Hollywood (1939)

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Use the one of 4 flattering daytime shades created especially for your complexion! Try MAUVE, (orchid) for new evening allure! MINE R V J&fjiM MAKE-UP 50* large size at cosmetic counters; trial size at lOi stores FREE Generous Sample MAUVE . . . . D PEACH D KACHELLE .D BRUNETTE . □ BUNTAN. ..D Send coupon and 3i stamp MINER'S, 12 E. 12th St,Dept.FH4, New York, N.Y. I enclose 3* stamp to cover mailing cost. Send me generous sample of Miner's Liquid Make-up FREE! Name . — l«-ftd<W cent and got her part in Cavalcade. But she did that as part of a campaign. Her own sincerity as a person helped her. "Oddly enough, the insincerity of one of our leading actors helped him put over a phoney role. People raved about him, but he sounded just like himself to me, shallow and unreal. His first real recognition came from a triumph as a phoney." | You needn't have a beautiful voice in order to be successful, famous and popular, according to Mr. Vanda. "Take Jeanne Eagels: she had an odd husky voice, but she could do wonders with it. I was her press agent during her last play and I used to marvel at the way she used it. I think her success was due to the fact that she never tried to be phoney. "Producers have told me that they turned Jean Arthur down in the old days because she had what they called a squeaky, funny voice. They admit now that they didn't think she'd get anywhere with that handicap. Today her voice is her greatest asset. It isn't technically perfect, but she handles it so effectively that no better voices can top her. "All this doesn't mean that you shouldn't improve your voice. The two Jeans I've mentioned above both possessed flexible voices, had excellent diction and knew how to control their speech organs. ■ "Let me tell you a secret: "Voice placement is only a matter of the imagination. When you call to Sally on the porch next door, you unconsciously measure the distance with your eye and direct your voice to reach her. You're not self-conscious, because you aren't thinking of what your dramatic school teacher would say if she heard you. You simply pitch your voice, so Sally will hear. "Relax and you'll speak better. I mean that. If you're relaxed, you not only sit, stand and walk well, but you can use your voice to better effect. A tight throat obstructs your vocal chords. "Voice teachers will tell you that nervousness is really the result of being selfcentered. If you weren't concentrated on yourself, you wouldn't be nervous. "Some people have a version of mike fright when they pick up a telephone. If it's a woman, her voice becomes strident. She gets excited and her voice goes up and up. The cure is to calm down. Lower your voice at least two notes below its usual pitch. "If it's a man, his voice is monotonous and gets so blurred no one can understand him. The cure for this is to bite off the ends of the words like this: 'Whattime-did-you-get-to-town? ' H "To make your voice flexible and interesting, there's an exercise anyone can use. Pronounce the vowels up and down the scale. Try asking and answering questions using only the vowels. Make the question anxious — eager — joyful— desperate. Then reply, using only vowels, with reassurance, with rebuff, with amusement, with foreboding. "Reading aloud is probably the best way to learn to improve your voice. Of course, if you can afford it, a fine thing is to have a record made of your voice and play it over, studying it, and after you've worked on diction or relaxing or monotony, or whatever your trouble is, make another record and see how much you've improved. There are machines out now, not so expensive, that make these records. In many cities, firms advertise that they will record your voice for a small sum. "If you have a tight throat, try yawning widely to relax it. Yawn a dozen times. Then try it again. It makes a big difference. \ i i • • . m ^^ HI , —"Mb 1 A CBS i 1" 1 ■ ' ■MfV W ' 1 rra v& Mr-. 1 m "' »vVv;.^vM§W':V <ip ¥&? ■ »" i : • -$iv IBS Ea^ » ■ ' -^H wy '*■-'■ ■' ■ -Mi p5S IHr^^^ll^B ■ ., . i ■jtfm i ^^ Charles Vanda, program director for Columbia Broadcasting System, makes a business of judging personalities by voices. Here he is explaining to Betty Grable what the microphone reveals 46