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rA, SMILE!
Merrymakers can't nve a cracked lip.
by Qail (Barnes
the quivering, liquid notes, assist the feature with the melodies which have made them famous over the entire west.
Then there are the "Three Cheers," Rah, Rah and Rah. Kenneth Allen, the lad with the flashing eyes and classic brow, Travis Hale, who brings tears to the withered cheeks of pawn brokers with his winsome music, and Ernst Derry, make up the trio.
Ted Osborne is the gag genius. And that boy Osborne is good. It may be admitted that without him, the Merrymakers would be lost. His ideas and his uncanny ability to pick the funniest possible situations and things to say, are the two outstanding factors in the production of the program. Osborne as a rule makes a little speech of his own — something on the serious side like "The Life Period of the Tonsil," or "How to Make the Mocking Bird Mock."
Osborne and the charming wit that features these little lectures of his, make one of the predominate attractions of the program.
Then there's Auntie McKasser. Good old Auntie McKasser! Now there's a woman it would do your staunch heart good to hear. Elvia Allman plays the part and plays it to a fare-thee-well. She gives helpful hints to the housewife, slips in a wise
crack or so for the housewife's husband and leaves the mike with a feeling that a good time was had by all. You know the kind of stuff — just good, clean fun — and it's funny too.
There's a short sketch — Ebeneezer and Malaria Tollgate. They climb the Alps, they tour Europe, they ramble through the Orient and they have a swell time. And the radio fans who flock to their receivers on Saturday night have just as good a time listening in.
Fred Zimbalist, who is related to the great violinist, is the lad who does the clever work with the harmonica. His stuff verges on the classical and his interpretation of great music is a charming foil to offset the general run of humor and nonsense in the program.
Perhaps the outstanding part of the Merrymakers program is the remarkable sound effect combinations which Charles Forsythe, that genius of disharmony, creates to carry the illusion of odd situations.
Osborne remarks that when he designs and draws up those excruciatingly funny sketches of his, he does so with an eye to the possibilities of introducing sound combinations which are at once unusual and humorous.
For instance, one time there was
• RAYMOND PAGE, the man who made it all possible.
a scene in a dentist's office. The average sound effect engineer would have racked his brain pain in an effort to produce the sound of the drill and the horrible nerve racking buzz of the complicated machinery of torture to be found in the average dental parlor. But not so with Forsythe.
KHJ talent combined forces to devise something new. The outcome was that the radio listener heard the sounds not of the dental office, but an interpretation of the sounds as the patient in the chair imagined them. In other words instead of the dull, subdued buzz of the drill; a horrible, nerve shattering, uncontrollable screech exited from the false dental office into the microphone. The screams of the patient were blood(Continued on Page 40)