Radio revue (Dec 1929-Mar 1930)

JANUARY, 19 3 0 17 instrumental recitals and lectures of various kinds. Very often these seemed interminable, but they were listened to with remarkable patience because of the element of novelty involved. What has always seemed rather paradoxical to me is the fact that radio listeners, who were paying nothing at all for their air entertainment, gradually became more particular about the kind of programs they heard over the ether. I was no exception at that time — although I have since become more philosophical on the subject. My taste in radio programs steadily became more exacting. Soon I reached the point where I became annoyed and often indignant at programs of inferior quality that were broadcast by the big chains. As a result, I was branded a "high brow" by my less particular friends. If a desire to hear good music rendered artistically stamps one as a "high brow", then I plead guilty to the charge. There were many programs from which I used to derive a real thrill in the early days of radio. These included the Eveready Hour, Roxy's Gang, Maxwell House Hour under Nathaniel Shilkret's direction, the Royal Hour with its musical comedy hero and heroine, the Gold Dust Twins, the A. & P. Gypsies, the Silver Masked Tenor, the Landay Revelers with Norman Brokenshire announcing, the Happiness Boys and the WEAF operatic productions under Cesare Sodero's direction. In those days WEAF was generally conceded to be the pioneer station and for a long time held the lead in program presentations. However, WJZ forged ahead rapidly and soon reached the point where it "Twin" gave WEAF the keenest kind of competi Above: tion. Regrettably enough, such rivalry no longer exists between these two stations, inasmuch as the same artists appear on both chains. If the old spirit of rivalry had been maintained, the present standard of programs would doubtless have been much higher. Announcer's Part Important The part played by the announcer in the programs of the early days was exceedingly important, I am told. Upon his shoulders fell the task of taking a number of diversified features and welding them into a strong unit. He had no written continuity to read from, as he now does, and so he was compelled to rely almost entirely upon his own personality to put across the program. Those were great days. They developed a group of brilliant announcers who came to mean as much to radio as some of its biggest program features. To my mind, the greatest staff of all-around announcers ever assembled by one station was the quartet that served WJZ in the early days. This group included Norman Brokenshire, than whom there is none than-whomer, Milton J. Cross, Lewis Reid and the late John B. Daniel. The latter was one of the finest extemporaneous announcers that radio has ever had. He had an easy flow of language, his diction was excellent and he presented his ideas clearly and logically. Radio lost one of its shining lights as a result of his untimely passing. The WEAF favorites at that time were Graham McNamee and Phillips Carlin, who were often referred to as "the twins," because of the similarity in the sound of their voices over the air, Leslie Joy, James Haupt, Ralph Wentworth and Arnold Morgan. Of these, McNamee is still one of radio's headiners. I understand that Carlin announces occasionally, but is principally occupied with executive duties. Joy is also kept busy in the business end of broadcasting. The rest have wandered into other fields of activity, mostly in connection with radio. In any discussion of announcers, Tommy Cowan, of WNYC, must not be overlooked. He was one of the real pioneers. He started announcing with WJZ in the days when its studio was located in Newark. He has been the moving spirit of New York's municipal station for a number of years. He combines a thorough musical knowledge with a ready wit and an attractive radio voice and personality. In my opinion, he still ranks as one of the best. In those early days, programs were largely musical in character. Gradually a hue and cry was raised by newspaper critics for more showmanship and originality in radio. As a result, the big chains set about creating new types of programs. Slowly but surely the number of straight dramatic programs increased, until now the ether is crowded with offerings that have varying degrees of merit — mostly quite poor. Too Much Drama on Air I feel that today there are entirely too many dramatic programs on the air. While I recognize the fact that a dramatic sketch has definite entertainment value, based largely on its continuity of idea, I believe that it likewise loses a large portion of its audience for that very reason. I know that I — and the same holds true of many of my friends — often like to listen to my radio more or less subconsciously, while dining or playing bridge, for instance. At such times I could not possibly give the attention that Announcers of the Early Days : Graham McNamee; Below. Phillips Carlin