Inside facts of stage and screen (March 1, 1930)

SATURDAY, MARCH 1, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE THREE M-G-M HAS TWO BEST PICTURES IT LOEW S SUITE Los Angeles went boxoffice mobbing for the personal appear- ance of Paul Whiteman and his Orchestra, and when the smoke cleared away Fox could tally up $35,426 for his Loew’s State house. And did somebody say that the public doesn’t want the in-flesh music? The M-G-M feature pic- ture, “The Mysterious Island,” dis- tinctly played support to the Whiteman aggregation, though it is a flavorable Jules Verne story well done into a non-talk picture. Lawrence Tibbett, with a unani- mous vote of approval from both sexes • and repeats at the box- office coming in droves, still made the Chinese a gold pot, doing $30,- 593 in the fifth week of his “The Rogue Song,” M-G-M. A stage show is in support. Greta Garbo’s first talkie, “Anna Christie,” was getting down to normalcy at the Criterion after its sensational business during its first weeks of the run. On the last week the figure was $13,338, still several thousand over normal. William Powell was another drawing card of the week, his Paramount picture “Street of Chance” pulling some $4000 over average to the tune of a $29,000 total at the Paramount Theatre. Richard Barthelmess’ First Na- tional starring vehicle “Son of the Gods” still went big at the Warner Brothers’ Downtown Theatre, bringing $23,300 in its third and last week. This is $9000 better than the average for the spot. Winnie Lightner in “She Couldn’t Say No” (W. B.) opened Satur- day night midnight. Warners’ other house, in Holly- wood, didn’t do so well, taking about an average gross of $16,000 with “Second Choice.” George Arliss in Warners’ “The Green Goddess” opened Friday. Two of the run pictures went down below average during fhe week, M-G-M’s “Devil May Care,” starring Ramon Novarro at the Carthay Circle, and U. A.’s “Lum- mox” at the United Artists. Gross for the former was a weak $10,- 969, and for the latter $12,500. Richard Dix in the Radio Pic- tures offering "Seven Keys to Baldpate” was only fair at the Orpheum, doing $12,000. The other RKO house, the RKO Theatre was just a bit above normal at $18,200 with Pathe’s “The Racketeer,” a Bob Arm- strong-Carol Lombard picture. Paramount’s “The Laughing Lady,” with Clive Brook and Ruth Chatterton heading the cast, did nicely for the Egyptian, in- take registering $13,164. Fox’s “Clancy in Wall Street” was weak at the Boulevard to the tune of $6808. I. A. T. S. E. TO HOLD CONVENTION IN L. A. San— BERNIE TALIAFERRO FRANKIE SAPUTO FRANK HUBBELL The three boys whose pictures appear above are members of the Everett Hoagland Troubadours, who are featured twice daily from KFWB. During the five weeks they have been broadcasting, their versatility has won them a large flow of requests because of their unique close and high pitched harmony singing as well as their soft muted trumpet solos backed with sub-toned clarinet obligato and guitar accompaniment. Each _ boy is a clever soloist. Besides their radio work they have appeared in many pictures, their latest being in “The Czar of Broadway” for Universal. The I. A. T. S. E. this week voted to hold its bi-annual con- vention this year in Los Angeles, opening date to be June 2. Approximately 1100 delegates are expected, with every other member who can possibly raise the ex- penses coming with their fellow- members to the city where the movies are made. The immense percentage of I. A. T. S. E. employes here, includ- ing the stage hands, studio work- ers, studio cameramen, etc., is ex- pected to make this the banner meeting in I. A. T. S. E. history. It will be the first time the con- vention has been held here in 17 years. Frank Canavan, head of the union, is in Los Angeles at the present time on a business visit, but not particularly concerning the convention. Headquarters for the gathering probably will be the Rose Room at Eighth and Spring streets. Meet- ings of the locals here will be held during the current week to select committees on arrangements and delegates. NEW TAP CLASS Earle Wallace announces a new tap class for adult beginners which will start on Monday, March 10, at 7 p. m. This class has been formed to accommodate the over- flow registration of the two pre- vious classes that started in Feb- ruary. Duty of the Radio Is Social By EARL C. ANTHONY Owner of KFI and KECA, Los Angeles A history of KFI, just as the history of any other pioneer radio station—or of radio altogether— must of necessity be only a rec- ord of the merest beginnings. The history of KFI is just beginning, and I am tempted to believe that what we now would regard as a history will, in ten years’ time, be considered a mere prelude to a history. Any thoughtful and well-informed survey of radio for the last eight years leads us to the honest at- titude of that famous old fisherman in the Arabian Nights Tales, who evoked a monstrous Djinn out of a bottle and was considerably em- barrassed when it came to han- dling him. We have created and evoked radio. Out of the squeaky and sporadic toy of ten years ago a giant of unlimited powers and po- tentialities has grown. Any re- cital of facts in' connection with radio is of necessity pale and in- significant when compared to the immeasurable importance of what is coming with every future min- ute. What we shall do with the Djinn of radio is vastly more in- teresting to contemplate and plan, than to recite a chart of physical developments, no matter how rap- id or significant. Career Highlights KFI broadcast for the first time on Easter Sunday, 1922. Within four years, KFI grew from a 50- watt station with a single opera- tor and a sketchy program ar- rangement, to a magnificent plant of 5000-watts with a large and no- table staff of technicians, musicians and business men. Some of the milestones of the station's first years, are these: The inaugural speech of Presi- dent Coolidge, March 4, 1925; the inaugural speech of President Hoo- ver, March 4, 1929; the first radio concert of Mme. Schumann-Heink, October 11, 1925; first broadcast in America of Wagner’s “Die Walkure,” October 18, 1926; the Democratic and Republican con- ventions of 1928; the arrival of Col. Lindbergh in Washington, June 11, 1927; the Prince of Wales at the International Peace Bridge, August 7, 1927; the first Rose Bowl football game on New Year’s Day, 1927; the arrival in Los An- geles of the Graf Zeppelin late last year; and, lastly, in a long series of epochal events, the re- cent speech of George V at the opening of the London naval con- ference. , s l' Networks Forecast In the majority of these pro- grams, KFI has acted as a unit in the network system of the Na- tional Broadcasting Company, both as originating and releasing sta- tion. It was early in our short history that we perceived the com- ing of the now enormous national and international networks. To day we are equipped to produce programs that will stand with the best that the great New York and eastern stations broadcast, and we do so frequently. We need only4-must of necessity consider our po- 4-cite the Hollywood Bowl concerts, the concerts of the Philharmonic Orchestra, the major sports events, and occasional news events of na- tional interest. Any casual examination of radio facts will amply inform the stu- dent who wishes to know the part played by KFI in the development of radio. It is our modest, and, we believe, entirely justified claim, that we contribute a share that does not suffer by comparison with any other. Radio Needs Men This is what the radio Djinn has done. Now, what we intend to accomplish with the aid of the radio Djinn, is another matter. The easiest thing for me to do would be to indulge in a series of high-flown. meaningless, pretty phrases. But this kind of verbiage is not what radio needs. It needs clear heads, honest spirits, and men who are able, by training and in- clination, to see far beyond the needs and destinies of one man, one business organization or one esthetic expression. In other words, radio is a world force of instruc- tion, information, education and culture; and those of us who wish to justify our existence in radio Hoagland Unit At KFWB; Also In Film Work Everett Hoagland, whpse pic- ture appears on the front page of this issue of Inside Facts, has one of the most popular recording bands in the Southland. As mu- sical director of Radio Varieties, Hoagland is in charge of the arranging and presentation of five hours of musical programs daily over KFWB. The main feature of these programs is his orchestra, “The Troubadours,” from 4 to 6 o’clock every day. Hoagland’s mu- sical background of “Lonely Troubadour” is well known to radio audiences. Besides the radio engagements, the orchestra has scored a tre- mendous hit at the studios. They have proved to be a sensation in their latest picture, “The Czar of Broadway,” a Wm. J. Craft pro- duction for Universal. In this pic- ture four members of the band are also featured as vocal soloists. In “The Cohens and Kellys in Scotland” a double quartette from the band was featured in a re- cording of Scotch folk songs. “Czar of Broadway” is their third consecutive picture recording for the same director. It is unusual to find an organi- zation of young fellows who are so capable musically, and as a re- sult of their versatility as accom- plished musicians and singers, their smart appearance and attractive personality, Everett Hoagland and his Troubadours are scoring one of the outstanding musical hits of the South. sition from social attitude only, using the word “social” in its ba- sic sense. Effect on Society Those of us who are engaged in the development of radio have been driven outside and beyond our- selves. It is now no longer a question of broadcasting an opera, or a symphony concert; it is a question of fostering the arts of music, entertainment and instruc tion in all their branches and forms. No longer do we think of only one football, baseball or bas- ketball game; we are compelled by the force of progress to consider the problems of athletics and physical culture from a social an- gle. In our treatment of news events and educational matters, we ac- cept a responsibility as great as that of the press or the govern- ment. Looked at from this broad point of view the business of radio as- sumes a somewhat different aspect than if we were in it merely for the purpose of operating a com- mercially profitable station. Rewards Secondary It is true that we make every effort and have every intention to continue operation as a solvent business organization. To pretend otherwise would be to deny our place in the American scene, which is, above all, commercial in the highest sense. But it is our belief that we can do our work best by holding fast to the principles we have sketched lightly above, and letting monetary considerations fol- low as results, not as reasons for living. Good music, ably performed. Sound information, clearly present- ed. Wit, eloquence and poetry, whenever available. Honesty of statement and responsibility in backing statements. We propose to cleave to this line for KFI, and for its associat- ed station under our management, KECA. If we and all radio sta- tions can do this, the future of ra- dio is in good hands. TEN BEST BF TEAR TOTAL BF 4 HILL’S NEW SHOW John Hill is preparing to pro- duce “The Little Show” at the Mayan Theatre, with rehearsals to start in a couple of weeks, it is reported. But the plans are said to be still somewhat tentative. Earl Hampton and Jerry Delaney are said to be slated for roles. Hill’s last production was the road- show of “The Front Page,” which hit the rocks in the Northwest. M-G-M came strongly to the fore during the past month with candidates for the 10 best pictures of the current year. Out of four such prospects, Metro had two, the sensational “Rogue Song,” -first vehicle for Lawrence Tibbett’s magnificent voice, and “Anna Christie,” which (conclusively proved that Greta Garbo is even more dynamic and of greater acting ability in talkies than in silents. Of the four pictures which are to be considered in the Bests qualifications, M-G-M has these two, U. A. had one. “Lummox,” and First National had one, “Son of the Gods.” Paramount’s “Street of Chance,” starring William Powell, was an excellently done picture but hardly likely to get a rating in the top 10. Directors of the four best pic- tures of the month wene Lionel Barrymore, who was responsible for “The Rogue Song”; Herbert Brenon, who did “Lummox”; Frank Lloyd, who did “Son of the Gods,” and Clarence Brown, who did “Anna (Christie.” The biggest factor in rating these pictures tip-top offerings wtere: “The Rogue Song” — Tibbett’s marvelous voice; “Anna Christie” — The tremen- dous acting power of Greta Garbo; “Lummox” — The sympathetic direction of Clarence Brown and the excellent work of Winifred Westover. “Son of the Gods”—The unus- ual qualities of the story, and the general appeal therein. Because of their diemtrically dif- ferent naturie, it is impossible to select one from among the four as the best picture of the month. But _ the two best, each the best in its own field, were ■ “Anna Christie” and “The Rogue Song,” both M-G-M products. Pictures considered were “Not So Dumb,” (M-G-M); “Devil May Care” (M-G-M); “Dark Streets” (F. N.); “No, No, Nanette” (F. N.); “Wedding Rings” (F. N.); “The Sacred Flame” (W. B.); “Son of the'Gods” (F. N.); “Burn- ing Up” (Paramount); “Wall Street” (Columbia); “The Mys- terious Island” (M-G-M); “Sec- ond Choice” (W. B.); “Street of Chance” (Paramount); “The Bishop Murder Case” (M-G-M); “Lum- mox” (U. A.); “Seven Keys to Baldpate” (Radio Pictures); “The Racketeer” (Pathe); “Anna Chris- tie” (M-G-M); “Dance Hall” (Ra- dio Pictures); “The Love Parade” (Paramount), and “The Rogue Song” (M-G-M). The best of the month box, in- cluding performances, etc., will be found on the picture page of this PATHE’S 2-REELERS ARE OFF TO GOOD START The two-reel comedy department at Pathe is functioning at good speed, following recent decision to shift it from New York to Cul- ver City, but to maintain its st&tus of independence from the feature department. John C. Flinn is in charge; Wil- liam Woolfenden is in charge of material and talent; and Arch Heath is production manager. Directors for the two-reelers are Robert DeLacy, Fred Guoil, Wal- lace Fox and Monte Carter, the last named to do the musical com- edies. Writers are George O’Neil, Hugh Cummings, Guy Voyer, Wal- ter De Leon, J. Kiern Brennan, Betty Scott and Frank T. Davis. Negotiations are under way for the sale of the United States The- atre, San Diego, by O. L. Foss. WILLIAM POWERS “SOUTHLAND’S MELODY MAN” N. B. C. SPIRITUALS AS YOU LIKE ’EM Featuring Feist’* “HONEY, I’SE WAITING FOR YOU”