Radio revue (Dec 1929-Mar 1930)

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18 RADIO REVUE is required to enjoy properly a dramatic program. For this reason, I venture the humble prediction that the program pendulum will swing slowly backward, perhaps not to where it was before, but at least to a point that will be a compromise between the old order and the new. At such a time I believe we will have the pleasure of hearing a happy blending of musical and dramatic features on each program. When it comes to music, I prefer the classics to jazz every time. Not that I condemn jazz. On the contrary, I like it immensely, when it is well done, as in the case of Gershwin's "Rhapsody in Blue." I believe, though, that this composition is so soundly constructed that it will eventually come to be regarded as a classic. My preference for classical music is attributable largely, I believe, to the fact that it has real lasting power, due to its firm musical foundation. Most of the modern jazz is ground out so rapidly and haphazardly, by men who have no musical background whatever, that it is no wonder it soon palls on us radio listeners when it is dinned into our ears morning, noon and night. Many of the jazz tunes are either stolen or borrowed from the classics, but I do not believe that even the classics themselves would stand the strain of such severe maltreatment. I hope the day will come when the broadcasting of all songs will be regulated by either the composer or the publisher for his own good. Only then will we be able to listen to the radio without becoming thoroughly disgusted at having banal tunes figuratively thrust down our throats until we turn off the radio in disgust. The part that radio plays today in religious, educational and amusement fields is truly amazing. From a novelty of questionable value, it has come to be almost a household necessity. Nor have its possibilities been fully realized. It has been a great boon to shut-ins and a source of enjoyment to millions. So many of the present day programs attain a high degree of excellence that it is difficult to select the outstanding ones. However, I think that radio — if by no other way — justifies its existence alone by bringing to the masses the beautiful music of our major symphony orchestras. I believe the results of these concerts are being seen in a steady improvement in the musical taste of our people. Of the regular programs on the air, there are a few that, to me, are eminently superior. The Palmolive Hour, for one, has an array of talent that might well be termed "the aristocracy of the air." It manages to afford me great pleasure, even though its commercial credits detract immeasurably. Other favorite broadcasts of mine are Amos 'n' Andy, whose negro characterizations, I think, are remarkable; Main Street Sketches; the Nit Wit Hour, Ted Husing, who covers sporting events better than anyone on the air one of the most gorgeous bits of fooling on the air; the True Story Hour; Slumber Hour; Hank Simmons's Showboat and the various programs of grand and light opera. When I want to hear good dance music, I listen to the Lucky Strike Orchestra, which includes in its ranks about all of the leading jazz virtuosi extant, Paul Whiteman's orchestra, Sam Lannin's Ipana Troubadors and the Clicquot Club Eskimos. All this furore about Rudy Vallee impresses me as "much ado about nothing." I like the way he puts over a song but, so far as I can see, that lets him out. However, more power to him in capitalizing his talents before his popularity wanes. Milton Cross My Favorite Milton Cross still remains my favorite announcer, particularly for concert and operatic programs. He is dignified, scholarly and possesses a musical background that manifests itself advantageously in any program he announces. I heartily agreed from the first with the decision of the American Academy of Arts and Letters to award him the gold medal for having the best diction of any announcer on the air. Certainly no one was more deserving of the honor. For sporting events I prefer Ted Husing, who, by the way, started at WJZ shortly after the quartet of announcers to which I referred earlier. He knows his subject and his rapid-fire observations enable one to follow the contest easily and accurately. He never becomes so emotional that his account of the contest becomes incoherent. While I have never been a devotee of Graham McNamee, I admire his enthusiasm. When it is kept within bounds it is quite infectious. I thought he did a singularly fine piece of work in connection with the recent Light's Golden Jubilee broadcast. He seemed to appreciate that he was seeing history in the making and succeeded in painting the impressive picture very well for the listeners. I have always enjoyed Norman Brokenshire's work. I understand that he was one of the last to give in to the changing order for announcers, by which they turned from extemporaneous announcing to the reading of prepared continuities. As a result, his work has necessarily been robbed of much of its charming spontaneity and individuality, but he still is one of the outstanding personalities of the ether. Among the other announcers whose work I particularly enjoy are Alois Havrilla, Curt Peterson, Perry Charles and David Ross. Among my pet radio aversions I number Roxy, wisecracking announcers, whispering baritones and all contralto crooners excepting Vaughn de Leath. I have often wondered what the future holds for radio broadcasting. It has always been my contention that the entire business operates on the wrong basis. The listeners (Continued on page 46)