Radio doings (Dec 1930-Jun1932)

Page Sixteen RADIO DOINGS March, 1931 rcc ycwE entertainment The Empire Builders Go Into Rehearsal . . . NBC The Boys on the Cover WHO among you has not heard of De-tec-a-tives Black and Blue, mighty crime crushers of the air, whose feet are not flatter than their skulls; those elastic supporters of law and order whose fame has, in the past few months, stretched from one of the Don Lee chain to the other; and whose myriad daily followers, if placed end to end, would find it difficult to sit down? That is a rhetorical question, my friends. And there is only one thing to do with one of those things — ignore it. Censors please note. But who are these slick sleuths, Black and Blue, whose blundering triumphs in the practically unlimited field of crime, aroused such envy and admiration in the heart of William J. Burns that, several weeks ago, he came all the way from Florida to meet them in the studios of KHJ? This is not a rhetorical question and must be answered. Blue is none other but only Len Wright, trap drummer in Raymond Paige's KHJ staff orchestra. One day, Mr. Paige (the boys call him, Mr. Paige) sent out a telephone call for orchestra reinforcements. He was chewing salted peanuts at the time and the only intelligible words that came over the phone were, "Trap Drummer." Mr. Wright was immediately trapped. And hereby hangs a tale : Born in the bull rushes north of Chicago. Father ran a chain of theaters in Illinois tullies. Little Len in short pants played drums in Sawtelle Circus out of New York. At age of 1?, went into stock. Show and Little Len flopped in Savannah, Georgia. Flopped again in roller skating act over his Dad's circuit. There are some things Chicago won't stand for. Played repertoire with the famous Jesse Colton Company. Two xylophone acts in independent vaudeville. Had neither agent nor dime. Drums in Rockford Orpheum when orchestras came into picture houses. Had his own orchestra for two years at the Hoff Brau Club, Milwaukee. Beer is thicker than water. Came to California in 1922. Played at KHJ in the old days. Directed cafeteria band here. Organized KEJK orchestra. Disorganized it. Played with Black (Charles Forsythe) at both bio Kan cafeteria and KEJK. Trapped by KHJ. Black's g r a p h y eludes: Birth ir sas corn fields. Named Charles Forsythe (if we are to believe him.) Father a theater trap drummer. Mins t r e 1 Male Quartet at 16. Stock roles while voice was changing. This gave rise to the term: The Squeaking Stage. Ran motion picture machines in the nikelodean days and spec l a 1 l z e d in sound effects. Vaud Imitated gle Man Manager small theater near Los Angeles, ion in first big stage band in motion picture house. Paul Ash so pleased he made Charlie director of comedy and sound effects. Played with big stage presentations in both Oakland and San Francisco. First radio work over KUO on roof of the Examiner building in San Francisco in 1923. Played character roles in movies (Ben Hur) and directed orchestra in Monte Bell's first picture, "Pretty Ladies." Worked for Raymond Paige at the Met. Conductor for Fanchon & Marco. KEJK, KHJ, KMTR and KHJ again. Considered final authority on radio sound effects. How it all happened: Earnshaw & Morgan decided to write a small comedy part into "Forgeria" for two dumb detectives, Black and Blue. The dumb nature of the characters was described at a conference in the KHJ studios. Raymond Paige immediately rubbed his hands together three times and pronounced the magic phrase, "Charlie Forsythe." Instantly Charles appeared on the carpet. Just like Aladdin. Only