Radio annual (1939)

TH€ RADIO ARTIST By KATE SMITH THE past ten years in the broadcasting industry have seen a normal plane of activity developed from a state of chaos. All phases of the industry have reached maturity, and with the growth has developed a new firmament for entertainers to bask in. Not the least important factor in the amazing development of the broadcasting industry has been the emphasis placed on the entertainer. While it takes many persons to actually transmit a program into the home, it is the entertainer who has the most to gain from a good production, for the public does not judge a radio program by ' its technical development, but rather from its entertainment achievement. In the early days of network broadcasting, standards were much lower for the selection of radio entertainers. Programs had to be transmitted throughout the day and evening, and it took many persons to fulfill a full day's schedule. The majority of the vocalists were allotted quarter-hour periods, and allowed tc sing whatever songs they so desired, in a manner that to say the least was slipshod. Gradually, however, program directors began to see the value of good entertainment. Singers were given more selected hours. CBS set aside the 7 to 7:15 p.m. spot "across-the-board" to build talent. From that quarter-hour period, which was proven through a number of surveys to have a huge listening audience, such personalities as Bing Crosby, Morton Downey and Ruth Etting were skyrocketed to fame, not only in radio, but stage and motion pictures as well. Listeners began to remember that 7 p.m. period and as a result, not only talent was built up, but new broadcast periods were being commercialized. From those humble quarter-hour programs, many radio artists have moved into the higher brackets in the entertainment field. While the motion pictures, vaudeville and legitimate stage have been responsible for many pleasing listening hours, the majority of the favored talent today was schooled in radio, then went into the extra-curriculum activities. Few have completely deserted the ranks of radio, however. Don Ameche, now a favored Hollywoodite, still retains his radio show and personality. Rudy Vallee has moved into pictures and dance spots, but remains one of the standbys of many radio listeners. The list of radio names who have succeeded in other fields is a long and impressive one, but they are still RADIO personalities, even to the most ardent film fan. Showmanship has done much to develop talent in radio. Programs are now built to order, and the talent is considered in every phase of the production of a radio show. Not as in the early days when a singer sang, and trusted to luck that the song would be finished in the required time, radio today is well rehearsed. Color and glamour, two words long absent from the radio business, are coming to the fore, and radio is now definitely big-time. Despite its growth, radio is still an "open sesame" to a large number of aspiring entertainers. Local stations serve as elementary schools, with students graduating to the networks after they have been schooled in radio technique. Many of the better "students" have been able to make the grade in the big time without too much preliminary work, and there are those rare exceptions that step right into star spots. Radio can use new talent all the time — because it is its very lifeline! 5<)