Radio mirror (Nov 1936-Apr 1937)

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G-12 Kearney, Nebr. RADIO M IRROR What's New on Radio Row (Continued from page 9) a Coney Island resort, known as the College Inn, these present-day celebrities functioned as follows: Eddie Cantor was one of the comics . . . Al Shayne was one of the singers . . . Jimmy Durante was the piano player . . . Ted Lewis was leader of the orchestra . . . Henry Busse was a cornetist . . . and Paul Whiteman was a waiter! The term "Nemo programs," used to identify broadcasts that originate outside the studios, has a curious story. In the early days of radio, when announcers and engineers first went to nightclubs to project their music programs on the air, the proprietors of those resorts were very appreciative of the resultant publicity. So appreciative, indeed, that they lavished entertainment upon the mikemen, wining and dining them until all hours. The result was that the broadcasters used to report to their studios the next morning bleary-eyed with hangovers. Somebody dubbed them "Little Nemos" after the comic strip character and the expression has persisted to this day. Babe Ruth, once terrorized by the mike, has developed into a broadcaster almost as nonchalant as Ted Husing himself. It was a revelation to see him in action on Kate Smith's new program. He did his stuff in his shirt sleeves, contentedly puffing a pipe between speeches. Not so long ago the Big Bambino was stricken dumb by the microphone and on one occasion a studio attachee had to read his lines when he became inarticulate through fear. The radio stations of the country spent 159,000,000 for talent last year. Advertising sponsors contributed $50,000,000 of this huge amount and the stations the balance. These contrasting figures reveal the wide gulf separating commercial and sustaining artists. The moral is, if you want to reap a reward in radio, hitch your wagon to a sponsor. For sustaining artists are just that — they carry on for a mere sustenance, hoping and praying an advertiser will some day hear them on the air and sign them to a contract providing a real salary. It may — and then again, it may not — be some consolation to listeners annoyed by audiences at broadcasts to know that they hear a comedian's gag before the studio spectators do. It is all because sound propelled by electrical impulses moves faster than sound travels in the air. Thus a dialist in Los Angeles hears what is said in a Radio City studio 3,000 miles away before the audience assembled there does. Reduced to figures, he hears just six one-hundredths of a second sooner, sound in the studio traveling at the rate of 1,000 feet per second while sound on the wires which carry the broadcast from station to station speeds at the rate of 75,000 miles per second. MUCH as they relish the attention, there are times when radio artists find autograph-hunters pests. On such occasions they resort to devices and disguises to evade their studio tormentors. A favorite strategem is to have a page standing by to summon them to the telephone the minute the broadcast ends. Jack Benny some times hastily dons a disreputable slouch hat and loses himself in the crowd. Rudy Vallee favors colored glasses as do Walter O'Keefe and Virginia Verrill. Fred Waring grabs an autograph album and pencil or pen and makes believe he is a handwriting-seeker himself. Alexander Gray slaps on a chauffeur's cap and Rosa Ponselle covers her head and TATTOO YOUR WPS The New Tattoo gives you the moist, shimmering, smooth, soft, eternally youthful lips of the glamorous South Seas maiden! Stolen from the bewitching little South Seas maiden was the idea of permanent, pasteless, transparent lip color; lasting, \oya\ stain for lips instead of temporary, "pasty," fickle coating! 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Send me trial size New Tattoo, postpaid. 10c enclosed for each shade desired, as checked. □ Coral (Orangish) □ Exotic (Fiery) □ Natural (Blood Color) D Pastel (Changeable) D Hawaiian (Brilliant) Name_ Streets City State 79