NBC Transmitter (Jan-Nov 1942)

AUGUST 1942 5 LISTENERS PLAY CATCH-AS-CATCH-CAN WITH CATCHY NBC CATCH-PHRASES • America’s modern language has been greatly colored by radio, particularly by those comedians whose joke factories are located in the NBC Hollywood studios. When Little Johnny wants to contradict his mother nowadays, he says, “That ain’t the way I heerd it,” patterned after Bill Thompson’s phrase as the Old Timer with Fibber McGee and Molly. Which illustrates the effect radio has upon the language of the people of the United States. Catch-phrases from radio are the modern versions of “twenty-three skiddoo” and “you tell ’em, I stutter.” Radio’s comedians add new' phrases to the American slanguage every day, and every hep-cat is judged by his knowledge of the latest line from Hollywood. Red Skelton’s “I Dood It,” besides making newspaper headlines, has become an everyday phrase in young America’s vocabulary, along with his “I would answ'er that, but it would only wead to bw'oodshed,” and “If I do, I det a w'hippin’.” Jerry Colonna, on Bob Hope’s program, made “Greetings, gate,” a synonym for “howdy,” “hello,” “good morning,” etc. “Wonderful world!” was Lum and Abner’s most popular contribution to the list, with “I’m wore to a frazzle, just wore to a fraaazle ” also in the running. Molly McGee says “’Taint Funny, McGee,” and millions of us stop millions of others cold by telling them, “’Taint funny, McGee. ” Charlie McCarthy’s pet phrase has been a national byword for years — “I'll clip ’em. So help me. I'll mow ’em down.” From A1 Pearce comes Elmer Blurt’s “I Hope I Hope I Hope,” and Baby Snooks’ addition to often-repeated phrases is “Why, Daddy?” Meredith Willson has millions of listeners copying his “Well, bend me over and call me stoopid,” and Bing Crosby’s colorful slanguage has added many apt phrases, including “Cinema Parlor,” Crosbyism for motion picture theater, and “fair hunk of fiddlin’,” which translated means “a performance of great virtuosity on the violin.” Dennis Day says “Yes, please” to Jack Benny, and in every town kids from eight to eighty say “Yes, please” to every question that calls for an affirmative. Cliff Arquette as Ben Willet, of “Point Sublime” is responsible for reviving an oldie that most of radio’s language twisters could borrow — “Aint I tbe one?” 3,134 Days in a Row At 6 A.M., What a Go! • Add to impressive radio records the amazing total of consecutive broadcasts piled u|j by Jack Martin, <jf \\ KBH I La (irosse, Wisconsin I . As “I ncle Josh.” he has been on the air — as of July 1, 1942 — 3,134 consecutive days, including Sundays and holid a )■ s . And what makes the record still more amazing is the fact that his program opens up the station each morning at 6 a.m. Martin conducts two listener clubs as part of his broadcasts; they are the Radio in the Barn Club and tbe Radio in the Kitchen Club. He is a veteran showman and has trouped in every state of the Ebiion as well as many foreign lands. In World War 1, he headed a group of soldier actors which performed in Europe. WKBH believes that Martin’s impressive total of consecutive days on the air is an all-time record. If any NBC Transmitter reader has facts on a greater number of consecutive appearances, j)lease forward tbe data to the NBC Press Department, New York. JACK MARTIN GASOLINE AND TIRE RATIONING FAILS TO FAZE NBC FOLK Chicago Engineer Harold Jackson demonstrates his scooter to Vocalist Ada Beth Peaher; left: Michael Fitzmaurice takes to Dobbin ; right: Jack Benny and Mary Livingstone use bicycles.