, appeared with stock com-

panies. Maurice Barrymore, the fatherof John and Lionel; Holbrook Blynn;and Chauncey Olcott headed casts withwhich she toured. It was while she wasplaying with Chauncey Olcott in theplay, "Terence," in Denver, that she gotthe opportunity for which she hadyearned,-to lead a normal, private life.

Her father, Gilbert Joel Sweet, at-tended a performance and recognizedher. When he and his wife had sepa-ated, shortly after Blanche's birth, he


had lost track of them. This was thefirst real meeting between father anddaughter.

Immediately, Sweet, a San Franciscooil man, insisted upon taking his daugh-ter home with him. She could go toschool, have pretty clothes, toys, play-mates, forget the stage entirely. LittleBlanche danced around in her joy. Buther grandmother refused to part withthe child.

After a good deal of argument, Mr.Sweet took both of them back homewith him. For the first time in her life,little Blanche had a real home, stayedin one city.

"I was blissfully happy then," she toldme, smiling tenderly at the memory ofthat other little Blanche of thirty yearsago. "I thought I was in heaven. Wedidn't have to stand and shiver in depotswaiting for trains. I had a real bed androom, instead of a hall bedroom, or aseat on a train to sleep on. Daddy gotme lovely green and white furniture, justwhat I wanted.

"It seemed to me that everything inSan Francisco had been built speciallyfor my benefit; the amusement parks,the Presidio, the beach."

When the San Francisco earthquakeand fire occurred in 1906, Blanche feltit had been arranged specially for herpleasure, too. To her childish, excitablemind it seemed a grand carnival. Whenshe closes her eyes, she can almost feelthe building swaying like a tree bough,as on that fateful day. She remembers

Are You Reading

Behind +he Dial?

being hurriedly roused by her grand-mother, who nervously buttoned her intoher clothes. She remembers the bay,with ships ablaze, and the gorgeous ef-fect of the sparkling, orange flamesagainst the angry gray sky. Even whenthe family had to camp at the Presideowith other refugees who had lost every-thing in the conflagration, she thought itall a lark.

For three years she attended MissHead's Boarding School, where thewealthiest families sent their youngsters.Of course, she was forbidden to mentionthe fact she had been on the stage. Whatif the other children's parents should ob-ject to their children's being contami-nated, and withdraw them from theschool?

"Did you tell the other boys andgirls?" I asked her.

"Of course not," she told me. "I hatedstage life, and was only too glad to for-get it. The first thing I begged myteacher to do was to braid my hair inlong pigtails, pulled tightly back. That'show non -theatrical children wore 'em. Iwas sick of long, golden curls hanging inmy eyes."

When Blanche was twelve, her visit toParadise ended. For her grandmotherquarreled with Mr. Sweet and took theprotesting child back to New York andstage life. Movies were coming in, andthe ambitious, shrewd grandmotherwanted to get the youngster in on theground floor.

"I didn't care about the idea of goinginto pictures," Blanche told me. "But Ireadily agreed when Grandma put downthe tucks of my skirt, put my hair up ina bun, like a grown lady, and let mewear high -heeled pumps. I felt grandthe morning we marched down to Bio-graph, the leading film company then."

For hours they filled out application


cards, giving their pedigree. The appli-cation manager promised they'd hearfrom him within a day or two. Theywaited and waited and never a word didthey hear.

Since the leading company would havenone of Blanche, her grandmother tookher to its rival, the Edison Company,where the youngster was given a job asan extra, at $5 a day.

AS the work was very irregular, theyfound it impossible to make both

ends meet. So to the legitimate stagewent Mrs. Alexander, trying to place hertalented grandchild. When she heardWilliam Brady needed an ingenue for aplay in which Douglas Fairbanks was tostar, she pleaded with Brady till heagreed to give Blanche a tryout. Shecould read the lines to him, at rehearsal.

In the middle of the test, Bradystopped her. "You read very well,child," he said, "but I notice you haven'tgot your full second set of teeth." Andturning to her grandmother, "Heavens,woman, how can I have a love interestwho isn't old enough to have all herteeth? You'd better bring her backwhen she's grown up."

"It was an awful let -down to me,"Blanche Sweet said. "I went home andcried and cried. But Grandma didn'tlet me waste much time wallowing inself-pity. 'A minute spent in regret isworse than a minute spent in dissipa-tion,' she used to say. 'Never cry overspilt milk. Learn all you can from a dis-astrous experience, and then forget itentirely. Always look forward to thenext experience.'

"She developed a good bit of reboundability in me, which has come in mightyhandy," she added, smiling wryly.

Back to Biograph Mrs. Alexander wentwith Blanche. Till D. W. Griffith actu-ally gave the child a chance as an extra.So pleased was he with her work thathe requested her to act exclusively forhis company, guaranteeing her at leastfour days' work a week, at $5 a day.

"In those pioneer film days," MissSweet told me, smiling amusedly, "therewasn't any recognition of caste. Youdidn't go into a tantrum if someonewas billed in type a quarter of an inchlarger than yours. In fact, one dayyou'd be leading lady, and the next,you'd play a bit part, just to supplybackground."

It was then Biograph decided to goWest, and made Miss Sweet a stupen-dous offer, which she turned down togallop around the stage in GertrudeHoffman's group.

If she hadn't been fired from her nextjob, as leading lady in the stage melo-drama, "Charlotte Temple," I doubt ifshe would ever have gone back into films.

Again she slunk home, ashamed,whipped. It seemed to her that every-one on the street was looking at her,laughing at her. For a few days shemoped around the house disconsolate.Then she tried to get another job, with-out success.

ONE morning, triumphantly, hergrandmother waved a telegram be-

fore her nose. It was from D. W. Grif-fith, telling Blanche to come out imme-diately. Mrs. Alexander had wired him,asking if his original offer still held. Hewired a favorable reply, of course ac-cepting the elfin blonde he had known inNew York.

But during the year Blanche hadchanged considerably. She had gainedweight, as do many girls in that awk-ward growing stage. Barely five feet tallthen, she weighed 135 pounds, a gooddeal more than she has ever weighedsince. Today, she's five feet three

inches, and weighs 107 pounds.When Griffith saw her, he just threw

up his hands in horror. "You my newstar?" he exclaimed. "Gracious, whathave you been doing to yourself ?"

Followed a few months in which allher grandmother's encouragement andsympathy were needed, while Blanchewent in for a strenuous diet regime.When she had brought her weight down,Griffith starred her.

You all know how phenomenally suc-cessful she was in the pre -talkie days.How at the age of twenty she was mak-ing thousands of dollars every week.. . . How she became the pet of thefans, one of the most famous-andwealthiest stars.

Perhaps you remember her in "AnnaChristie," in "The Unpardonable Sin,"how she brought the tears to your eyesin "Tess of the D'Urbervilles," in "TheSporting Venus" and "The Supreme Mo-ment."

What did she think of her fame? Wasshe happy, now she was sitting on topof the world, loved, respected, admired?

No, she wasn't. "All day long Iworked at the studios," she told me. "Ihad to get plenty of rest to keep fit formy acting. It is a pretty exhaustingcalling, you know."

In 1922 she married Marshall Neilan,a fellow actor, who later became a direc-tor. "A very fine moving picture direc-tor he was," she tells you frankly. Butthough she and Mr. Neilan had knowneach other for years before they married,they didn't hit it off together. Maybe itwas the effect of Hollywood; maybe itwas too much to have two flourishingmotion picture careers in one home. Sherefuses to commit herself. All she saysis "I prefer not to discuss my marriage.It was no one's fault it failed."

Seven years later she got a divorce.Then things began to happen thick andfast. All her life -savings she had in-vested in one company. It fell with asickening crash early in 1929.

So, in her thirties, she had to startfrom scratch, penniless, alone. First shetried to make a film comeback and madetwo talkies, "The Woman Racket" and"Showgirl from Hollywood."

Then she had to do something elseto keep going. Though she hated vaude-ville, and loved the legitimate stage,when a vaudeville contract was offeredher, she accepted it. "I had to havemoney," she told me simply," and there'sno use looking for one thing when an-other is offered you. You take whatyou can get."

For two years she toured vaudeville,first with RKO, then doing a singing anddancing act for Fanchon and Marco. ByNovember, 1933, she decided she hadsaved enough money to quit vaudevilleand come to New York. For a whileshe toured with the play, "The Party'sOver"; then she appeared last seasonwith Leslie Howard in "Petrified Forest."

Quite out of the blue, the OutdoorGirl officials sent for her, and offered heran opportunity to star in their radioseries. She grabbed it. She's been veryfond of broadcasting, since she did guestprograms in connection with her vaude-ville work.

Now she feels she is doing somethingworthwhile, helping others to improvetheir appearance and personality. She ishappy at last.

She lives in a comfortable, roomystudio apartment off Central Park.There is time for walking and swimming,for her friends, leisure to enjoy life."Remember," she told me in parting,"you don't need oodles of money tomake you happy. All you need ishealth, love, friends, and enough to getby on. Why, I'm happier today thanI've ever been."

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The Romance of the Lombardosthe new type, whatever it might be?"

"Not on your life," he told me. "Ifwe did we'd no longer be ourselves. Weplug all the time to improve on our orig-inal formula, but we never change it.We never so in for trick and noveltystuff. Once, about nine years ago, wetried, and it just didn't take."

He cited the rhumba as a concreteillustration.

"We can't make a rhumba fit with ouridea at all, we're unable to change itfrom the way every other orchestramakes it sound. So we don't play therhumba. It doesn't fit to our style-soit's out. And that's not casting any re-flections on the rhumba. It's like spin-ach. It's good if you like it."

Guy is generally regarded by those inthe music and radio lines as being anastute picker of hit tunes. He has intro-duced a surprisingly high number ofbrand-new pieces that later proved best-sellers. If he likes a number, he'll playit frequently. But no persuasion on thepart of a music publisher or tunesmithwill cause him to make use of a song thatdoesn't meet his fancy. He knows whathe wants, and he gets it. Carmen Lom-bardo, an expert songwriter, has createdsuch melodies as "Coquette," "Sweet-hearts on Parade" and "Snuggled onYour Shoulder," but won't ask Guy toschedule his new songs unless his brotheractually believes they conform to theband's style. In the case of these threeparticular tunes, Guy thought they'd begood bets-he played them often-andwhat happened? They developed intothe outstanding hits of their times. Hetook "You're Driving Me Crazy" beforeit was even finished; put it on the airthe same evening he first heard it. Over-night the song was a tremendous hit.

RESIDES Carmen, there are two other" brothers in the outfit-Leibert, atrumpet -player; and Victor, the young-est of the four who was brought into thefold years ago to play the baritone sax.A fifth frere, Joe, is the only one whodidn't go musical. He's an interior dec-orator, and the assignments from hisfour older brothers are enough to keephim rather well occupied.

Theirs is a devotion that would makeany parents proud of their sons-andPapa and Mama Lombardo are plentyhappy that the boys work so closely to-gether. Guy, by the way, told me he islooking for a nice little farm for hisparents and two sisters someplace inWestchester along the Hudson River.When he finds the right sort of home andacreage the Lombardos will migrate herefrom London, Ontario.

But, about the brothers."Carmen is a fine musician," he said.

"When it comes to out and out musicalknowledge, he's got me beat a mile. Butwhat is even more important to the bandthan his musicianship-and he plays fiveinstruments, beside singing-is his en-thusiasm and cooperation. He's as eageras a kid, and his enthusiasm is conta-gious. He's got good ideas, and is al-ways improving himself. He's got a goodbusiness head. One of these days you'llbe hearing about Carmen Lombardoholding a seat on the stock exchange.He, did all right for himself trading incotton last year."

Leibert, who once strenuously ob-jected to every instrument but thedrums, now is a vocalist as well as anace trumpeter. Twelve years ago, whenthe Royal Canadians, then but six innumber, needed a trumpet player in the


band more than a trap drummer, Guypersuaded him to take lessons. In ashort time he had won the place for him-self. "And now," said Guy, "for dancemusic Leib is probably the best trumpetplayer in the country."

And this isn't exaggeration, either.Once a well known orchestra leader wentto Guy and asked him if he could hireLeibert for his band. Guy laughed andsaid it was an impossibility. Then, theother music -maker offered $200 a week,two other trumpet men, and a saxo-phonist in exchange-just the way base-ball players are traded-Guy againlaughed and repeated it was still an im-possibility. He knew Leibert wouldnever quit to join another band.

Guy thinks Victor, who's the onlydaddy among the four, is doing nicely.At first he was a bit hard to discipline,but the other three united in bringinghim under their respective thumbs. Heused to have his own band, before he be-came a Royal Canadian, and toured theDominion using the name of the GuyLombardo, Jr., Orchestra. Guy figuredit would be a good idea to send for himso the public wouldn't get the two bandsconfused. It worked out better for bothof them-and, besides, the move madeMama Lombardo happier to know Vic-tor was in good brotherly hands.

THE recipe for the success of the GuyLombardo music is very simple-ac-

cording to Guy. "It's just team workthat did the trick," he explains. "Elevenmen, each using his head and knowingthat his judgment is good, working to-gether like one man. We're not justfour brothers, you see-we're all friends-the eleven of us. And we've beenfriends and co-workers for a long time-ever since we first began."

That was twenty years ago when hewas a kid violinist of twelve. Papa Lom-bardo was very strict about music les-sons in his family. Music, he alwayssaid, should have an important place inevery home. So Papa Lombardo, bornin Italy and raised with concert ambi-tions only to become a fairly prosperousclothing designer, passed out nickels toGuy and Carmen for them to be niceboys and study their music. Not onlydid they oblige-for nickels-but theywent around the block and enlisted Mrs.Kreitzer's little boy, Freddy, who wasjust eleven and a wizard on the key-board. He got nickels, too.

He wasn't a great Guy in those days,but he did grate upon the neighbor'snerves. "The families in the neighbor-hood almost went nuts with our rehear-sals," Guy admitted smilingly-he canafford to now-"but after a while weweren't doing so badly.

"Mother was a very clubby person.She was what you call a 'joiner,' belong-ing to about every woman's club in town.One day she made arrangements for usto make our debut at a Mothers' Clubmeeting, and we did our stuff. We gota lot of bookings after that-you know,at teas, garden parties, church meetingsand other affairs. Our first big piecewas 'When You Wore a Tulip, A BigYellow Tulip-' "

Finally, Leibert, whom his father hadtried to convert into a violinist and thena pianist, joined with his first love-thetrap drums. Freddy Higman and BernDavies, to whom Carmen had given saxlessons, augmented the thriving Lom-bardo band in 1919. Then the bestukulele player of London, Ontario, Fran-cis Henry, was transformed into an ex-

pert guitarist. When Leibert startedtooting his own horn, George Gowanswas drafted to beat the drum rhythms.And, for the records, the other two vet-eran members are Jim Dillon, who canslide a mean trombone, and LarryOwens, second saxophone player ofCleveland-the only fellow in the bandwho doesn't hail from London. All theothers grew up within a mile of eachother. I almost forgot. There's a newaddition to the ranks-the first sinceVictor was taken in. He's Jack Mileswho, like Victor, once had his own musi-cians.

I'm glad I didn't fail to include JackMiles. There's an amusing little storyof how he became one of the RoyalCanadians. When Guy first went on theair over. Columbia this past July, he de-cided to add another trombonist. Hewas dickering for one in Jack Miles'band. The latter heard about it andwent to Guy. "Say, if you're lookingfor a good trombonist-what's the mat-ter with me? I'd like the job." Guycouldn't find anything the matter withhis playing-it was expert. So Milesgave up his organization for the placewith Guy. It means that much for achance to play with the Lombardofamily.

But it didn't always carry so muchprestige.

That was before their rise to promi-nence. At first, it was difficult to getbookers interested in their style ofmusic. The theater and club didn't be-lieve the public would find favor withtheir smooth, dreamy melodies that werea startling contrast to the blatant,"hot" rhythms of the era. One vaude-ville man, recognizing the box-office abil-ity of nine handsome musicians, sug-gested to Lombardo that he adapt hismusic to the current mode instead oftrying to win people over to his mannerof playing. But Guy preferred to stickto his guns and muffled saxophones.

HE fate of our band was decided inCleveland one night," Guy rem-

inisced. "Things were tough with usand the boys were getting homesick.Remember, it was the first time any ofus strayed from our own neighborhood.Finally, it was decided that we hold ameeting to see if we should go backhome to Canada and find other things todo, or else try to stick it out in theStates. The vote was deadlocked, whenthe last fellow arrived late. He had justmet a swell girl-love at first sight, youknow-so he voted to stay. Stay we did-and I guess we have that girl tothank."

After a while, Cleveland took to theLombardo music. This was just aboutten years ago and it was then that theband first started broadcasting locally.A Chicago night club owner dropped intotheir place one evening and found theirmusic much to his liking, He broughtthem to his cafe in Chicago, hoping torejuvenate trade there. But nobody hadheard of Guy Lombardo, so nobodycame in.

"I felt rather responsible that therewere no customers,P Guy went on. "Itold the boss that we wouldn't hold himto the contract. But he seemed satisfied.He just sat there almost every night,practically alone, and listened to us play.Of course, that couldn't keep up, sofinally I convinced him that our onlychance to click was in having a radiowire in the spot. He agreed to give ita try."


About Radio StarsReaders have been asking about

Harriette Widmer, who played brieflywith Amos 'n' Andy as Julia Porter-field. . . . She is the wife of a Chi-cago steel salesman and discoveredher ability as a negro dialecticianwhen she read Uncle Remus storiesto her two children, Jack and Don.. . . Has been on the air, recently in"The Widow and Angel" and asTina in "Masquerade". . . . DonBestor once managed a theater atKankakee, Wisconsin. . . . Mrs. Ger-trude Berg, author of "The House ofGlass," always writes her radioscripts in long hand.... Abe Lymanonce was a taxicab driver in Chi-cago. . . . Everett Marshall is one -sixteenth Indian.... His grandfatherwas a circuit rider. . . , Everett'searly jobs: grocery boy, pin setter ina bowling alley, singer with BillySunday. . . . Lewis James, ElliotShaw and Wilfred Glen were origi-nal members of the Revelers andhave been together for fifteen years.. . . Robert Simmons is now firsttenor, successor to Charles Hart,Frank Parker and James Melton... .The Pawnee Indians of Tulsa, Okla-homa, recently conferred the title ofChief Bugle on Dr. Edwin FrankoGoldman, the bandmaster. . . . TheMills Brothers have been making an-other European tour, the second ina year. . . . Glen Gray is now aKentucky Colonel.

I knew the rest of the story. The sta-tion manager, listening at home to theLombardo band's first broadcast, tele-phoned to keep the program going foranother hour. Nightly allotments weremade for their broadcasts. Guy Lom-bardo and his Royal Canadians becamea Windy City sensation. Their nightclub prospered to the tune of thousandsof dollars-thanks to their tunes. Theirphonograph records sold like hot -cakeswhich also are round.

Seven years ago, as I mentioned be-fore, they made their debut on the Co-lumbia network. Then, having conqueredChicago, they packed their instrumentsand came to Manhattan. And the groupof musicians that had its inauspiciousstart at a Mothers' Club meeting in asmall Canadian town, has been doing fa-mously ever since.

But success has only stressed Guy'sloyalty to friends-which is another rea-son why he's a great Guy.

Recently, he heard that the man whogave them their chance in Chicago hadn'tprospered lately. In fact, he was broke.The depression had left his business lowand dry. Guy took a two weeks' vaca-tion with his band and played at the oldstand-without any charge whatsoever.He could have made $14,000 filling a reg-ular engagement for the same period.

THIS dark-haired bandleader, with thewide brown eyes, and cordial smile. is

a sentimental fellow, indeed. The Lom-bardo family ties are strong ones. Sometime ago, a telephone call came to themin Cleveland from their home. They hada new baby sister. The boys were askedadvice on a name for the little new-comer. But excited as they were at thenews, they cottldn't make up their minds

on the long-distance telephone. Guythen said for the folks at home to listento the first number on their broadcastthat night, and that would name thebaby. They opened their program withthe then -popular "Rose -Marie." Rose -Marie is just nine now, and the pet ofthe Lombardo tribe.

I remember one time-it was a coupleof years ago-that I was interviewingthe four brothers and the others in theband on a "Meet the Artist" program.Rose -Marie was in the studio, and Guythought it'd be fun to bring her to themicrophone.

"ITHO'S your favorite bandleader,dear?" he jokingly asked her, an-

ticipating a vote for the family."Ben Bernie," she replied without a

moment's hesitation."Ben Bernie?" Guy asked in surprise."Yes, Guy," she calmly told her

brother. "I think he's much funnierthan you."

Guy still thinks it's the cutest thingany sister ever told a brother.

The No. 1 man of the Lombardos-and I can say this with the full approvalof the others, as you won't find aninkling of jealousy among them-is aboating fan and a rabid short-wave en-thusiast.

Even bef ore short-wave receiving setscame into their own, Guy would stay upalmost to daylight fussing with the dials.The first time he got the set he spenthours trying to tune in a distant station.Finally, he was rewarded with the callletters of a Berlin station. Anxiously,he waited to learn what sort of radioprograms the Germans staged. Musiccame through the loudspeaker. It washis own recording of "Good -Night Sweet-heart."

Now, as the Walrus said, is the timeto talk of ships and things, for Guy is asuper -enthusiast when it comes to boat-ing. He'd rather discuss the aquatic ve-hicles than music or anything else, forthat matter. It pleases him when afriend hails him as "Admiral Lom-bardo" because he really likes to regardhimself as an expert mariner and fisher-man.

Six years ago, he started out in a smallway with an outboard motor boat. Then,he acquired a small speedboat, and laterturned it in for a 30 -foot high-poweredlaunch. At present, he owns a littlespeedster and his 65 -foot cruiser,"Tempo," which is one of the trimmestand fastest vessels of its size.

"I'm going in for regular speedboatracing this season," he confided. "I'mgetting a special job from Detroit, justbuilt for racing, that'll do about fifty orfifty-five miles an hour. I'm entering itin a lot of these events around NewYork, and I'll try to bring home a fewloving cups to decorate my bar."

However, the other Lombardo broth-ers think there are safer and saner waysof obtaining home decorations than byskimming over the water at breakneckspeed. It's the only item of dissensionamong them. They've tried to talk himout of it. But he's determined to winnew laurels at the wheel of the bouncing,breath -taking hull.

He's a great Guy.

THE MAN AT THE CONTROLStells you all the gossip of radio in

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Out of the Westis a recognized necessity. Since thenMiss Verrill has dubbed for many fa-mous stars. When you hear Jean Har-low sing in "Reckless," you are reallylistening to Virginia Verrill.

LAST year came her real movie experi-ence. Director Van Dyke of Metro -

Goldwyn -Mayer heard Miss Verrill sing-ing on "California Melodies" and senther a wire to report to the studio nextday. She was all set for a screen test,but instead, she was put in the handsof the famous Adrian. In twenty min-utes he had fitted a beautiful gown onher. It took ten minutes more for thedirector to explain just what she was todo and how, and Virginia was lifted tothe top of a toy piano to sing "All IDo Is Dream of You." That was partof an episode in "Hideout."

"Were you scared in front of thecamera?"

Miss Verrill seemed surprised, asthough it were quite unnatural for oneto believe that a girl of eighteen wouldhave some sort of reaction to her firstmovie experience. Her mother answeredfor her.

"Virginia is never excited, or thrilled,or scared about anything. I'm the onewho experiences all the emotions sheshould be going through. Even comingto New York didn't thrill her."

In school Virginia was president of theglee club and prima donna of the annualoperetta. Incidentally, she was a fresh-man in the John Marshall High Schoolin Hollywood when Kate Smith's "ThreeAmbassadors" were seniors, all of whichhas nothing to do with Virginia. Longbefore her graduation she was singingfor various commercial stations, and wasfor a time soloist for Orville Knapp'sband. And in spite of all her activities,she passed her exams with flying colorsand completed her high school coursewith all college entrance requirements.

If Mrs. Verrill had pressed the mat-ter, Virginia would have been willing togo on to college. But by that time Mrs.Verrill had changed her mind about agreat many things. She herself ex-pressed her very practical point of viewon the subject.

"Virginia wants to sing, and todaythere is a place for her in radio becauseher voice is in vogue. Her voice is nottrained. I believe training would de-tract from its individuality. It is agood natural voice particularly suited to"blues" singing. But that type of sing-ing may not always be popular, and forthat reason we should take advantage ofthe opportunities to use it in a remunera-tive way now."

MISS VERRILL was on the GeneralPetroleum hour in California as

well as the "California Melodies" pro-gram when the director of the formerdecided to send thirty records of theprogram to all the Standard Oil sub-sidiaries, hoping to make a nation widehook-up of the hour. Eighteen dealerssent in their approval of Miss Verrill100%, but wrote that the continuity didnot exactly suit them. At the same timea New York call from Standard OilCompany's advertising agency informedthe Verrills that Virginia would be sentfor when a program had been arranged.Mrs. Verrill decided not to wait, and sheand Virginia went on to New York tosettle matters. Then the program gotunder way.


But Virginia had not been idle inthe meantime. She had been singingnightly during the supper hour at theBiltmore. The manager first consideredher when he was told that she was a girlwho neither smoked nor drank and likedto go to bed early. Then he heard hervoice, and was convinced he wanted her,even if it should turn out that she tooka cigarette or a cocktail now and then.

The Verrills demurred. It wasn't whatVirginia wanted to do. They were wait-ing for something better. Meanwhile,his offer, originally generous, continuedto go up until the Verrills could resistno longer. They signed a graduatingcontract, giving her an increase everyother week, with every privilege as toother engagements. If radio programsshould come at the same time, she isat liberty to arrange her hours at theBiltmore to suit the rest of her program.

Since Miss Verrill has been here, shehas also made a short for Paramountwith Isham Jones, and that is no smallcredit to her since she is his first solo-ist in nine years.

ON April 26th of this year she was oneof twenty-two acts that were sent

to Washington for the yearly dinner andentertainment given for 300 newspapermen and President Roosevelt as honor-ary president. Among the acts wereMary Eastman, Virginia Rea, GertrudeNiesen, Benay Venuta, Stoopnagle andBudd, James Melton, and Everett Mar-shall. After her two numbers, the audi-ence clamored for an encore, but Vir-ginia explained quite frankly that shehad prepared only two songs because shehad not dreamed they would like her somuch. At the end of the evening, theentertainers lined up and the presidentpassed before them to thank each oneindividually. When he got to Miss Ver-rill, he stopped a few seconds longerand said: "But you're just grand."

MISS VERRILL admits that she owesa great deal of her success on the

radio to Dave Broekman, Columbiamaestro at KHG, Hollywood.

"It was he who said: 'Never let theorchestra carry your tune. Let thestrings give you the chords. Don't tryanything fancy with your melody. Singit straight,' " Miss Verrill explains. "Andthat's what I've always done. You askedme before if I was scared. I am scaredof one thing. When I sing, I alwayshave the fear that the music stand willfall, and that's the reason I always holdon to it.

"I always choose my own numbers.The ones I like best are songs with at-tractive melodies. Sometimes there'sjust one line that isn't quite what I likeit to be, so I write in my own.

"Then I always whisper part of thesong. For encores I sing the chorus inSpanish, French, or Italian."

"Oh, I didn't know you could speakso many languages," this interviewerasked quite innocently.

"I can't," Miss Verrill replied. "I un-derstand them enough to get the senseof what I'm singing. Then if it's anItalian song I am learning, I ask someItalian, anyone who looks intelligent, tolisten to my pronunciation. I work onit until I get it right, and usually theeffect is so good that after my song, peo-ple come up to me and speak to me inthe language I've just sung. And Idon't know a word they're saying."

The Verrills, on the mother's side, areCalifornians way back. Virginia's grand-father was one of the original landownersin Hollywood. His house was located inthe picturesque canyon which is now theHollywood Bowl. It is there where Vir-ginia's mother was brought up. Sheused to stand at one end of the canyonand whisper and wonder why her friendsfar off at the other end could hear herso distinctly. Virginia was born inSanta Monica Canyon. Her father, anEastern man, a Yale graduate, is anowner of a large Hollywood rubberconcern.

Virginia is a collector of birds andgoofus animals. In her home in Holly-wood she has nine aviaries. She missesher two parrots dreadfully, and simplycan't wait until she sees 11 new pheas-ants which have become part of heraviary since her arrival here. Her goofusanimals, hundreds of them, of everydescription, can be found in her modern-istic blue bedroom filling rows and rowsof shelves.

Miss Verrill is often compared toMyrna Loy in appearance. She hasgreen eyes and dark brown hair, andso unaware is she of the strangeness ofthat color combination, that she doesnothing to emphasize it either by make-up or clothes. In fact, she has no favor-ite colors or styles. She leaves it all toher mother who buys her simple youthfulclothes that become her.

She is still an unspoiled country girlwho turned down a date to see Harlemin order to get her eight hours of sleep.She likes to swim and drive a car.

Stay that way, Virginia.

TOO MANY GOOD THINGS TO MISS

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How I Bring Hollywoodto the Mike


the two characters, Jean Valjean andthe old man, Champmathieu, was bril-liant and made all listeners eager to seethe picture.

Which reminds me-when reading therole of Champmathieu, Freddie put twomarbles in his mouth to achieve thecurious enunciation of the chattering,foolish old man. He carried them inhis pocket and his greatest worry onthe afternoon of the broadcast was thathe might lose his marbles.

If you are familiar with the "Holly-wood Hotel" program you know thatwe always preview scenes from ourguest star's latest picture, usually a pic-ture which is shortly to be released. Indoing this I feel that I compensate myfriends to some degree for the time andtalent they give me. It is interestingthat practically every picture we haveput on the air has later become a boxoffice hit. We have broadcast advanceglimpses of some of the most success-ful pictures of the year. And I like tofeel that these previews have played apart in their success, as they have inours.

IDOUBTif even our long-stanjing

friendship would have persuaded theshy Ronnie Colman to face the micro-phone if he had not been so interestedin "Clive of India." It was only afterwe discussed with him the manner inwhich we proposed broadcasting the pic-ture, that he consented to appear. Oncehe had acquiesced he became the mostearnest and enthusiastic of us all.

Also with us on the program was lovelyLoretta Young, Ronnie's leading lady in"Clive of India." It was Loretta's firstappearance on the air and she amazedus all. She turned out to be that rarephenomenon, a radio "natural" with aninstinctively perfect microphone tech-nique. Our sound man who is accus-tomed to expect mike -shyness andawkwardness from beginners raved aboutLoretta for weeks.

Originally we put on "HollywoodHotel" at the broadcasting station be-hind closed doors. I felt that the stars,especially those unaccustomed to radio,would dislike having a large audience.When our sponsors, the makers ofCampbell's Soup, insisted that we takea theater, I consented reluctantly. Butthe theater has been an enormous suc-cess. We play every week to an audienceof 1,200. And there is a waiting list ofhundreds trying to get in to see theirfavorites actually play a scene.

Curiously enough most of my guestslike the theater idea and feel more atease when they can see at least a part oftheir millions of listeners -in. It helpsthem actually to see and hear a friendlyresponse instead of having to imagine it.

Many of them, of course, have hadstage experience, and to those an audi-ence contact is not only helpful butalmost necessary.. Maurice Chevalier, naturally, was

thoroughly, delightfully at home on ourstage. An experienced entertainer, hetook the visible audience right into hisconfidence and won their hearts instantly-yet never for an instant did he forgetthe mike and his vast invisible audience.

Speaking of Maurice I have to tell astory on myself. It was part of theby-play on our program that I was toattempt to talk French to Maurice. Itwas pretty certain to get a laugh since

my vocabulary is limited to "petit de-jeuner" (pronunciation a la Parsons be-ing petty dayjunnay). But Maurice, notknowing this and fearing I might spoilthe gag warned me, "Now be sure tospeak very bad French." When I gavehim a sample he threw up his hands inamused horror and said, "You do."

IHAVE discovered to my delightedA surprise that the bigger a star is, theharder he is willing to work. Though myguests receive no financial compensation,professional pride and artistic integritymake them all unwilling to give an in-different performance. They will spendnight after night rehearsing to becomeletter perfect and to let our expert voiceman test them. All are anxious to mekethe best showing possible in this mediumwhich is new to so many of them.

I know of no one who works harderfor a broadcast than Norma Shearer.She has not been with me on the "Holly-wood Hotel" program, but she has beenwith me twice before: once when I wason the "Sunkist" hour and once on the"Charis" program at which time thescript was carefully prepared with hus-band Irving Thalberg sitting in as chiefadviser.

Irving was tremendously interested inNorma's microphone experiences andenthusiastic about the results. Normahas a fine style before the mike. Sheclaims she is scared to death, but thereis no trace of it once she begins to de-liver her lines.

Most of the stars admit to terrificmike -freight at first, but they all comethrough like troopers. Claudette Col-bert told me she was never so terrifiedin her life, but that I was so much worseoff that she forgot her own nervous-ness in worrying about me. IncidentallyClaudette has been on the air with metwice and both times has won the ad-miration of all those who worked withher by her tact, her sweetness and herworkmanship.

Constance Bennett is very nervousalways. I am usually so busy tryingto assure Connie that everything will beall right that I forget to worry aboutmy own lines. As a result I am lessself-conscious on such occasions thanusual and put my best foot-or rathervoice-forward.

Carole Lombard, unlike Claudette andConnie, is an old hand at the mike andloves it. She and George Raft andLynn Overman clowned so much whenthey were rehearsing that I was worried.They had a grand time teasing me, butwhen they went before the mike I dis-covered I could have spared myself grayhairs. Three more earnest and work-manlike people you've seldom seen.

BILL POWELL, the rascal, kept mein a state of acute jitters all through

his actual broadcast. All during thosetense moments on the air he kept whis-pering to me anything that came intohis head. "Say, Luella, your makeup'son crooked." "Did you by any chancehave a drink?-I thought I smelled iton your breath." I was terrified for fearthe mike would pick up his kiddingcomments and could have killed Bill onthat occasion.

Perhaps the most sensational of our"Hollywood Hotel" broadcasts was theone in which Mae West made her radio


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How I Bring Hollywood to the Mikedebut. From the moment Mae andPaul Cavanaugh stepped before the mikethere were shouts of delighted laughterfrom our audience. Mae did her stuff,shook her hips and drawled in her fa-mous manner.

During a hot love scene with Cav-anaugh, the unaccustomed microphonetechnique struck her so funny that shenot only convulsed the audience but al-most broke herself up. The script calledfor a long passionate kiss but instead ofactually kissing, as on the screen, Pauland Mae of course merely marked timeon opposite sides of the mike. The au-dience began to howl at the incongruityof the situation and when Mae, to topit off, turned and winked broadly atthem, they almost brought down theroof.

Maria Jeritza, the famous diva, alsomade a great hit not only with her audi-ence, but with the orchestra. ConductorRaymond Paige feared that she would bevery temperamental and that she mightcriticize his technique. Instead she saton the floor all through rehearsal, wentthrough each song only once and aftereach one said to the orchestra, "Youare all right. If you think I am allright we won't rehearse any more." Themen got to their feet and cheered her.During the actual broadcast she threwa kiss to Ray, making him her devotedslave and utterly captivating theaudience.

Those two funny men, Bert Wheelerand Bob Woolsey, had the rest of thecast in such stitches that producer Wil-liam Bacher had to beg them not tolaugh too loudly and drown out theboys' jokes.

Incidentally, Mr. Bacher has accom-plished marvelous things with "Holly-wood Hotel." He is an indefatigable


worker and while sometimes the starsresent his dictatorial methods they endby liking and respecting him because heproduces results. Miriam Hopkins, whohad to have all her rehearsals at the stu-dio where she was making "BeckySharp," is an example of this. She wasfurious at Mr. Bather's attitude, butwhen the broadcast turned out so bril-liantly she was the first to shake handswith him and compliment him. Inci-dentally, Miriam gave a performancethat has seldom been equalled on anyprogram.

PERHAPS the greatest trouper I havehad with me on the air is May Rob-

son. If you tell May to be at a 12:30rehearsal she's there at 9:30, rarin' togo. Dick Powell, usually at his ease inany situation, says May floors him com-pletely-she always steals the show.More than once she has terrified me bysuddenly ad-libbing, but she has neverfailed to give me my cue word for wordat the end of the speech.

By the way the only time I ever sangover the mike was when I led a chorusof "Happy Birthday" at May's "Holly-wood Hotel" birthday broadcast. BillBacher who had been constantly saying,"Why don't you sing sometime,Louella?" was finally forced to admitit would be all for the best if I neverwent musical again.

We've had a million laughs and al-though my heart is still with my news-paper work and my column comes first,I've become an enthusiastic and ardentmember of the radio fraternity.

But don't think I haven't had mybad moments. Aside from having toovercome mike -fright, there have beensome other scares that have stood myhair on end.

Diction Medalbroadcast. One more river to cross. Ifhe could hold on.. .

As Lord Byron left the restaurant theevening of that thirteenth, Friday, thewind howled and a fierce storm swirledabout the city streets. He plunged intoit and headed for the studio. A news-boy huddling on the corner in the driv-ing rain and sleet shouted-"Big Gale onth' Atlantic Coast . . . Ships in dan-ger!" But Byron didn't hear him. Histhoughts were on the job ahead. If hecould get by tonight, he'd have the newcontract and he'd show them he couldn'tbe rattled. "Some-Day-You will-Say . . ." No, he'd never say it . . .

never . . . nev . . .

A boy stopped him at the entrance tothe broadcasting building. A small boy-with an adoring gaze. He'd seen itmany a time before.

"Are you John Byron?""Yes.""The announcer what won the Diction

Medal ?""Yes-yes.""Will you give me your autograph?""Why-sure." He knew the symp-

toms.The boy stuck out a piece of paper

and Travis mechanically reached for apencil. As he did so, the boy suddenlyturned and darted away, leaving Byronholding the paper. In surprise, helooked at it and suddenly a string ofletters jumped at him-"ROME DAY YOUWILL SAY PUTRID!"


And at the sight of that, the greatLord Byron cracked! With an oath hethrew the slip onto the muddy sidewalkand rushed for the elevators. Up-up!He saw no one in the elevators. Hecouldn't see Anne's suddenly worriedface as he dashed past her. He saw noone in the studio, even though it wasjammed with people. He didn't see thesingers, or the orchestra. He didn't hearthe program. During the entire halfhour he knew nothing that went on, ex-cept that he realized he must say"Purid" at the close of the program."Purid . . . Purid . . . P -U -R -I -D . . .

Purid . . . Purid . . ."

SUDDENLY, as if in a dream, he heardthe familiar ending of the signature.

The twenty-two piece orchestra built thetheme to a stirring finale, the blonde con-tralto blended her voice with the tenorof the Purid Dream Man in one triumph-ant note-and then an awful hush fellover the entire studio. He could feelthousands of eyes fixed on him. Slowlyhe turned to the microphone. The bloodpounded in his temples, he seemed tostruggle for breath.

Somehow he staggered through theclosing announcement - "Program -Products-Guarantee"-and then-thefinal, closing sentence rushed up on him.He looked at the clock. Five secondsto go! He drew a deep breath, fastenedburning eyes upon the script he held inhis shaking hand and said-"This-

I was on needles and pins for a weekbefore the Grace Moore broadcast. Gracehad not been feeling well and it was notuntil twenty-four hours before the ac-tual broadcast that she decided she wasphysically able to appear on the pro-gram. By that time I was a nervouswreck, but Grace appeared to be in evenworse shape. During the last-minuterehearsal just before the performanceshe was so nervous she couldn't bearto have anyone on the stage or anywherenear her. Then the curtain went up. Shesang "One Fine Day" from MadameButterfly and the aria from the fourthact of "Romeo and Juliet" with MichaelBartlett, who steadied her with his arm.She was magnificent. Immediately afterthe broadcast her manager called fromNew York and said she had never sungas well. Whereupon Grace and I bothcollapsed.

The week that Irene Dunne and FredAstaire were to appear for me both weretaken ill with heavy colds. It wasdoubtful whether they'd be able to goon at all and extremely improbable thateither could sing. Yet they both, blessthem, got out of sick beds to come tothe theater and they both sang.

And while I'm handing out the creditsI m-stn't forget that darling, HerbertMarshall, who drove 135 miles from thedesert and back the same day just to beon my program.

I wish time would permit me to men-tion everyone. There are so many otherswho have been splendid-Dolores DelRio, Kay Francis, Gary Cooper, BetteDavis, Gloria Swanson, Ruth Chatter -ton, Edmund Lowe, VictorMcLaglen andstill others. At least I can tell themhere in print, as I have told them inperson, that I thank them-from thebottom of my heart.

this-is-a-PUTRID PROGRAM!"Good God! He'd said it! HE'D SAID

IT ! They were right. . . . He had saidit! A sea of white faces swam beforehim . . . hundreds of faces whichseemed to laugh at him triumphantly,but noiselessly. It was over. He'd saidit and the world had heard him-andhe'd lost his job and the fifty dollars aweek, and-he was through in radio-through-washed up!

Then he looked through the glass ofthe control room and saw the engineerwas not in his usual place. There werepeople in there talking. They'd heardhim-it was all over. He saw the en-gineer approaching from the controlroom and then the main door openedand the men from the Purid ProductsCompany appeared.

The great Lord Byron leaned againstthe studio wall, suddenly deflated. Itwas all over. It was the end. Andthen, through a haze, he saw Anne com-ing toward him. She was-she was smil-ing-yes-she was actually laughing!

His dry lips opened and he finallyspoke.

"Well . . . I said it!""Said what?""I said . . . I said . . . I . . .""Well, whatever you said, it doesn't

matter.""Doesn't . . . matter?""No . . . there's an S. 0. S. out and

we haven't been on the air for the lastfour minutes!"


The Boy the World Forgot(Continued from page 25)

heard of a blind audition and I took it."After finishing I was sent for and

asked to read some cooking recipes. Sonow I am a radio player in 'The Way toa Woman's Heart,' under the nom deplume of Sidney Snow. How you foundme out I do not know-but I am glad.Perhaps I may make good and get a realchance before the mike. It's a small be-ginning but-" he shrugged his shoul-ders "one must eat and keep a roof overhis head."

The film and stage star who had ownedhis town house and Summer homes, hisforeign model cars and his yacht seemedhappy at the outlook. And it struck methat a good loser could not help butcome back again.

"You know," he continued, "it is al-ways the unexpected. When I first cameto New York City from Highland Hillssome years ago I knew what it was to behungry and homeless. So the last yearor so did not faze me. That is, anymore than it did then. I got my startin just such an unexpected way as the`blind audition' before things became un-b2aringly irksome.

IWAS sitting.in Madison Square Gar-den with an awfully dull and empty

feeling in my belly when my attentionwas arrested by an article called 'TheMan in White' by Zoe Beckley. He wasa familiar figure to all New Yorkers.Regardless of season he was always seenin a soft white shirt open at the collarand white trousers. Miss Beckley, thewidely known feature writer, had dis-covered that he was a baritone on histag ends in New York but well knownas a singer in Sweden. The article was aboost for the downtrodden talent of theman.

"With the audacity of youth I thought`Why cannot she do the same for me?' Islept all the better that night even de-spite the hardness of the bench and thenext morning hiked clear down to thenewspaper offices in Park Row. Theoffice boy was not interested in gettingme to Miss Beckley. Just when I wasdesperate enough to take a sock at himor something, a man stuck his face thruthe inner doorway. He saw me andasked what I wanted. I told him Ithought Miss Beckley might like towrite an article about me so I was hereto see her. He smiled and taking me bythe arm led me to Miss Beckley's tubbyhole of an office.

"She listened to my whole story-myambition to act-and I did one or two ofmy best selections for her-she seemedinterested and told me she would do astory for me and finally gave me fiftycents to go across the street to a pho-tographer. I was to have one print formyself and give the other to her. Ibought one print and gave it to her. Ispent the other quarter for eats. Shealso gave me a note to the WashingtonSquare Players. Through that fine wom-an, who has helped more wayfarers thanany other person I know, I made mystage debut in 'The Clod' followed bymany other productions until the realbreak came in 'Clarence.' "

"Tell me," I asked, "during these lasttwo lean years what was the most dis-couraging thing that happened to you?"

"The attitude of close friends and

relatives. They have seemed to thinkthat my failure to get work must some-how be my fault. For months past allthat I have heard from them was tothat effect. They have said 'So and sowas cast for such and such a role, whydidn't you get it?' The onus was alwayson me. They inferred I was not tryinghard enough. It is curious how when oneis down, those closest to him would prodhim further into the dumps. Yes, thesefriends and relatives have certainly doneas much to discourage me as anythingelse. To be accused of not trying isalmost too much." The only trace ofbitterness I had yet seen entered hisface.

I have heard that Glenn, while in themoney, had settled his financial mattersso that those dependent on him need notworry and I have been told that notonce during this past lean period has hetouched these resources. He has lookedout for others but not himself.

Since he must once again starve fora career he has done so. Rather a curi-ous windup for the star who has trav-eled all over the world in luxury andbeen the honored guest of the world'sgreat.

THERE is no reason for it all. Theable Glenn Hunter is a fine romantic

and character actor. It is simply theold story of the unthinking refusing togive a new chance to one whom theyonce greatly honored. Glenn will notfail them now-he did not before. Letme give you an idea of this angle ofcondemnation.

When Glenn was cast for "Clarence"it was his first real break. All was set.But Booth Tarkington, the author, wasagainst him. "He is too old," he de-cided, so Glenn was released. Heart-broken he went back to his little two byfour room and actually wept for hours.But a light was in the offing. The com-pany could find none better than Glenn,so he was recalled.

After the opening Glenn was made.Both public and press went wild. Tar-kington rushed into his dressing room,grasped both his hands and said: "I canonly say to you I will never try againto pick another member of my cast."From that day to this Tarkington hasremained one of his best friends.

And so today the high and mightyof the stage and of the talkies are aswrong as Tarkington once was in theirmeasure of Glenn Hunter. They haveplaced, even as did the author, a limiton his artistic ability. Possibly thedoubting Thomases will give him achance after he has achieved over theradio the distinction and recognition heonce enjoyed in the other mediums.

Personally, we can see him as a threeway star. He has spent his life on thestage and before the camera. The mikeis only just another instrument to bringhim a wider audience and a greater ful-filment than ever before.

"When you hear me over the radiodon't think of me as Glenn Hunter," heeyed me with a twisted smile, "but justSidney Snow trying to sell recipes tohousewives. I try to make them ap-petizing. God willing, it is the road to anew and better opportunity."

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The Believe It Or Not Storyof Believe -It -Or -Not Ripley

World, and Ripley's first job was on thatpaper. Later he worked for the Asso-ciated Newspapers, where Ding (J. N.Darling) gave him valuable assistance,and then he went to the old New YorkGlobe, which was later bought up anddiscontinued by Frank Munsey.

It was on The New York Globe, onDecember 19, 1918, that there was bornwhat was destined to become the mostpopular cartoon feature in the historyof modern journalism-and, believe itor not, the whole thing was pure acci-dent. Ripley was supposed to do a dailysports cartoon, and the end of one weekfound him completely run out of newmaterial and a little panicky for fearhe wouldn't get his cartoon finished be-fore the deadline. In desperation hescraped around in the drawer of hisdesk, dug up some odd bits of sportsrecords that he had stuck in there fromtime to time-such as the man who madea high -jump record backwards and thetwo runners who ran a three-legged raceand did the 100 yards in 11 seconds withone left leg tied to one right leg-andlumped them all together in one car-toon.

This collection of sports oddities heentitled "Champs and Chumps!" On theway up to the managing editor's office tohave the cartoon okayed, he thought ofanother idea. He stopped in the cor-ridor long enough to scratch out the"Champs and Chumps" and write downa title that was later to make journal-istic history the world over-"Believe ItOr Not."

THAT cartoon and the title attractedso much attention that a week or

so later Ripley threw in another one,and soon got in the habit of droppingin a "Believe It Or Not" among hissports cartoons from time to time. Oneday the managing editor of The Globe,Bruce Bliven, who is now editor of TheNew Republic, called Ripley in andsuggested that he devote his entire timeto "Believe It Or Not," and arrangedto have it syndicated through the As-sociated Newspapers, of which TheGlobe was a member.

The Globe was bought by Munsey andextinguished in 1923, but Ripley's fameand popularity increased steadily. Todayhe is under the management of the KingFeatures Syndicate and his cartoons ap-pear in 325 American and foreign news-papers. His cartoons are translatedinto thirteep foreign languages and ap-pear in thirty-eight different countries.'The combined circulation of the news-papers carrying his "Believe It Or Not"cartoons is nearly 18.000,000, and it isofficially estimated that he has a readingaudience of more than 71,000,000.

How does he keep it going? Thatquestion naturally arises, and Ripley isready with the answer. "It takes a staffof sixteen people, working full time, tokeep the cartoon going," he says. "Re-member that the daily mail alone aver-ages more than 2,500 letters per dayfor every day in the year. All of thosehave to be acknowledged, answered andfiled.' They are a great burden at times,but also they are a gold mine of informa-tion.

"People write to me from the endsof the earth, and no matter how distantthe country, when some odd or unusualphenomenon comes to light, usually thefirst impulse is 'Send it to Ripley.' In-cidentally, I think I have received more


letters with freak addresses-such as amere line of ship's signal flags, spellingout my name in semaphore-than anyother living person. The thing got tobe such a problem that the United StatesPostoffice Department finally issued anofficial order that no letters would bedelivered to me unless they carried ordi-nary legible addresses that didn't haveto be decoded to be read.

"Once the news of an oddity hasreached me, the check-up begins im-mediately. If it is some phenomenonof nature, such as a hen laying an eggwith the letters 'WAR' on it, I writeto the chief official in that locality, us-ually the mayor of the town, for verifica-tion. If it is some odd fact of historythat some scholar has dug up and sentin, our research staff goes to the bestavailable authorities and checks up onit. We positively use nothing that isn'tverified in advance, and that is why wecan offer to send proof of any factused. A great deal of my material Ipick up at first hand. I have madeat least one trip abroad every year forthe past 22 years, and in that time Ihave visited 178 different countries.People in the most distant places recog-nize me, or recognize my voice fromhaving heard it on the radio, and areeager to show me whatever local won-ders there may be in the region."

STRANGEindeed are some of these

travels of Ripley. He has visitedthe little village of Hell, Norway, and

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a small island off the coast of Englandwhich some centuries ago was deeded toa family by the name of Heaven and isnow called the Kingdom of Heaven. Hehas seen trees in Africa that bear asponge -like fruit in long casings thatlook exactly like sausages. He has shownthat most of the larger snakes have rudi-mentary legs, and the points where thelegs join the pelvic girdle under thesnake's skin are very definitely thesnake's hips. He has pointed out thatalthough Washington was the first presi-dent selected under the new Constitution,before that time-in 1781 to be exact-it was the state of Maryland that bybeing the thirteenth and final state tosign the Articles of Confederation thuscompleted the first effective union of thestates, and John Hanson of Marylandwas elected President of the UnitedStates in Congress Assembled.

When asked to select the six best Be-lieve-It-Or-Nots that he ever collected,Ripley started off with the one thataroused more comment. than any othersingle statement he ever made-namely,that Lindbergh was the 67th man tomake a non-stop flight across the At-lantic. This was proved by counting Al -cock and Brown, who flew fromNewfoundland to Ireland in 1919, andthe 31 men on the dirigible R-34 later thesame year and the 33 men on the GermanZeppelin ZR-3 in 1924. His second mostpopular stunner was the statement thatif all the Chinese in the world were putin military formation, four abreast, theywould march on forever, the end ofthe line never succeeding in passing anygiven point. The explanation here wasthe high birth rate of the Chinese, sothat theoretically their ranks would berenewed faster than the rate of marchpast a given point. For his other fouroutstanding Believe-It-Or-Nots, Ripleywas able to cite an authenticated in-stance of a modern Jonah, a Frenchsailor who was swallowed by a whalein 1891 and twenty-four hours later wasrescued alive by fishermen who capturedand cut open the whale; a blind man inKansas who also lost both arms andnow reads with his tongue; a sailor wholost a scrubbrush off the coast of Francewhen his troopship was torpedoed in1918, only to have the very same brush,with his initials on it, float all the wayacross the ocean and land at his ownfeet on Manhattan Beach, Brooklyn,fourteen months later; and to point outthat America's national anthem, "TheStar Spangled Banner," is based on thetune of an old English tavern song.

Such are the things that Ripley col-lects, and millions of people the worldover listen to his radio programs, readhis books, see his movies and followhis daily cartoons for the latest bits hemay turn up. As for his ambitions forthe future, Ripley says, "I enjoy mywork so much that I can't even thinkof ever giving it up. I'm building ahome now, out on Long Island, and Ihope to put in it a beautiful collectionof things I have gathered from all overthe world. As for marriage, I don'tknow. I have to do such a vast amountof traveling in my work that I wouldn'thave a chance to be much of a home-body, and besides, I'm such a confirmedold bachelor by this time that I'm afraidno girl would have me."


Know Your Music

Illustrated byBERTRAND

ZA D I G

ACHILLECLAUDEDEBUSSY

has been called themost original talentin music sinceMozart, though heliked best the sim-ple title of "musi-cien f rancais,"which he conferred upon himself. Inany event, he was the dominating musi-cal influence not only in France, butthroughout Europe and in America, fromthe beginning of the present centuryuntil the World War.

There is some mystification about De-bussy's early years, due in part to hisscarcely ever mentioning his childhood.Nevertheless, certain facts are estab-lished. Like Louis XIV, he was born atSaint-Germain-en-Laye, near Paris, thedate being August 22, 1862. At thetime of his birth, his parents, who werequite without musical instruction, kepta small china shop. They soon removedto Clichy and then to Paris, where De-bussy was to spend most of his life. Hewas the oldest of five children.

Debussy's early education was rudi-mentary, and at least up to his twentiethyear traces of illiteracy lingered in hisletters. His later intellectual develop-ment may be attributed in part to his as-sociation with the poet Pierre Louys,some of whose poems he set to music.He began to take piano lessons at theage of nine, though without disclosingany particular talent. However, he en-gaged the attention of a pianist who hadbeen a pupil of Chopin and who had thekeenest of perception to discover a giftwhere no one else had done so. It is aninteresting coincidence that this lady,Mme. Maute de Fleurville, was themother-in-law of Paul Verlaine, betweenwhose poetry and Debussy's music thereis an unmistakable affinity.

Teaching him for nothing, she pre-pared him for the Paris Conservatory,which he entered in October, 1873. Hisfather, who wished him to become asailor, now was converted to the idea ofa musical career, even in his enthusiasmforcing the boy to work as many as eighthours a day or stand punishment. Atthe Conservatory Debussy's life was notaltogether serene, some of his professorssympathizing little with his unconven-tional tendencies. A visit to Russia asone of the retinue of Mme. von Meck(Tschaikowsky's patroness) first broughthim into touch with Slavic influences,which were eventually to affect his style.As a pianist he won several prizes at theConservatory, and his cantata, "L'Enf antProdigue" (The Prodigal Son), purpose-ly composed in the manner of Massenet,achieved its goal of obtaining for himthe coveted Prix de Rome.

He now began to reshape his musicalidiom, exhibiting more originality in hisorchestral suite, "Printemps," however,than in his setting of Rossetti's "Blessed

Achille Claude Debussy

ByPitts

Sanborn

Damozel" (LaDamoiselle Elu e) .He also set out de-liberately t o i n -crease h i s literaryculture, frequentingto that end the so-ciety not only ofPierre Louys, butof Stephane Mal-

larme, Henri de Regnier, and others ofthe Symbolist and Impressionist poets.Songs and piano pieces demonstratinghis musical progress followed, and atlength, in 1894, his orchestral "Afternoonof a Faune" (L'Apres-midi d'un Faune),inspired by Mallarme's cryptic eclogue,revealed the matured Debussy.

The individuality of his rhythm, hissubtle and exquisitely elaborated orches-tration, his novel harmonic scheme withits use of old ecclesiastical modes andthe whole -tone scale, the finesse and sen-sitiveness of his writing, its Gallic in-stinct for measure and avoidance of allexcess, and at times its kinship in moodwith the French composers-especiallythe harpischordist's of the late seven-teenth and early eighteenth centuriescombined to give this music a characterspecial and apart.

While at work on "The Afternoon ofa Faun" Debussy brought out his ad-mired string quartet (1893). In 1898 hegave the world the orchestral nocturns"Clouds," "Festivals," and "Sirens"(this last with wordless chorus). Therewere also fine songs, and in 1902 his onlyopera, "Pelleas et Melisande," the texttaken from Maeterlinck's play of thesame name, was produced at the ParisOpera Comique. This unique work,though received at first with consterna-tion and even jeers, was soon recognizedas the one true music drama, the onlyperfect union of the note and the word.Although within the next ten or elevenyears Debussy was to give the worldsuch notable compositions as his tonepoems of the ocean entitled "La Mer,"his orchestral tribute to Spain, called col-lectively "Iberia," his incidental musicto d'Annunzio's drama, "The Martyr-dom of St. Sebastian," and the two booksof piano preludes, "Pelleas et Melisande"remains the summit of his achievement.

With the access of fortune Debussygave rein to his innate love of luxuryand he also put away the wife of hisyouth to contract a second marriagemore advantageous from the worldlypoint of view. He died in Paris on March26, 1918, after suffering for years froma wasting illness.

The World War had affected himdeeply and it was then that he insistedon the appellation "musicien francais."During those dark years he composedthe "Berceuse Heroique," a tribute toKing Albert of the Belgians and his sol-diers, and the "Noel des enfants quin'ont plus de maison." At the time ofhis death Paris was under bombardment.

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couraged me. He did nothing to influ-ence my decision one way or the other,but I must say that when I finally de-cided to go into the theater, Father,loyal old trouper that he is, was im-mensely pleased."

Miss Skinner glances toward a por-trait on the wall. It is a painting ofOtis Skinner in one of his greatest roles,that of Colonel Bridwau, the beloved oldrogue in "The Honor of the Family."Otis Skinner is certainly one of thegreatest actors that America ever pro-duced, and he is a charming, warm-hearted gentleman in private life. Thetheater is the loser because of his pres-ent retirement, and his infrequent publicappearances, such as when he acts asofficial host at a Players Club revival,always draw forth a spontaneous demon-stration of affection from the audience.

Miss Skinner tells us about her schooldays. "After boarding school I went tocollege for only two years," she says."I went to Bryn Mawr, and a friendand classmate there was Ann Harding.We tried to show that Bryn Mawr couldcontribute something to the theater, inspite of its deservedly high standing instrictly scholastic matters. As a mat-ter of fact, there is quite a colony ofBryn Mawr girls who went on the stage.Katharine Hepburn is one, although sheis younger than Ann and me and wasn'tthere when we were in college. Mar-garet Barker, of the Group Theater, isa Bryn Mawr girl, and Theresa Helburnof the Theater Guild also went there,and all in all, I think Bryn Mawr hasdone pretty well in turning out talent forthe theater."

We certainly can agree with thatstatement, and we wonder where MissSkinner went after she left Bryn Mawr."I went to Paris and studied for twoyears at the Comedie Francaise," shetells us. "I loved it over there, and Iliked especially the study of languages,which came to me rather easily, anyway,and I got to a point where I could speakFrench just about as readily and fluentlyas English.

"One thing I learned while I was go-ing to school in France, and also duringthe trips to Europe on which my fatherused to take me while I was a little girl,was that a good way to know your owncountry is to get some little distanceaway from it. That gives you perspec-tive, and you see how fine and good aresome of the things you ordinarily takefor granted merely because they areeveryday things that you see all thetime. Also, you begin to see the funnyside of some of our traits, and it waswatching the antics of American touristsin Europe that gave me some of thebest material for my sketches."

MISS SKINNER is modest in refer-ring to her character studies as

sketches. She writes all of these her-self, and some of them are so richlywritten and finely played that they be-come in reality full length dramas en-acted by a single person. The specialword, "monodramas" has been coined tofit her presentations, and she has wongreat acclaim from discerning critics.Each year she gives a series of NewYork appearances, and always they formone of the *highlights of the dramaticseason. Two of her best known mono-dramas are "The Wives of Henry theEighth" and "Mansion on the Hudson."

Now comes the question of how shegot started in this work, and Miss Skin-ner gives us the answer. "I first didthese things at school entertainments


and to amuse my classmates at college.Later, at a party in New York I wascalled upon to contribute to the eve-ning's entertainment, and Charles Han-son Towne, the distinguished editor andauthor, who was present, urged me todo my sketches professionally. Throughsome friends, he helped me to get a jobin the theater, and father's friends alsoaided me, and in that way I got started.I found one odd thing-father's nameoften was a drawback because managerswould think, 'If she is Otis Skinner'sdaughter she will want a big, importantpart in the play, and all I have is justa small part in one scene.' For thatreason they would send me away, whenall the time I would have been gratefulfor even the tiniest kind of part. Iknew enough about the theater to knowthat the one thing needed above all isthe actual experience of being out onthe stage in front of an audience, re-gardless of how small the part. Even-tually I got a real start, however, andafter appearing in various roles in vari-ous plays, I finally branched out on myown with my character sketches andmonodramas."

Nor was this all of Miss Skinner'sactivities. The same literary endow-ment that enabled her to write all of herown material also expressed itself quitenaturally in magazine articles. Theseappeared in Vanity Fair, Harper's Ba-zaar and other periodicals, and one ofher pieces was so good and so much ap-plauded that Farrar and Rinehart pub-lished it as a book under the title of"Tiny Garments." "I wrote that onewhile my child was on the way," shesays, "because it seemed to me that toomany women were taking the whole ex-perience too seriously.deed is a great and beautiful thing, butthere is no reason why one should makea long sour -faced tragedy out of the ex-perience."

Miss Skinner believes it is possible tocombine marriage and motherhood witha career. "It takes planning," she says,"and one must be careful not to neglectone's husband and child and home, butif one is willing to give up some outsideactivities such as bridge and golf-

neither of which I play, so this part iscomparatively easy for me-it is pos-sible to have a successful home and asuccessful career at the same time."

Miss Skinner's career now has led toradio, and she has had some interestingexperiences in this field. "I suppose Iam one of the very few persons in radiowho work without a script," she says."It seems to me, though, that I wouldlose the feeling of the character I amplaying if I had a script in my hand.Some of the characters I play seem veryreal to me, and they must sound so onthe radio, judging from the reactions oflisteners. I know one time I was do-ing a sketch called 'Night Club,' in whichI was imitating the light-headed bab-bling of a chorus girl who had had alittle too much to drink. While I wasin the middle of this sketch, someonecalled up the radio station on the tele-phone and announced very seriously,`Say, you people may not know it, butthat girl you've got on the air right nowis drunk!'

"The thing about radio that impressesme most is the extreme accuracy of thesplit-second timing. In the theater, ifyou vary a few minutes in the length ofone performance as compared with an-other, it makes no difference. In radio,however, you set your timing at re-hearsal, and if you vary as much astwenty-five seconds in performance thatmay mean disaster. I always tend tothink of radio work in terms of someonewildly gesticulating and shoving a stop-watch at me, but even so, I think radiois grand and I like working on the airas much as anything I have ever done,"

The door of the apartment burstsopen and Dick, the red-haired youngson, and Ted, the tousel-haired whiteSealyham, dash in wanting to know-the one in words, the other in barks-if it is time for lunch. The telephonerings, and it is the husband and fathercalling from the office to find out aboutfinal arrangements for getting to thecountry. We withdraw now, receivinga cordial farewell from a beautiful andgracious radio star who must get back toher household.

Amateur(Continued from page 13)

spoke wearily. "I do not possess afarm," he explained. "The land uponwhich I work does not belong to me.I am employed by its owner. Youunderstand-I am hired help. Whereis the farm, you ask? A matter of twodays from here, and one night in theday coach. I have come to New Yorkmerely that I may sing in this hour, onthe off chance that-" he hesitated.

So many amateurs came on the offchance. The master of ceremoniesglanced at the secretary who sat besidehim. She shrugged ever so slightly, andthe very movement of her shoulders ex-pressed pity. The master of ceremoniestried to relax in his chair.

"All right," he said, "sing. And luckbe with you. I suppose it's a song ofyour country, a folk song of Russia, thatyou'll give us?"

The young man moved closer to themicrophone. He clasped his hands be-fore him. Those who sat in the frontrows could glimpse (if they took thetrouble!) a ring that glimmered dully

upon one of the slender, work -reddenedfingers. It was a signet ring, formed ofworn reddish gold. The crest upon itwas fashioned, cunningly, of enamel.. . . An odd ring, fraught with mean-ing, for a farmer to wear. . . .

"But, no," answered the young man,"I will not sing a folk song of Russia.I will sing, if you please, a popular mel-ody-one which appeals to me. It iscalled-" he hesitated-"it is called'When I Grow Too Old to Dream-) "

He sang softly into the microphone.The master of ceremonies rested hishead upon his hand, and listened. Yes,this was a nice voice-not exactly re-markable, but nice. Was it the sort ofa voice that would have radio appeal?One never knew. Or was it only thereflection of another dream-a dream(shades of Old Russia, of Oxford) bornto be broken? The master of cere-monies shaded his eyes with his hand assomebody in the back of the roomcoughed sharply, and somebody else be-gan to struggle into a topcoat.


Out of the East Side(Continued from page 16)

finally there was enough money to sendhim to Italy, to study at the famousConservatory of Milan.

Even there, inevitably, there werethose who thought he was following awill-o'-the-wisp. But Frank insisted thathe would be an opera star some day.When a friend laughed aloud, he re-torted, "The next time you hear mesing, it will be at La Scala!"

He knew what a gag was, even then.The very next time he and his friendwent to the famous opera house in Milan,Frank pushed his way up through thecrowd, jumped on the stage and let loosea flood of bellows. Instead of seeingthe performance that evening he spentseveral hours in jail-but it was worthit to see the horrified expression on hisfriend's face.

When he returned to America, hesoon realized that it was going to takemuch longer than he had anticipated toget to be an opera singer. He tried outfor his first job as a chorus boy in the"Greenwich Village Follies," but he hadneglected to study dancing in Milan. Hewanted to make good because he thoughtit would be pretty grand to be makingfifty dollars a week while his old palswere still in high school.

He got in the show because one ofthe trim girls in the chorus helped himlearn the steps. But it wasn't long be-fore it was discovered that Frank wasmuch better at singing than he was atdancing. He stepped in and sang theleading man's role one night, and fromthen on hoofing was out.

He kept right on studying voice,mostly because the girl who had coachedhim in dancing encouraged his doingso, and he was in love with her. Oneday she told him she was engaged toanother man, and it was only then thatFrank realized he had neglected some-thing very important. He had meant toask her to marry him, but it was too latenow. He knows he'll never come closerto having a broken heart than he didthen, because he never intends to fallthat hard again.

In 1926 he tried the air for the firsttime, substituting for the tenor star ofthe Ever -ready Hour, opposite HopeHampton. Almost immediately TheRevellers snapped him up as top tenor,and ever since then he has been star ofseveral important radio programs eachweek, on both networks.

PRANK still studies under an operaticcoach and practices for long periods

every morning of his life, in additionto regular program rehearsals. He be-lieves that it takes a great deal morethan vocal ability and dramatic tech-nique to be an opera singer-that farmore actual physical endurance is neededto sing long operatic roles.

But he'd hate to give up radio en-tirely, even for La Scala. "KnowingI please people-that's everything tome," he says, and he means it. "That'swhy I get such a big kick out of myfan mail. Since I've made personal ap-pearances and played in a movie, I can'tkeep up with it. I guess before thatpeople thought I was some old gray-beard with handlebar moustaches!

"No, I'd rather not talk about myromantic fan mail. Some of it is prettypathetic, but it's all sincere, and I ap-preciate it. I'm just not the heavy lovertype."

Much of his mail is from people whowant to get on the air and think Frankcan tell them just how it's done. He

sometimes feels like a walking encyclo-pedia after trying to answer their ques-tions.

"They ask about rules and regula-tions," he says, "but the only rule Ican give them-and incidentally, it's myown motto-is 'Be ready.' Nobody canhelp you to success. The important thingis to be prepared to do the thing youaspire to when your time comes.

"One chap wrote me several times, re-questing and finally demanding that Iget him a chance on the air. Well, Icalled his bluff and told him to reportat the studio at a certain time for anaudition. When that fellow came in, hewas scared to death and said he guessedhe'd better wait awhile. He just wasn'tready.

"I know that everything that has hap-pened to me came as a direct result ofpreparing myself, rather than of chasingopportunities. I was a bad dancer-butwhen I got a chance to sing I knew alittle about it, so I got away with sing-ing. Then I realized I couldn't get veryfar on my voice as it was, so I gotbusy-and before my luck gave out, Ihad technique to fall back on."

As the young tenor mounted to thetop rungs of radio's hall of fame, hehas never forgotten those who were leftat the bottom. He might be better offtoday if he had-in fact he knows hewould have been. Because his family,on account of his generosity, have had toestablish a trust fund for Frank. Sohe actually never sees his salary, butlives on an allowance. Oh, it's a prettyfair allowance, which permits him toown a Rolls-Royce and a string of poloponies; but just the same, a man wouldlike to have the pleasure of opening hisown pay envelope. But if there wereanyone about when Frank opened his, itwould be just too sad. Some day, hevows he's going to accept one of thoselong distance proposals and get married-just to stop being "on the dole."

He is captain of N B C's amateurpolo team, other members of which arePhil Harris, Robert Simmons, HenryShope, D. 0. Evans and Julian Evans.He doesn't just play at polo, either-hereally smashes into it, and plays a capi-tal game. His prize possession and thepride of his polo string is an Argentinepony, sent him by an admirer.

He has received enough pocket charmsfrom listeners to fill a trunk. Not longago an artist fan sent him a gun whichonce belonged to Buffalo Bill. "And hedidn't suggest that I shoot myself withit," he says naively.

Frank has a request to make, and hereally isn't kidding but very much inearnest about it.

"I'd like to have my listeners sendme their photographs, instead of askingfor mine," he says. "They know whatI look like, and if they don't there'sprobably a picture right on this page.But I don't know what they look like,and I'd like to. You see, I always singwith some particular person in mind.Sometimes it's my mother, sometimes afriend, sometimes some one who haswritten a letter that appealed to me.But it would be much ea:ier if I knewjust what that person looked like."

Though Frank is one of radio's busiestbachelors, he sometimes finds time tocook in his apartment. Like every goodItalian, he relishes a plate of good spa-ghetti above everything else, and caneat it around the clock. "A steak andspaghetti on the side"-that's his ideaof a dainty midnight snack.

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What About Next Year?occupy a great place in the radio struc-ture next season," he asserted. "TheAmerican people have become accus-tomed to turn to the radio to get lighton the questions of the day-to hear thespeakers pro and con. In a world ofchange the listener insists on hearing firsthand from the leaders of the variousschools of thought. The listener knowsthat in radio there is no editorial positionexcept absolute freedom of discussion.There is no censorship impressed on thebroadcasters by anyone."

WILLIAM S. PALEY, president ofthe Columbia Broadcasting System,

whose intuitive judgments of what thepeople want from the broadcasters havebeen borne out again and again, ex-pressed his predictions in a written state-ment which follows:

"By the Autumn of 1935, at least fivenew trends will be obvious in Columbiaprograms to the listener who regularlytunes in a CBS station:

"1. As a result of a much larger 1935investment by the Columbia Broadcast-ing System in its sustaining programs,broadcasts not sponsored commerciallywill reach a new level of excellence.

"2. Columbia's commercial sponsorsare similarly devoting more effort,money and creative talent to 1935 pro-gram building than ever before.

"3. For the first time in the historyof broadcasting in this country, commer-cial announcements after July 30 will bedefinitely restricted-on Columbia net-work programs-to 10 per cent of thebroadcast period in the evening, and 15per cent in the hours before 6 p. m. Theonly exception will be on quarter-hourprograms, where an extra 40 secondsabove these established ratios will beallowed, in view of the fact that theshort program necessarily requires asmuch time as the longer one for routineidentification announcements.

"4. Columbia will inaugurate a seriesof exceptional programs for children, de-signed to merit the approval of parents,instructors, and youthful listeners alike.Columbia is engaging the services of aneminent child psychologist, and organ-izing an advisory staff to assist him inthe task of pointing the way toward abetter standard in children's radio pro-grams than has ever been achieved be-fore. It is our goal to offer children'sentertainment of such a nature thatevery parent may feel at ease so long ashis child is listening to a CBS broad-cast.

"5. Discussions in commercial an-nouncements which present questions ofgood taste in radio listening are beingdiscontinued; and a new office, that ofCommercial Editor, has been created inthe Columbia Broadcasting System tomake this policy effective.

"These five undertakings are a part ofColumbia's definite undertaking to fur-nish such a constant stream of outstand-ing programs, for 16 hours each day, thatthe CBS listener may leave his dial un-turned, after tuning in, until the end ofthe evening.

"In general, broadcasting is in one ofits most significant years. Most recentColumbia surveys show that more than70 million people in 21 million Americanhomes comprise the radio audience-thegreatest audience in history. Public re-sponse also indicates this audience iskeenly alert and vastly interested inthese formative times. No other me-dium than radio can be so closely andswiftly tuned to the public pulse.


"Radio will play a vital part in thecoming months as a great public forumfor the exchange of political thought.This exchange, as usual, will be open andequally available to all representativegroups. The microphone likewise willcontinue to reflect momentous worldevents, presenting and interpreting themon the basis of factual record."

ARTHUR PRYOR, JR., radio head ofBatten, Barton, Durstine and Os-

born, whose "March of Time" produc-tion has won international acclaim, ex-pressed himself in the following words:

"The development or experimentalstage of radio is passing, and, as an en-tertainment and as an advertising me-dium I think it is now approaching whatI would term the perfection stage. Onehealthy indication of this is the search-ing self-analysis that is going on in radioto find out and correct its own short-comings. Within recent months a num-ber of rigid self -restricting measureshave been imposed that will strengthenradio advertising. In this field, I believe,a big improvement will come about.The commercials are still the weak partof radio, despite the big advances thatalready have been made. We do notneed shorter commercials so much asbetter, more intelligent commercials.

"Radio is rapidly becoming more pro-fessional in my opinion. Not only has itdeveloped its own artists, writers, direc-tors and producers but it is attractingeminent people from other fields of art.I think this will become more pro-nounced but I also feel that radio willput more effort into the development ofits own talent. When you have themoney available, artists with big namesare the shortest cut to a large audience.But there is a limit to the number ofheadliners available and a limit to adver-tising appropriations.

"Practically every conceivable formof radio program has now been tried sothat we can expect nothing startlinglynew but there is much to be done in per-fecting the various kinds of entertain-ment which lend themselves to radio.We are now entering into a perfectingperiod. I believe radio in the immediatefuture will be smarter, sounder, moreprofessional in every respect, both as en-tertainment and advertising."

EDWARD A. BYRON, young but vet-eran radio producer, who as head of

the radio department of William Estyand Company, is the guiding spirit backof the Camel Caravan and other pro-grams, predicts that more attentionwill be paid to the potentialities of theradio drama next season. He thoughtthat gag comedy was about through tobe succeeded in public favor by comedybuilt on situations. He observed that,on the stage, situation comedy had beenmore successful in evoking laughter thanthe comedy line.

"The popular variety program hasreached a high level and will continue toattract listeners; it is the dialogue orscript act that needs refining and fur-ther development," he said. "Whilesome fine radio drama was produced lastseason, I look for greater advance nextyear. Radio drama has been held backby several factors. First there has beenthe question of adequate payment ofwriters. In so many instances, the lion'sshare of program appropriations hasgone to the talent; so little to the manwho conceived the show or wrote thescript. Another factor has been the scar-city of capable directors. There are a.!1

too few but I believe the demand forgood directors will bring to the field menof vision who will learn their trade."

Mr. Byron also predicts that the en-suing season will see more of the sell-ing done by the stars and he asked whatbetter person to give the commercialthan the personality who has entertained.He finally predicted that a number ofnew radio stars of prominence wouldemerge during the Fall and Winter.

Dave Elman, of Marshall and Pratt,regarded along radio row as one of thepromising young producers, staked hisprognostication on the increasing pop-ularity of the variety show.

"As far as I can see the variety typeof entertainment will be 'tops,' " he de-clared. "The only other thought I haveis that next season more than ever moreattention will be given to the commer-cials. There is a strong trend towardthe commercial that entertains."

Montague Hackett, of Lord andThomas, pausing to answer a questionduring a rehearsal of "The Lucky StrikeHit Parade," said:

"To be perfectly honest, I cannot dis-cern any new trends in the fields ofcomedy, drama or music. The popularvariety has established a standard prec-edent for good radio entertainment. Ibelieve, of course, that producers willstrive to make their shows more andmore entertaining. That they will haveto do to meet the competition for at-tention."

IN his prognostication, Louis A. Witten,Hanff-Metzger's impresario, who pro-

duces The Fire Chief program starringEd Wynn, had a hunch the wintermonths would see spirituals playing aleading role in the musical offerings.Then he added:

"A study of the first twenty successesof the past season proves that there isno royal road to success-that there wasno one formula that one could follow.The only thing of which we producersmay be sure is that good showmanshipwill win the dialers to the program.

Arthur Berg, of the Dorland Agency,believed that there would be a decidedchange in children's shows.

"It has been a conviction of mine forthe past year that radio programs havegot to be more intelligent whether de-signed for a juvenile or an adult audi-ence," he said. "When various women'sorganizations protested recently over thegeneral character of adolescent pro-grams, they spoke not only for the chil-dren but adults as well. Programs neednot necessarily be high -brow. But thegeneral run of programs do demand anartistry that they have not had in thepast. I predict, that through listenerdemand, that will happen. The reasonfor the continued success of RudyVallee's Hour is that he combines show-manship with artistry in light entertain-ment."

Mr. Berg believed that radio dramawould find its true place in the comingmonths. The formula for good enter-tainment of this type is simple, he pointsout.

"The success of 'One Man's Family'shows that all that is required is gen-uine, honest human values," he explains."These requisites so frequently are over-looked by the script writers. Instead ofsupplying human qualities they substi-tute melodramatic nonsense. I haveespecially observed this in the children'sdramatic periods. I look for a decidedchange, therefore."


Children's program_ also received at-tention from Carlo De Angelo, of theBlackman Company, who produces "TheGibson Family" and "Captain Healy'sStamp Program." He foresees a trendtoward the fantastic type of show withan appeal for children as well as grown-ups. He believed children's shows wouldbe more elaborate, perhaps having a mu-sical background. Other observations ofthis program builder were:

"I sense that the day -time programswill veer toward the evening type. Thiswill mean better programs aimed at thatlarge mass of prospective buyers of theproduct advertised-the woman in thehome. I believe that programs in gen-eral will show marked improvement; Ifirmly believe the broadcasting chainsshould lead the way. With their greatfacilities and reservoirs of talent fromwhich to draw they should make thecommercial producers ashamed of theirefforts and thereby seek to keep up withthem.

"I have a feeling also that the comingseason will see some sponsors varyingtheir programs from week to week. Ilook for more hobby broadcasts. I pre-dict that something will have to be doneabout the commercial announcementswhich have been getting worse andworse. In so many instances the an-nouncer this past season has been treatedlike the piece of paper he has beenhanded to read. The announcer can beso valuable if given words that fit hismouth and style of presentation."

LAWRENCE HOLCOMB, radio headof Fletcher and Ellis coincided with

the view of Mr. De Angelo that therewas a trend toward better daytime pro-grams. Good musical programs duringthe morning hours rather than varietyshows would be in order, he believed,explaining the housewife could followthe music as she went from room toroom. The evening variety show wouldbe the continuing vogue with a tendencytoward skeleton dialogue throughout theprogram. He thought there would be ageneral re -arranging of children's pro-grams, affirming:

"There are so many producers of chil-dren's shows who have failed to realizethat when it comes to feeding melo-drama to youngsters, that the boys andgirl prefer melodrama of characterrather than continued action."

Wilfred King, of the J. M. MathesAgency, who produces the Luden Hour,looked for some "fundamentally" good,entertaining serials. He believed thewell known radio comedians would con-tinue to be featured and he told howdifficult it has become to find new funs-ters. He saw the amateur hours waningduring next season and he checked withseveral of his fellow producers that anew order of commercials would obtain.A few new stars would shine in the radioheavens, if they had something differentto offer, he said.

So now the radio heads have madetheir guesses as to what you listenerswill like next Fall and Winter. Let's allbe generous and hope they are right.

Why I Married a Bandman(Continued from page 11)

others because it was through an audi-tion with Leo Reisman's orchestra thathe got his first chance.

On Monday night he selected thesemi-finalists, the man and woman whoappeared to be the best talent Washing-ton had to offer, and on Tuesday nightMr. Duchin put on his first Fire Chiefbroadcast with the Washingtonians asguest artists. Thus it was Wednesdaybefore we really got our first breathingspell and then it was almost time to goon to the next city where the same per-formance would have to be repeated in-sofar as breaking into a new vaudevilleengagement and the Fire Chief localauditions were concerned.

Yet our honeymoon period in Wash-ington was a very happy time. To be-gin with, we both love the city. As agirl I used to visit Miss Helen Marye,whose father, George T. Marye wasUnited States Ambassador to Russia,having been appointed by PresidentWoodrow Wilson. Mr. Marye died inWashington, September 2, 1033. MissHelen Nlarye married Lt. CommanderW. D. Thomas, U.S.N. The Maryehome was at Connecticut Avenue andN Street, N. W., just across from thesite of the old British Embassy.

It was pleasing to me to go to Wash-ington during the presidency of FranklinD. Roosevelt because my father, Mr.Charles de Loosey Oelrichs, was a class-mate of Mr. Roosevelt at Harvard, andattended their reunion at the WhiteHouse last year.

Also, Washington had an attractionfor Mr. Duchin because he played thereat the Inaugural Ball and later for thePresident's birthday. Mr. Farley hadheard him at the Central Park Casinoand it was through the kindly interestsof the Postmaster -General that Mr.Duchin was invited to play at the In-augural Ball. This performance was

widely broadcast on the radio that nightand this proved his first big lucky break.

CONCLUSION: Thus Mrs. MarjorieOelrichs Duchin concluded. It will benoticed that she confined herself largelyto talking about her famous husband.For instance, there was no reference tothe fact that she was a painter and in-terior decorator or that she had donethe murals and artistic decorations inmany New York apartments, or that shewas a wage-earner in her own right.

Nor was anything said about the factthat she could qualify as a linguist.When pressed on this point Mrs. Duchinsaid, "Having spent considerable of mylife abroad, I naturally speak severallanguages." "What are these?" she w::sasked. "French, German and Italian."

"Don't forget that you speak Span-ish," broke in Mr. Duchin, who was pre-tending to convey the impression of anold married man reading his newspaper,but who, just between us, hadn't misseda word his wife said.

Duchin, by the way, though muchyounger, reminds one very much of HughS. Gibson, Ambassador to Brazil. How-ever, if Ambassador Gibson had EddyDuchin's expanse of snowy white teethand perpetual smile, he might be evenmore effective as our trouble-shooter inEurope, inasmuch as "four alarms" areusually sent in for Gibson whenever any-thing seems to be about to blow up atGeneva.

While comparisons are being made,the voice of Duchin in real life soundsnot unlike that of Rudy Vallee inasmuchas Duchin, though of Russian descent,was born in Cambridge and has a verypronounced Yankee accent.

The age of Mrs. Duchin as given atthe license bureau at City Hall in NewYork was twenty-six years. Mr. Duchintold the clerk that he was also twenty-six.

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The Unknown Specialists(Continued from page 45)

the air during which he played fifteenassorted maniacs. At the other end ofthe scale, he has also impersonated allsorts of public figures from PresidentWilson to Al Capone.

He can do everything except a south-ern dialect, although he was born in NewOrleans. But his favorite characteriza-tion is a crying Irishman.

Stephen has been mimicking peopleever since he can remember. He firstdiscovered the practical value of his spe-cialty as a boy when he used to imper-sonate his father and call up the schoolwith excuses for himself.

The radio squaws are usually playedby slim, smart Georgia Backus. She saysthe trick is to get the feeling of stoicismand flat-footedness into your voice. Shemanages to work up into the necessarymood by reading "Hiawatha" before go-ing on the air.

She plays every conceivable type ofrole as well, from Japanese women spiesto speaking Carmens complete withSpanish accent.

Adelaide Klein specializes in "earthywomen," peasants, miners' wives, slow-

thinking, shy and inarticulate.She does it by working close to the

mike, speaking slowly, thoughtfully andsincerely, always conscious of the emo-tion underlying her words.

She had one long series in which sheplayed the mothers of famous men. Shemakes a point of voice placement andcan do almost anything with her vocalchords from reproducing the huskinessof a woman sea captain to singing spir-ituals in the high melodic quaver of anold southern mammy.

John Battle does all sorts of Americandialects, but specializes in various negrotongues. There is a difference in them

that the casual listener would scarcelysuspect.

"Louisiana negro dialect has a strongFrench and strangely strong Cherokeeinfluence," he said. "From Florida upthe eastern seaboard as far as Carolina,you will find Gullah spoken. In theWest Indies negroes speak with a strongcockney influence. Along the MississippiValley and through Arkansas the negrodialect is similar to the mountain drawl."

He is also an expert on native Africandialects and through his studies has beenable to include some real African Swahilitalk on the Bobby Benson show.

Once, when Phillips Lord wanted anegro preacher, he auditioned along withtwo hundred authentic negroes, and gotthe part. And his first job in radio wasdoing an exaggerated blackface in aminstrel show.

One of the strangest specialists ever toenter a radio audition room is a char-acter known only as Dr. Sunshine.

DR. SUNSHINE is a human machineshop. He can make noises, at will.

like an air liner zooming to a landingfield, Sir Malcolm Campbell establishinga new speed record at Daytona Beach,or an egg beater.

Unfortunately for Dr. Sunshine's raretalent the networks can procure the sameeffects more conveniently from phono-graph records, or sound effects machines.

No machine, however, can simulate abark, whinney or Swahili dialect as wellas the human vocal chords.

So in the casting offices of KnowlesEntrekin at Columbia and Tom Power3at NBC, clerks are kept busy combingthrough the files for telephone numbers.And the handy men and women of radiocontinue to work and eat with pleasingregularity.

Behind the Dial(Continued from page 40)

climb into the airship," playfully an-swered Mrs. Mac.

CONCERNING three songbirds: Sheis no longer Countess Olga Albani

but Mrs. H. Wallace Caldwell. wife ofthe Chicagoan active in Illinois statepolitics. The Silken Strings songstressgot a Reno divorce from Count ArturoAlbani 'way back last February and atthe same time was awarded custody ofher nine-year old son, Guardo. The newsdidn't become public until the formerCountess married Mr. Caldwell this Sum-mer. . . . The wife of Donald Novis,whose domestic troubles are in thecourts, is now a member of Al Pearce'sGang. She is appearing under her maidenname, Julietta Burnette. . . . AnnetteHanshaw will not return in the Fall tothe Walter O'Keefe cigarette entertain-ment. She will be succeeded by DeansJanis, formerly with Hal Kemp's orches-tra. Miss Hanshaw expects to be fea-tured on an entirely new program when

she will speak lines as well as sing songs.

Maestro Leon Belasco reports themost alarming news yet to come out ofRussia. A relative has advised him theSoviets are building a factory to makesaxophones! Which recalls that a sax iscalled a "button hook" by radio musi-cians. They have a lot of colorful termsfor instruments. For example: A harp isan "Irish zither"; an accordion is a"stomach pump"; a clarinet, a "gobblestick"; a bass viol, a "dark house" andall brass instruments,."tooters." Theyrefer to their leaders as "Massa," "Pro-fessor" and "Magician."

IS somebody trying to spoof Baby RoseMarie-or what? The child prodigy

opened up a letter bearing a Hollywoodpostmark. "There is no use disguisingyourself on the air as a child singer." sheread. "I know you are my wife-socome home and all will be forgiven."And the letter was signed, Baby Leroy!

In TOWER RADIO next month

MARGARET E. SANGSTER

presents a colorful story of radio's newest romantic singer. Who is he?

Miss Sangster tells you his exciting career in a characteristic

TOWER RADIO feature

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Learn to Listen(Continued from page 20)

CBS went on the air while the engineeradjusted the volume from where he wasenthroned in silent state-in the gentle-men's washroom!

IVELL, eighteen months in the shadowof the Rockies found Howard suffici-

ently husky to go on to school in Port-land, where he browsed happily in Latinand mathematics, and won an occasionalprize for essays. Pretty deadly, you'llagree. He was well on his way to be-coming a greasy grind when Fate, as sooften happens, stepped in to take chargeof things. With school behind him itwas time for college, and Howard chosethe University of Colorado, intending tomajor in English literature.

Our state universities, however, havea happy way of catering to all the arts,and when young Barlow discovered therewere glee clubs and orchestras, his mus-ical talents came brimming to the sur-face, and it wasn't long before he washead of the students' musical depart-ment. While there are no records on thesubject, it is a safe bet that the playersunder his direction were a cut above theusual collegiate group, for Howard makesno secret of his view that while music isa language, jazz is the slang end of it.

To Barlow, Senior, none of it madesense. He announced there would be nolong haired musician in his family, andalthough Howard kept his locks welltrimmed. he was removed from college,at the close of his sophomore year andput to juggling railroad ties in a lumbercamp. Right there the Barlow familysprouted a rebel, and when the uproarwas over he was enrolled at Reed Col-lege in Portland, where he matriculated,still specializing in English.

But deep and compelling as the under-tones in a Wagnerian chorus was hisgrowing passion for music, and unknownto his parents, he worked for and wona scholarship in music at Columbia Uni-versity. Shortly after that Portland layfar behind and he was in New York,armed with a return ticket and twenty-five dollars. He sold the ticket to a stu-dent going west, and spent the next twoyears learning and listening until oncemore music changed his life.

This time it was a military bandthundering down the street, and seeingthat it was 1917, Howard fell in behindit and did his hitch in France. "And al-though I detest war and all it means,"he admits, "I know that under the samecircumstances I'd do it all over again. Icouldn't resist the music!"

ONCE he was demobilized the mostsubtle and ethereal of all the arts

claimed him for good, a wide varietyof interests keeping his mind alert andeager. Highlights of the years beforeradio were directing the Charlotte, NorthCarolina, May festival, Chautauqua as-semblies at Bay View. Michigan. thebiennial conference at the MacDowellMemorial Colony, training small choralgroups of society people in New York'smost aristocratic suburbs, where he in-dulged in an occasional bawling out ofsome off-key millionaire. He organizedthe American Orchestra, in which everymember had to be American born andevery program contained at least onenumber written by a native son. Finallythere was the arrangement of musicalbackgrounds for the theatrical produc-tions at the Neighborhood Playhouse.

Any parade of names and places seemsrather flat in cold print, but what do allthese activities really mean? Simply

that Howard Barlow, aglow with the in-ner fire, like every such crusader beforehim, was not content merely to enter-tain-he must help others to share hisexperiences in the land of melody. Thatalways had been close to his heart, andwhen radio came soaring out of themists, he saw his ideal mounting to com-pletion. Today, reaching out to his audi-ence of millions, he is solicitous aboutthe newcomers.

"Draw up a chair and let us talk toyou," he invites, "and keep remem-bering that fine music is the language oflove, with an intensity of expression andpower of communicating emotion beyondany spoken word. What's the differenceif you don't understand all of it at first;just trust to us and you will find thatiistening to a symphony is like being car-ried on the bosom of a stream. All weask is that you give us a tenth of theconcentration you used at school or col-lege; if you could master fractions,decimals, and the boundaries of China,there isn't any reason why you shouldn'tbe at home with rondos, concertos andrhapsodies."

A bit of challenge there, don't youthink? All sorts of people have acceptedit gladly, from the priest up north in theTemagami wilds who thanked Howardfor the spiritual peace his music broughtto the isolated parishioners, to the some-what illiterate admirer who wrote, afterhearing the Fifth Symphony, that, "datguy Beethoven sure has wot it takes."

"Get into a choral group, if possible,"Howard pursues his subject, looking in acertain light like a younger and moretranquil edition of Stokowski. "Learnhow good music is put together-findout what is behind the great composi-tions and men who wrote them. A sym-phony of Brahms or Mendelssohn is atonal structure, erected as surely andskillfully as the Empire State or Wool-worth buildings. And if that seems over-powering, think of it this way-the loveof music is almost the only sensual grat-ification that goes unpunished."

Howard Barlow, you see, means busi-ness, and he is out to number you amonghis patients, for he has the logic of atrue physician. Music ranks high amongthe arts that give delight, but it is morethan that. If you want to turn from theroughness of life that chafes us all, turnto it with confidence, for when it haspossession of your mind nothing fromthe outside world can intrude upon you.

They have a destiny all their own,these conductors who stand, like middle-men, between us and the great com-posers, yet the modest Howard shows nosign of excess temperament despite hisincreasing prominence in the world ofmusic. A recent survey showed that heand Dr. Walter Damrosch led the sym-phonic groups best known to Boake Car-ter's pals, Mr. and Mrs. Johnny Q. Pub-lic. Howard relaxes by arranging thescores for The March of Time and chop-ping wood at a little place in the coun-try as a good humored gesture to thelumber business. Sometimes his wife,formerly Ann Winston, the Broadwaylegitimate star, helps out.

Lastly, because he's a humane chap,Howard does not believe in draggingJunior and his little sister, willy nilly, toconcerts under threats of punishment.Repetition of good records, he thinks,may help a lot to put youngsters in areceptive frame of mind.

But you will enjoy Howard Barlow'smusic. Make it a date tonight!

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Programs You'll Want to HearTHIS list of your favorite pro-

grams is as accurate as we canmake it as we go to press, but

we cannot be responsible for anychanges in schedule. All time given isEastern Daylight Saving Time. CBSstands for the Columbia BroadcastingSystem. NBC stands for the NationalBroadcasting Company. Stations con-nected with NBC-WEAF belong tothe so-called red network; stationsconnected with NBC-WJZ belong tothe blue network.

Popular Variety ProgramsA. & P. Gypsies-Harry Horlick's

orchestra; guest stars. (Great Atlantic& Pacific Tea Co.) 9:00 P.M., Monday,NBC-WEAF.

Adventures of Gracie-George Burnsand Gracie Allen; Ferde Grofe's orches-tra. (General Cigar Co.) 10:00 P.M.,Wednesday, CBS.

American Album of Familiar Music-Frank Munn, tenor; Vivienne Segal, so-prano; Ohman and Arden, piano duo;Bertrand Hirsch, violinist; Haenschenorchestra. (Bayer Co.) 9:30 P.M., Sun-day, NBC-WEAF.

Broadway Varieties-Everett Mar-shall; Elizabeth Lennox; Victor Arden'sorchestra. (Bi-So-Dol Co.) 8:30 P.M.,Wednesday, CBS.

Bunkhouse Serenade-Carson Robi-son and his Buckaroos. (Hecker H -OCo.) 6:15 P.M., Tuesday and Thursday,CBS.

Circus Night in Silvertown-JoeCook; B. A. Rolfe and his Silvertownorchestra; Phil Duey; Peg La Centra;Goodrich Modern Choir. (B. F. Good-rich Co.) 10:30 P.M., Friday, NBC-WEAF.

Contented Program-Lullaby Lady;male quartet; Morgan L. Eastman or-chestra. (Carnation Milk Co.) 10:00P.M., Monday, NBC-WEAF.

Evening in Paris-Odette Myrtil;Betty Barthell; Howard Marsh and hisorchestra. (Bourjois Sales Corp.) 8:30P.M., Monday, NBC-WJZ.

Fleischmann Hour-Rudy Vallee andhis Connecticut Yankees; guest stars.(Standard Brands, Inc.) 8:00 P.M.,Thursday, NBC-WEAF.

General Foods Program-Lanny Rossand his State Fair Contest. (GeneralFoods Corp.) 7:00 P.M., Sunday, NBC-WJZ. Rebroadcast at 11:30 P.M.

Uncle Charlie's Ivory Tent Show-Charles Winninger, Lois Bennett, Con-rad Thibault; Jack and Loretta Clem-ens; chorus; Don Voorhees orchestra.(Procter & Gamble.) 10:00 P.M., Sun-day, NBC-WEAF.

Gulf Headliners-James Melton; Rev-elers Quartet; Hallie Stiles; PickensSisters; Frank Tours orchestra. (GulfRefining Co.) 8:30 P.M., Sunday, CBS.

Hit Parade-Lennie Hayton and hisorchestra; Gogo DeLys; Kay Thompsonand Johnny Hauser. (American To-bacco Co.) 8:00 P.M., Saturday, NBC-WEAF.

Horace Heidt and his Brigadiers-(Stewart Warner Corp.) 10:00 P.M.,Thursday, CBS.

Hollywood Hotel-Dick Powell; Fran-ces Langford; Raymond Paige orches-tra; Louella 0. Parsons; Anne Jamison.(Campbell Soup Co.) 9:00 P.M., Fri-day, CBS.

Jergens Program-Cornelia Otis Skin-ner; music. (Andrew Jergens Co.) 9:30P.M., Sunday, NBC-WJZ.

Johnny and his Foursome-Dell Por-ter; Ray Johnson; Dwight Snyder andMarshall Smith. (Phillip Morris andCo.) 8:00 P.M., Wednesday, CBS.

Just Entertainment-Variety acts;featured singers and orchestras. (Wil-liam Wrigley, Jr., Co.) 7:00 P.M., Mon-day to Friday, inclusive, CBS.

Kellogg College Prom-Ruth Etting;guest artists; Red Nichol's orchestra.(Kellogg Co.) 8:30 P.M., Friday, NBC-WJZ.

Lavender and Old Lace-Lucy Mon-roe; Frank Munn; Gus Haenschen's or-chestra. (Sterling Products.) 8:00 P.M.,Tuesday, CBS.

Major Bowes' Amateur Hour-(Stand-ard Brands, Inc.) 8:00 P.M., Sunday,NBC-WEAF.

Manhattan Merry-go-Round-RachelCarlay; Pierre Le Kreeun; JeromeMann; Men About Town; guest artists;Andy Sanella's orchestra. (R. L. Wat-kins Co.) 9:00 P.M., Sunday, NBC-WEAF.

Maxwell House Showboat-FrankMcIntyre; Lanny Ross; Conrad Thi-bault; Molasses 'n' January; Haenschenorchestra. (Maxwell House Coffee.)9:00 P.M., Thursday, NBC-WEAF.

Melodiana-Vivienne Segal; OliverSmith; Abe Lyman's orchestra. (Ster-ling Products.) 5:00 P.M., Sunday, CBS.

Molle Minstrel Show-Al Bernardand Emil Casper; Mario Cozzi; MolleMelodeers; Milt Rettenberg's orchestra.(Molle Co.) 7:30 P.M., Thursday, NBC-WEAF.

National Amateur Hour-Ray Per-kins; Arnold Johnson's orchestra; ama-teur talent. (Feen-a-mint Co.) 6:00P.M., Sunday, CBS.

One Night Stands with Pick and Pat-(Dill's Best and Model Smoking To-baccos.) 8:30 P.M., Monday, CBS. Re-broadcast at 11:30 P.M.

Penthouse Serenade-Don Mario;Dorothy Hamilton; Charles Gaylord'sSophisticated Music. (Maybelline Co.)3:30 P.M., Sunday, NBC-WEAF.

Roadways of Romance-Jerry Cooperand Roger Kinne, baritone; FreddieRich orchestra. 9:00 P.M., Thursday,CBS.

Rhythm at Eight-Ethel Merman;Ted Husing; Al Goodman's orchestra.(Lehn & Fink.) 8:00 P.M., Sunday, CBS.

Silken Strings-Charles Preven's or-chestra. (Real Silk Hosiery Mills.) 9:00P.M., Sunday, NBC-WJZ.

Sinclair Greater Minstrels-Gene Ar-nold; Joe Parsons; Mac McCloud andCliff Soubier, end men; Harry Kogen'sorchestra. (Sinclair Refining Co.) 9:00P.M., Monday, NBC-WJZ.

Socony Sketchbook-Virginia Verrill;Johnny Green and his orchestra; Chris-topher Morley; Jimmy Farrell; Mar-jorie Logan and Eton Boys. (Socony-Vacuum Oil Co.) 8:00 P.M., Friday,CBS.

Studebaker Program-Richard Him-ber and his Studebaker Champions;Stuart Allen. (Studebaker Sales Corp.)10:00 P.M., Friday, CBS. Rebroadcastat 12:30 A.M.

Texaco Program-Eddie Duchin andhis orchestra; Louis A. Witten; ama-teur talent. (Texas Co.) 9:30 P.M.,Tuesday, NBC-WEAF.

Shell Chateau-Al Jolson with guestartists. (Shell Eastern Petroleum Prod-ucts Co.) 9:30 P.M., Saturday, NBC-WEAF.

Town Hall Tonight-Songsmith Quar-tet; Peter Van Steeden's orchestra.(Bristol-Myers Co.) 9:00 P.M., Wednes-day, NBC-WEAF.

Uncle Ezra's Radio Station-PaulBarrett; Cliff Soubier; Carleton Guy;Nora Cunneen's orchestra. (Dr. MilesLaboratories). 7:15 P.M., Monday,Wednesday and Friday, NBC-WEAF.

Waring's Pennsylvanians-Fred War-ing's orchestra; ensembles; Stoopnagleand Budd. (Ford Motor Co., dealers.)9:30 P.M., Tuesday, CBS.

Welcome Valley-Charles Sears; Ed-gar A. Guest; vocal trio; Josef Koest-ner's orchestra. (Household FinanceCo.) 8:30 P.M., Tuesday, NBC-WJZ.

Whiteman and his Orchestra-PaulWhiteman conducting; guest stars.(Kraft Phenix Cheese Corp.) 10:00P.M., Thursday, NBC-WEAF.

Dance Bands

Abe Lyman -11:00 P.M., Monday andSaturday, CBS.

Ben Bernie-(Pabst Premier SalesCo.) 9:00 P.M., Tuesday, NBC-WEAF.

Charles Dornberger-11 :00 P.M., Fri-day, CBS.

Esso Marketeers-Guy Lombardo andhis Royal Canadians. (Standard Oil ofN. J.) 8:00 P.M., Monday, CBS.

Jan Garber -12:30 A.M., Wednesday,and 10:30 P.M., Saturday, CBS.

Leo Reisman and his Orchestra-PhilDuey and Johnny. (Phillip Morris &Co.) 8:00 P.M., Tuesday, NBC-WEAF.Rebroadcast at 11:15 P.M.

Ray Noble's Orchestra-(Coty, Inc.)10:00 P.M., Wednesday, NBC-WEAF.

Waltz Time-Abe Lyman's orchestra;musical interludes by Bernice Claire andFrank Munn. (Sterling Products, Inc.)9:00 P.M., Friday, NBC-WEAF.

Wayne King's Orchestra-(Lady Es-ther Co.) 10:00 P.M., Sunday and Mon-day, CBS, and 8:30 P.M., Tuesday andWednesday, NBC-WEAF.

Concerts and Classical MusicAlex Semmler, Pianist -1:15 P.m,

Monday, CBS.America's First Rhythm Symphony-

DeWolf Hopper, narrator. (United DrugCo.) 5:00 P.M., Sunday, NBC-WEAF.

Cities Service Concert-Jessica Drag-onette; Frank Banta and Milt Retten-berg ; Rosario Bourdon's orchestra.(Cities Service Co.) 8:00 P.M., Friday,NBC-WEAF.

Fireside Recitals - Sigurd Nillsen;Hardesty Johnson; Graham McNamee.(American Radiator Co.) 7:30 P.M.,Sunday, NBC-WEAF.

LaForge Berumen Musicale - 4:00P.M.,Wednesday, CBS.

Palmolive Beauty Box Theatre-pre-senting operettas and musical comedieswith John Barclay, and Francia White;chorus; Nathaniel Shilkret's orchestra.(Colgate -Palmolive -Peet Co.) 10:00P.M., Tuesday, NBC-WEAF.

Symphony Hour - Howard Barlow,conductor. 3:00 P.M., Sunday, CBS.

Voice of Firestone-Gladys Swarth -out, Nelson Eddy and Margaret Speaksalternating; William Wirges' SymphonicString orchestra. (Firestone Tire andRubber Co.) 8:30 P.M., Monday, NBC-WEAF. Rebroadcast at 11:30 P.M.

Children's Programs

Bobby Benson and Sunny Jim,--?(Hecker H -O Co.) 6:15 P.M., Monday,Wednesday and Friday, CBS.

Buck Rogers in the 25th Century-(Cocomalt Co.) 6:00 P.M., Monday toThursday, inclusive. CBS Rebroadcastat 7:30 P.M.

Ivory Stamp Club-Captain TimHealy. (Procter & Gamble Co.) 6:15P.M. Monday, Wednesday and Friday,NBC-WJZ.

Jack Armstrong-All American Boy.(General Mills.) 5:30 P.M., daily ex-cept Saturday and Sunday, CBS. Re-broadcast at 6:30 P.M.

Singing Lady-Nursery jingles. (Kel-logg Co.) 5:30 P.M., daily except Satur-day and Sunday. Rebroadcast at 6:30P.M.


Dramatic Sketches

Dangerous Paradise-Elsie Hitz andNick Dawson. (John H. WoodburyCo.) 7:45 P.M., Monday, Wednesdayand Friday, NBC-WJZ.

Death Valley Days-(Pacific CoastBorax Co.). 9:00 P.M., Thursday, NBC-WJZ.

First Nighter-June Meredith; DonAmeche; Eric Sagerquist's orchestra.(Campana Corp.) 10:00 P.M., Friday,NBC-WEAF.

Grand Hotel-Anne Seymour andDon Ameche. (Campana Corp.) 6:30P.M., NBC-WJZ.

Five Star Jones-(Mohawk CarpetCo.) 12:45 P.M., daily except Saturdayand Sunday, CBS.

The House of Glass-Gertrude Bergand Joe Greenwald; Bill Artzt's orches-tra. (Colgate -Palmolive -Peet Co.) 8:30P.M., Wednesday, NBC-WJZ.

Irene Rich-(Welch Grape Juice Co.)8:00 P.M., Friday, NBC-WJZ.

Just Plain Bill - Arthur Hughes.(Kolynos Sales Co.) 11:45 Am., dailyexcept Saturday and Sunday, CBS.

Marie, the Little French Princess-(Louis Phillipe Co.) 2:00 P.M., dailyexcept Saturday and Sunday, CBS.

Mary Marlin-(Kleenex Co.) 12:30P.M., daily except Saturday and Sunday,CBS.

Mrs. Wiggs of the Cabbage Patch-Betty Garde, Joe Latham and AndyDonnelly. (Wyeth Chemical Co.) 10:45A.M., Monday to Friday, inclusive, CBS.

One Man's Family-Anthony Smythe.(Standard Brands, Inc.) 8:00 P.M.,Wednesday, NBC-WEAF.

Our Home on the Range-JohnCharles Thomas, baritone; WilliamDaly's orchestra. (William R. WarnerCo.) 9:00 P.M., Wednesday, NBC-WJZ.

Romance of Helen Trent-(AffiliatedProducts, Inc.) 2:15 P.M., daily exceptSaturday and Sunday, CBS.

The Gumps-(Corn Products Refin-ing Co.) 12:15 P.M., daily except, Sat-urday and Sunday, CBS.

Comedy Sketches

Amos 'n' Andy-(Pepsodent Co.)7:00 P.M., Monday to Friday, inclusive,NBC-WEAF.

Easy Aces-Jane and Goodman Ace.(American Home Products Co.) 4:15P.M., Tuesday, Wednesday and Thurs-day, NBC-WEAF.

Fibber McGee and Molly-Comedysketch with music. (S. C. Johnson andSon. Inc.) 8:00 P.M., Monday, NBC-WJZ.

The Honeymooners-Grace and EddieAlbert. 11:00 A.M., Monday, Tuesday,Wednesday and Saturday, NBC-WJZ.

Tony and Gus-Mario Chamlee andGeorge Frame Brown. (General FoodCorp.) 7:15 P.M., Monday to Friday,inclusive, NBC-WJZ.

Vic and Sade-(Procter and GambleCo.) 3:15 P.M., Monday to Friday, in-clusive, NBC-WEAF.

Mystery Sketches

Crime Clues-(Harold S. RitchieCo.) 8:00 P.M., Tuesday, NBC-WJZ.

K-7 Secret Service boy stories -7:00P.M., Sunday, NBC-WEAF.

Feature SingersBenay Venuta-10:30 P.M., Sunday,

CBS.

Frank Crumit and Julia Sanderson-(General Baking Co.) 5:30 P.M., Sun-day, CBS.

Jack Fulton and his orchestra-(J. L.Prescott Co.) 10:30 A.M., Monday toFriday, inclusive, CBS.

Kate Smith -8:00 P.M., Thursday,CBS.

Lazy Dan-the Minstrel Man-(A. S.Boyle Co.) 2:30 P.M., Thursday, CBS.

Patti Chapin -5:00 P.M., Monday andFriday, CBS.

Singing Sanr-(Wasey Products, Inc.)7:30 P.M., Tuesday, CBS.

Smiling Ed McConnell - (AcmeWhite Lead and Color Works.) 6:30P.M., Sunday, CBS.

The Night Singer-Baron Sven vonHallberg's orchestra. (Pinaud, Inc.)10:30 P.M., Monday, CBS.

Household Hints

Betty Crocker-(General Mills Co.)10:45 A.M., Wednesday and Friday,NBC-WEAF.

Cooking Closeups-Mary Ellis Ames.(Pillsbury Flour Mills.) 11:00 A.M.,Wednesday and Friday, CBS.

Frances Lee Barton-(General FoodsCorp.) 2:30 P.M., Friday, NBC-WEAF.

Mary Lee Taylor-Domestic scienceauthority. (Pet Milk Sales Corp.) 11:30A.M., Tuesday and Thursday, CBS.

Inspirational ProgramsCheerio -8:30 A.M., daily except Sun-

day, NBC-WEAF.Tony Wons-11:15 A.M., Sunday,

Monday and Saturday, NBC-WJZ.Voice of Experience-(Wasey Prod-

ucts.) 12:00, noon, Monday to Friday,inclusive, 6:45 P.M., Sunday, CBS.

News Commentators

Boake Carter-(Philco Radio andTelevision Corp.) 7:45 P.M., Monday toFriday, inclusive, CBS.

Edwin C. Hill-The Human Side ofthe News. 8:15 P.M., Monday andWednesday and 10:30 P.M., Tuesday,CBS.

Frederick William Wile - PoliticalSituation in Washington Today, 6 P.M.,Saturday, CBS.

H. V. Kaltenborn-6:30 P.M., Friday,CBS.

John V. Kennedy -11:00 P.M., Mon-day, NBC-WEAF.

Lowell Thomas-(Sun Oil Co.) 6:45P.M., daily except Saturday and Sunday,NBC-WJZ.

Miscellaneous

Blanche Sweet-Beauty Talk. (Out-door Girl Co.) 11:15 A.M., Monday,Wednesday and Friday, CBS.

Briggs Sports Review-ThorntonFisher. (P. Lorrilard Co.) 7:45 P.M.,Saturday, NBC-WEAF.

Famous Babies-Celebrated babiesand celebrated parents discussed by Dr.Louis I. Harris. (The Centaur Co.)11:00 A.M., Monday, CBS.

National Barn Dance-(Alka SeltzerCo.) 9:30 P.M., Saturday, NBC-WJZ.

Science Service -4:30 P.M., Tuesday,CBS.

Woman's Radio Review-Conductedby Claudine Macdonald; guest speakers;Joseph Littau's orchestra; 4:00 P.M.,Monday to Thursday, inclusive, NBC-WEAF.

Send Your Radio Opinions to

DIAL -A -DOLLAR

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Inc.Charlotte-Purcell'sDurham-R. L. BaldwinElizabeth City-Hurdle'sGoldsboro-Neil Joseph Co.Greensboro-Ellis Stone & Co.Henderson-E. G. Davis & SonHigh Point-Beavan's Quality

ShopRaleigh-Brook's, Inc.Rocky Mount-Teachey WombleSalisbury-Purcell'sWashington-J. K. HoyttWilmington-The JuliaNORTH DAKOTAGrand Forks-Herberger's, Inc.Jamestown-Robertson, Inc.Minot-Sgutt's Store for WomenOHIOAkron-Byron'sAthens-The D. Zenner Co.Columbus-Bradford Husch Co.Mansfield-R. B. Maxwell Co.Marion-The Uhler Phillips Co.Massillon-Van Horn'sPainesville-Gail G. Grant, Inc.Portsmouth-Atlas Fashion Co.Springfield-Springfield Fashion Co.Steubenville-Cooper-Kline Co.Toledo-The Lion D. G. Co.Wilmington-Litt Bros.OKLAHOMAAda-Katz Dept. StoreArdmore-G. M. HenleyEnid-Herzberg'sMcAlester-Krone Bros.Ponca City-Frolich Style ShopSapulda-Katz Dept. StoreShawnee-The Mammoth Dept.

StoreTulsa-Brown-DunkinWewoka-MylesOREGONMedford-Adrienne'sPENNSYLVANIAAltoona-Simmond'sBeaver Falls-B. Berkman'sBradford --Rose E. KreinsonCharleroi-Zelinski's The Woman's

StoreEaston-Grollman Bros.Ellwood City-Wilkoff's Fashion

ShoppeGreensburg-Pross Co.Harrisburg-Feller & Co.Lansford-J. C. Bright Co.

New Castle-New Castle D. G. Co.Philadelphia-Gimbel Bros.Pittsburgh-Boggs & BuhlSharon-The Routman Co.Upper Darby-Mayer's Fashion

ShopWilkes-Barre-Fowler, Dick &

WalkerRHODE ISLANDProvidence-Jean's, Inc.Woonsocket-McCarthy Dry Goods

Co.SOUTH CAROLINACamden-The Fashion Shop, Inc.Columbia-Haltiwanger'sSOUTH DAKOTAAberdeen-Olwin-Angell Co.Huron-Erickson's Apparel ShopMitchell-H. D. Butterfield Co.TENNESSEEChattanooga-Chas. Rosenthal Co.Columbia-Dave GordonJackson-Louis NathanKnoxville-Anderson, Dulin,

VarnellMemphis-J. Goldsmith & Sons

Co.Nashville-Rich, Schwartz &

JosephUnion City-Morgan-Verhine &

Co., Inc.

TEXASAbilene-Campbell'sAmarillo-Hollywood Dress ShopBeaumont-Worth's, Inc.Brady -S. A. BenhamBrownwood-Garner-Alvis Co.Bryan-The Smart ShopDallas-Wendell's, Inc.El Paso-The White HouseFort Worth-W. C. Stripling Co.Houston-Sakowitz Bros. (Hahlo's)Kingsville-Ragland'sLaredo-Aug. C. Richter, Inc.McAllen-Valley Merc. Co.Nacogdoches-Lovell'sSan Antonio-The VogueVictoria-A. & S. Levy, Inc.Wichita Falls-The Orchid ShopUTAHSalt Lake City-Paris Dry Goods

Co.

VERMONTBrattleboro-Goodnow, Pearson,

Hunt, Inc.Rutland-The Vogue ShopVIRGINIACharlottesville-Helen G. Eastham

Shop, Inc.Danville-Herman'sHarrisonburg-Joseph Ney & Sons

Co.Richmond-Binder'sRoanoke-S. H. Heironimus Co.Suffolk-Ballard & SmithWASHINGTONBellingham-Mallahan'sYakima-Barnes-Woodin Co.WEST VIRGINIAAlderson-J. M. AldersonBluefield-The VogueClarksburg-The Marks Co., Inc.Huntington-Paul KirshWilliamson-Schwachter's Ladies

& Junior ShopWISCONSINAppleton-Geenen Dry Goods Co.Janesville-Golden Rule LevyMadison-Cinderella FrocksSheboygan-Hill Bros.WYOMINGLaramie-BaertschMEXICOMexico City-Maison Dor&

Tower Star Fashions are sponsored by Tower Magazines, Inc., 55 Fifth Avenue, New York, N. Y.64 Tower Radio, September, 1935

TATTOO YOUR EYELASHES-w-iththa ne/iv-10444,zoleyzazcata

NO WATER - NO PREPARATION NEEDED

HERE is a mascara that gives an effect vastly more fascinating thanthat obtained with the ordinary, old-fashioned cake or liquid dark-

eners . . . for, it doesn't impart a rough, "grainy" look to the lashes.

Tattoo applies so smoothly; it colors the lashes so evenly from lidto tips, that the lashes, instead of shouting "mascara," are merely a part

of a lovely illusion; a stunning illusion in which your eyes appear asshimmering stars, surrounded with mysterious darkness ... your lashes

seeming to be twice their real length ... each lash like a shaft of star -light

reaching out to show the way to"heaver0Tattoo comes in a tube, ready for use.No water - no preparation needed.Simply whisk it onto your lashes witha brush . . . So truly easy to applythat your 'very first try yields aperfect result .. . Really water-proof .. . smart.proof . harm-

less. Tattoo your eyelashes!

BLACKBROWNBLUE

NOW AT ALLTOILET GOODS

COUNTERS

TATTOO tiaril. Sii,L,Lianc/Shewl

Among. the many

clistinguisAed women who prefer

Camel's costlier tobaccos:

MRS. NICHOLAS BIDDLEPhiladelphia

MISS MARY BYRDRichmond

MRS. POWELL CABOTBoston

MRS. THOMAS M. CARNEGIE, JR.New York

MRS. J. GARDNER COOLIDGE, IIBoston

MRS. BYRD WARWICK DAVENPORTRichmond

MRS. ERNEST DU PONT, JR.Wilmington

MRS. HENRY FIELDChicago

MRS. JAMES RUSSELL LOWELLNew York

MRS. POTTER D'ORSAY PALMERChicago

MRS. LANGDON POSTNew York

MRS. WILLIAM T. WETMORENew York

Kr

TURKISH& DOMESTICBLEND

CIGARETTES

Copyright, 1935, R. J. Reynolds Tobacco CompanyWinston -Satan, North Carolina

The 111011, flower.s the ..tarter, Nth., Elph.e,1 ,,,,, day -Thorpe print, spattered with carnations, tucks more it, the Jolt for gait, y

"NATURALLY I LIKE CAMELS BEST. . .."MISS BEATRICE BARCLAY ELPHINSTONE

"They're so much milder and have somuch more flavor to them," says thischarming representative of New York'sdiscriminating younger set. 41 -hey aretremendously popular with us all becausethey never make your nerves jumpy orupset. And smoking a Camel really does

something for you if you're tired - inthe midst of all the luncheons and par-ties of a season, it's grand to know thatwhen you are tired all you have to do issmoke a Camel and you'll feel likenew-it gives you just enough 'lilt.'"

That is because smoking a Camel re-

leases your own latent energy in a safeway.- fatigue vanishes. And you canenjoy a Camel just as often as you wish,because Camels never upset the nerves.Smoke a mild, fragrant Camel the nexttime you are tired, and see what a differ-ettc,_b it makes in the way you feel.

CAMELS ARE MILDER! MADE FROM FINER, MORE EXPENSIVE TOBACCOS...TURKISHAND DOMESTIC...THAN ANY OTHER POPULAR BRAND

"WET I MARRI D A SANDMAN" - World Radio History

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