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

PAGE EIGHT INSIDE FACTS OF STAGE AND SCREEN SATURDAY, MARCH 1, 1930 AIR MAN ANSWERS “SAP” ARTICLE SAYS TERM FITS 7 SEE RADIO FUTUR “So they say that L. A. broad- casters use saps for performers!” Carl Haverlin, commercial man- ager for KFI and KECA, and sports announcer of national repu- tation, glared at the Inside Facts man through the hair that streamed down over his eyes. Then a grin spread over his face. “If you can show me any busi- ness that makes more use of saps than vaudeville and other like branches of show business repre- sented by the eastern trade paper that made that crack, then I’ll put in with you. “The claim has been made that we do not pay our talent. Well, here are our books that show we pay out an average of $2500 a week and better to extra artists to appear before our microphone. This does not include our regular salaried staff. They Made It “It is the so-called ‘saps’ that made radio, and built it up to the point where it could pay out real .money to professional performers from the stage. These ‘saps’ came in and pioneered radio when there was no money to pay anybody. They had faith the new medium had come to stay and wonderfully grow. Men sponsored stations and dug deep into their pockets to pay up deficits—and some are still doing it. But a lot of the pioneers are now reaping rewards from their investment of time, talent and money. “Radio is now definitely a part of show business, fast growing into a colossus. Now is the time, more than ever, for constructive work by trade papers, to throw light into dark corners, to counsel, comment and criticize, but not to abuse and wisecrack. Future in Radio “I am show trained myself, hav- ing been in vaudeville, pantomime and musical comedy, but I thought I saw a future in radio and jumped into it years ago. I, too, was one of these unpaid saps for a time, 'but my investment so far has brought satisfactory re- turns and I have hopes it will continue to do so. “I have overheard a remark, too, that some of the stations are family circles into which it is practically impossible for an out- sider to break. “It is a fact that a great many professionals try to sell their stage reputations to a radio studio, but that is something that can rarely, be done. Radio listeners have their favorites and the newcomer must win his way into their favor be- fore the sponsor who buys that time can be interested in his tal- ents. Experience has demonstrated time and again that a big name, unless it has been made in radio, means little or nothing to the listeners. Are Given Chance “But any performer with some- ALWAYS ANXIOUS TO PLEASE George Nickson TENOR SOLOIST KYA - SAN FRANCISCO TUNE IN ON DUD WILLIAMSON MASTER OP CEREMONIES and STAPF ARTIST KYA SAN FRANCISCO Pickups & Viewpoint Broadcasting Over KFRC and the COLUMBIA CHAIN Created and Portrayed By EDDIE HOLDEN In “Frank Watanabe,” a Japanese house boy, Eddie Holden has created a character that is one of radio’s chief drawing cards. Many are the dials that turn to KFRC, San Francisco, and the Columbia chain when “Watanabe” comes on the air. Because of this great popu- larity it is reported that several of the Hollywood film producers are seeking to put Holden’s name on the dotted line for their productions. thing worth while is given an op- portunity to sell it. It is only rea- sonable to allow us, who know radio, to be the judges as to what is worth while, and we can not afford to be prejudiced as our financial interests depend on good programs. If the performer can- not sell his act to the public through the different technique of broadcasting it means he has something to learn, and has no bearing on any blood relationship with the program director. “If KFI is a family circle it is a big one! We have at least six proven artists of every variety on call here, besides special talent we use from time to time. “No, sir! The saps are those who think there is no money and no future in radio.” SEEKING BLIND SPOTS Earle C. Anthony is sending out a radio-equipped car to tour the whole of Southern California in search of “blind spots,” where re- ception from his stations, KFI and KECA, is subnormal or en- tirely absent. Following this probe, experiments in better transmission will be made to reach these spots with full efficiency. This is said to be the first time any such in- vestigation has ‘been undertaken by any broadcaster. JOHNNY O’BRIEN N. B. C. “HARMONICA WIZARD” AND RADIO’S FAVORITE “BLUE BLOWER” 0^ I USE A “HORNER” Allen Puts In Speed Up Pip At C. C. Office Dave Allen, in charge of the M. P. P. D. A. Central Casting Office, has combined a bit of in- ventive genius with- his other ex- acting duties. Finding that the usual type of high-backed switchboard interfered with the necessary fast-action con- versation between his telephone operators and other mlem'bers of the office force, he conceived the idea for a switchboard standing no higher at its topmost point than a grand piano with the lid down. It’s a pip. and Dave’s friends are thinking he would have made a reputation in the in- vention line had he not been called as the Shepherd of Hollywood’s Extras. Through the new switchboard, which was specially built and is the only one of its kind in the world, Central Casting can handle almost 50 per cent more calls than was formerly the case. A maximum in the old days, every- onle going top speed, was 800 a day. Already the new switchboard has handled 1200 with the office force not under highest pressure. The new layout has 30 lines, which is 10 more than the old one, and they are multiple, also making for speeding up. TREVOR OPPOSITE BETTY Hugh Trevor will have the lead- ing male role opposite Betty Compson in R-K-O’s “Hawk Island.” NORM (NORM ANDERSON) Master of Ceremonies TOPSY’S ROOST SAN FRANCISCO By FRED YEATES We hope those who have taken occasion to slight radio and its artists are duly impressed with the showing in this, the first number of any professional trade paper to be devoted especially to the newest medium of public en- tertainment. No doubt the tra- ducers will be copying this initia- tive of Inside Facts and planning radio numbers from now on. We have found the world of radio a most pleasant field of new contacts; people who have wel- comed constructive comments whether favorable or otherwise, realizing that it is offered impar- tially with the object only to raise the class of radio and its per- formers, making them of more value to themselves, sponsors and public. Radio performers are invited to use the radio department of In- side Facts as their own and send us news of their doings, move- ments, changes and so on. Such items are generally of interest to other members of the same pro- fession and serve to remind exec- utives of their existence in case they should want their services. Our cooperation can be counted upon in many other ways, also. * * =N The fifteen minutes of Lohen- grin offered by Raymond Paige, Feb. 20, was marked by particu- larly fine orchestral work; for the size of the group we have heard none better. * * * KTM listeners are always pleased to hear the announcement that Bertie Kober, “the Sweet- heart of the Console,” is coming on the air. She has a record of great fan response. * * * Those people with lofty disdain for radio we discover, on cross examination “never listen to the radio.” Like the judge of cooking who eats nothing but crackers and milk. * * * The Paramount hour has finally gone to picture plugging, the of- fering of last Saturday night hur- raying for “The Vagabond King.” * * * Oscar Strauss and Alice Gentle were billed for the First National hour last Sunday night, 'but Al- ice was reported ill so the whole works took the evening off, even to Forbstein’s Orchestra. Sub- stitutes filled the hour and the stars were definitely, positively promised for the next Sabbath. T OF By MONROE R. UPTON (Of KFRC—Everybody’s Station) SAN FRANCISCO, Feb. 27.— Most everything, no matter how complex, has a definite individu- ality. Even a city, composed of thousands, or even millions of people, has an atmosphere, an aspect all its own. It is not strange then that a broadcasting station, represented by a few dozen artists, should ac- quire a characteristic mantle in the minds of its listeners. We believe that KFRC’s dis- tinguished traits are friendliness, informality, and a conscientious desire to give the best in itself. These are the qualities which have carried the station to the front rank of Pacific Coast broad- casters and made its feature popu- lar program of the week, the Blue Monday Jamboree, nation- ally known. Men like to regulate their life and affairs by rules, either handed to them or acquired by painful effort. This policy applied to the business of running a broadcast- ing station, however, would prove disastrous. There are no rules to guide one to the tastes of the pub- lic. One must rely upon a sort of an inspiration in choosing the art- ists and presentations which are destined to win a place for them- selves in the hearts of the public. What is it that distinguishes the true artist from the mere bluffer? A certain vitality, a deeper sensi- tiveness to life’s lights and shadows than most, and in addi- tion the ability to make others feel the same way? Whatever it ■is, it is rare. Harrison Holliway, who has been manager of KFRC since its 50-watt debut from the Whitcomb Hotel roof in 1924, and who is still at the helm, is the young man who has made the collection of artists who have made KFRC. They are conscientious, hard- working people, with a capacity for being themselves. They are both sensitive to ideas and in- genious in putting them across. And they are informal and friendly. HAVE DAFFYDILL HOUR Duke Atterbury and Ken Gil- lum, who have toured the RKO time and have been featured by Fanchon and Marco, are conduct- ing a Daffydill hour at KFWB Thursday of each week, proving more popular each week. SENSATIONS OF THE AIR! PACIFIC VAGABONDS An Effective Orchestral Group directed by WALTER RERAN with JACK DEAN “DEAN OF HARMONY” and The COQUETTES Imelda Montagne—Annette Hastings Marjorie Primley Originating in the San Francisco Studios of National Broadcasting Co.