Hollywood Spectator (Apr-May 1939)

aging. M -we, Dovever, nac no such problem. In answer to those who believe that the public is an ignorant herd who prefer tripe to Tenderleaf Tea, I submit as an added exhibit, this laboratory test: The next time Morse has Paul Barbour read a lengthy excerpt from a current book, even if it happens already to be a best seller, just check with your weekly book review pages, from coast to coast, and see what happens. If you listen carefully and quietly you will be able to hear the book's publisher offering this addendum to his nightly prayer, “And God bless Carleton for mentioning my book.’’ I have made that observation several times. When, if and as I complete my great American novel — on which I have been meditating for fifteen years or more — one of its most important passages will be written just in the hope that Paul Barbour will use it. Of course, there would be no mercenary thought in connection with such a plan. No — not a bit of it. I merely want Paul to think the passage worthy of public reading, and if that sells ten thousand additional copies — well, can I prevent it? Would I if I could? :*C jfc ifc WHAT? NO ADMISSIONS? ILLIAM CARSON, of North Hollywood, writes: “Aren’t you be ing sort of like a little tin god, telling people what is good and what is not good in radio? You don't pay to hear the shows, you get free tickets to broadcasts, if you want them, and yet you seem to think that you should review a radio program as though you had planked down $4.40 for an orchestra seat (if you have $4.40) . Let us take up his items in reverse order. Number one: I do not have the four-forty. Number two: Radio is a new form of art and entertainment combined, just as pictures, the stage, concerts, books and other cultural and semi-cultural endeavors are arts. All are indulged in for profit and for pleasure. That being true, radio should be handled in this journal as such. Radio is out of its short pants. It has grown up. Too fast, perhaps, and too erratically; nevertheless, it deserves adult consideration, sincere and intelligent handling, and constructive criticism. With my best efforts, I am trying to give it the latter. Who Pays for Radio? C| As to Mr. Carson’s third point, I do pay admission to radio shows. Each time I buy any product advertised on the radio, I pay a certain proportion of its cost to me as advertising. Take Blank-Blank coffee, for instance. We use two pounds weekly, 104 pounds per year. Two cents per pound is charged to advertising on the radio. That is my admission to Blank-Blank's radio program. But, you say, you get a program a week for two cents for your whole family. That is true. On the other hand think of the hundreds and hundreds of other radio advertised products I buy, the programs of which I never hear. I pay for those programs, too, but do not avail myself of them. They are there, just as Helen Hayes is at the theatre, or Clark Gable at the neighborhood movie. I do not have to go, unless I choose. I do not have to listen unless I want to. But — whether I listen or not — I pay. That fact gives me the right to be an arm chair critic of any program, large or small, and of airing my criticism via the Spectator, just as critics of other arts make a living giving their views. One more point: It is quite true that if it were not for radio, and other forms of advertising, the products I buy would be less universally used and would cost more than they do under mass production methods. In which case, it is questionable whether I would buy as much of them as I do. So, do not come back with the argument that the savings I make because of wide use of products destroys my above contention. You know — and you, and you, and you — that mass production, newspaper and radio advertising, bulk distribution and other merchandising methods make for greater gross profits, even though the per package cost is less. Who pays for radio? Who pays the hidden taxes? I do, and you, and you, and you — * * % ODDS AND ENDS Have you ever noticed that Mel Ruick of Lux Radio Theatre often sounds so much like C. B. DeM., that it is hard to tell them apart, and that Earnest Chappell on Campbell Playhouse sounds like — you know who? I would mention who “Who" is, but he has been in this column so frequently I have been accused of being subsidized by him. 5*C When Benny Rubin was doing his Yankee Doodle laugh as m.c. at Grauman’s Egyptian, he was one of my favorites. He still is, and a more versatile character delineator cannot be found for radio. His Refugee on the Lum ’n’ Abner benefit was top flight reading. * * * Quite often I find myself wanting to hear The White Fires of Inspiration which KNX used to put on. Jon Slott wrote it, Ralph Scott produced, and White Fires was among the best programs ever to come out of Hollywood. Obviously, the program was unsponsored, because — for some unknown reason — the best programs always are unsponsored, unless they have a comedian, a dummy, or a torch singer on them, or all three. * * * Honestly, I am amazed at the reception which this department has received at the hands of those who are in or on the fringe of radio. Naturally, those are the people it is written for — not for the average reader. If said average reader gets pleasure, so much the better. Some of those who have expressed opinions have quite openly stated that they thought this was a terrible column. Some have said they thought it was quite good. Opinion, to date, is about twp to one in favor of the latter. * * * John Fee has, for quite some time, urged that Mark Hellinger’s short stories would make the basis of a good program. I hope the new Old Gold show will reward John with frequent roles in the Hellinger dramatizations. He is a good, experienced, intelligent actor. * * * To M. A.: You are wrong. I do not dislike John Conte. On the contrary, along with hundreds of other radio and semi-radio people, I think he is one of the grandest persons in the business. I just think he is heard on too many programs for his own good. * * * Leith Stevens, musical director for Big Town, has been given the baton to direct the Ford Summer Hour. Stevens is one of radio’s finest conductors, sponsored or for fun. 5fc 5{C Jjc Congratulations to Irving Parker for good sense in handling his clients' publicity. His copy is always welcome on this desk. ir Another famous American legend will reach the screen with the filming of Washington Irving’s Legend of Sleepy Hollow, announced for production by Edward Small. HOLLYWOOD DOG TRAINING SCHOOL Carl Spitz, Owner Fritz Bache, Manager Phone 12350 Riverside Drive North Holly. 1262 No. Hollywood, Calif. MAY 1, 1940 PAGE THIRTEEN