Radio Digest (June 1932-Mar 1933)

SMITH BALLEW, that tall, amiable Texan whom you see pictured above, rained into Radioland again May 27th to the huge delight of a large and appreciative audience. You heard him from the Pavillion Royal, a swanky Long Island resort — a long, long way from the Alamo Plaza in San Antonio, but not half so romantic. Texas without question has more tall men per capita than any other state in the Union. Smith Ballew is no exception. While he never could have been classed as a sensation his acceptance everywhere has been enthusiastic. He was one of the first to rebel against the jangle of jungle jazz. His doctrine never was to give each man in his orchestra an instrument and tell him to make a star of himself. Rather he has preached that the orchestra must play in unison as one man. Smith's fans praise his conservatism, his choice of the soft and sweet in melody and rhythm. His voice as a singer came to him unexpectedly. But the record makers say it has become one of the best sellers. That Jupiter Pluvius should have picked Smith Ballew's opening night for a deluge was most unkind for no doubt there were many of the young orchestra leader's personal friends who were thereby prevented from ex Twists and Turns With Radio People and Programs tending their congratulations and good wishes. Incidentally you can turn your dial to your Red network station and get Smith Ballew every Friday night at 11 o'clock, EDST. P\ THOMAS CURTIN seems to be coming into his own -LA according to reports as we go to press. Radio Digest readers will remember his adventure stories published herein, and also the thrillers dramatized over a late Sunday night network. Mr. Curtin has been analyzing the files of the New York police department, just as he analyzed incidents and resources behind the German lines as secret correspondent for the Northcliffe newspapers. Knowing his natural ardor and keen sense of the dramatic we feel free to predict that the stories of life culled from the police files will be tense and thrilling when he presents them as one of the twenty-minute features of the Lucky Strike program. Curtin has the uncanny sense of precision to put his finger on the instant of action in any situation and give it life with lines of speech and sound effects. He may become known as the first great radio dramatist. IN THE Aircaster column of the "New York Evening Journal" (May 24) we are told of an incident which happened in one of the great broadcasting company studios which illustrates how thinly woven are the threads of fate these perilous times. The Aircaster writes as follows: "I'm sorry that, because of a promise, I can't give you the name of the orchestra leader at WEAF who saved the life of a young composer and arranger yesterday. The young man was actually starving, was without a job, without prospects, and his wife and kids were on the point of being evicted. As a last resort, he gathered up a script that a big shot conductor had promised to buy months ago, and was trying to peddle it in the studios. He failed to impress anybody with it, although it turned out to be the work of a genius. Someone overheard him calling his wife. She had to be brought to a neighbor's phone. He told her that he was headed for the Brooklyn Bridge, and bade her goodbye. "The man who overheard the excited conversation collared the unfortunate fellow, discovered his troubles, looked at his script, and immediately gave him a job with two weeks' salary in advance. The band leader had been looking for such an arranger for weeks." HAVE you noticed the improved trend in the production of radio drama? Is it that we are getting better scripts or better technique in the art of broadcasting drama? To the mind of your commentator there was a fine etching in the NBC presentation of The Flood Is Rising, described as "A True Story by Geno Ohlischlaeger, translated by Kurt Jadassohn." The story opens with a prologue wherein the listener pictures himself on a sightseeing bus in Naples. The scene is near the harbor with sounds to give that impression. The guide intones his ritual of what is to be seen round about. By this trick of placement the listener finds himself naturally in the scene without forcing the imagination. He is himself one of the actors in the play. He joins one of the groups that leave the bus to visit the Hotel Monte Solaro, where the guide explains a curious incident that took place there in the ballroom at the close of the last century. It is the story of Torro, a great hypnotist, who could bring an entire audience beneath his mesmeric spell. The guide proceeds to tell the incident that brought an end to this mystic genius. The prologue ends. By graceful art the listener becomes lost in a fascinating situation that keeps him spellbound to the end. Why not more plays like this? Smith Ballew