Radio Broadcast (May-Oct 1925)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

New Fashions in Radio Programs 85 ever they like— "Good Bye, Broadway," "Over There," and "Till We Meet Again." If a listener could resist a tug at the heart when that last song died out he would be a strange sort of American. But it has not been recorded that anybody failed to keep spiritual company with the transport on its eventful way. Then comes France: danger, war, and death. At the end, "Flanders Fields" is declaimed to music, and taps sounded. UNITY AND INTEREST FOR THE PERFORMANCE THAT is an excellent example of the continuous dramatic performance by radio. It is the same kind of vehicle that once was used to earn' along the old variety show when it began to emerge from a number of disjointed acts, which afterward became vaudeville. Although vaudeville is a reversion, in a measure, it is a performance requiring no interpretation by announcement. Even the boy who used to come out and change the signs has disappeared, and now an electrical device supplies the information that the next act will be the performing seals. Although radio has not offered us the seals as yet — at least, not under that description — there is a wide field of development possible by the adoption of the continuous theme. The idea was not wholly original with the group of entertainers who have scored so successfully by this means, but they at least have utilized it with more definitely successful results than any other group. Therefore they must receive recognition for their efforts, along with the men in charge. There is virtually no limitation on what may be done with the dramatic theme by radio. Another of the Eveready Hours was devoted to a performance described as the Age of Man program. This choice arose from the wish to present a program of old songs in a new way, attempting to escape from the boresome device of an announcer with trembling voice who talked about the days down on the farm. That sort of introduction is particularly bad when the announcer speaks about a farm with all the intimate acquaintance of a native New Yorker. In this case the introduction was managed to the accompaniment of a piano and violin playing a lullaby, which swiftly developed into "Rock-a-Bye, Baby." CLEVER THEATRICAL MECHANICS IT IS not an easy matter to prepare the mind of a radio audience in something like two minutes for such a song as "Rock-a-Bye, Baby." Everybody in America has heard that lullaby so often at all stages of life, that it must be particularly well rendered to hold the attention. It cannot be literally thrown at an audience, as so many songs are tossed MEMBERS OF THE RADIO ENTERTAINERS Grouped during a typical Eveready Hour. They are: Left to right, seated: Charles Harrison, tenor; Beulah Young, soprano; Rose Bryant, contralto; Wilfred Glenn, baritone; all of the Eveready Mixed Quartet; standing beside Mr. Harrison, Graham McNamee, announcer; standing behind Mr. Harrison, A. J. Klein, noted African hunter; standing to Mr. Glenn's right Edward Berge, pianist; Alex Hackel, violinist, and Jacque de Pool, cellist, of the Eveready Trio. Others are chorus singers selected from the New York Oratorio Society and extra orchestral players