Radio mirror (May-Oct 1937)

Page scan 00024 from Radio mirror

Record Details:

Title:
Radio mirror
Date:
May-Oct 1937
Publisher:
New York : Macfadden Publications, Inc.
Volume:
Radio mirror (May-Oct 1937)
Leaf #:
00024
Language:
English
Collection:
Broadcasting & Recorded Sound and Fan Magazines
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Recorded Sound Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013
Date Added:
July 18, 2024
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cAfa^a. YOU CAN LEARN IT FROM THESE YOUNG STARS OF RADIO AND THE THEATER The lovely young actresses who work on the stage as well as in radio must learn how to make up for behind the footlights and on the street, besides. Above, Rita Johnson, of the CBS Workshop show. Another Workshop actress is Elizabeth Love, left. From Jane Cowl she learned an eyeshadow trick to harmonize with her golden blonde beauty — a stage practice, but easily aaaptable to your evening use. THE actresses who woric under Irving Reis on the CBS Workshop, radio's experimental drama program that tries anything from a sound picture of the characters in "Gulliver's Travels" to the sound of the human heart in a story like Poe's "Tell-Tale Heart," are versatile young ladies. Beside their radio engagements, most of them appear also on the Broadway stage, and of course they know 14 as much about make-up for both stage and street wear as they do about how to speak into a microphone. Three of the loveliest are Rita Johnson, Elizabeth Love and Tanya Cherenko. Rita makes quite a distinction between the make-up she uses on the street and the one she uses for her part in George M. Cohan's play, "Fulton of Oak Falls." Off-stage, in daytime, she wears very little