Radio showmanship (Jan-Dec 1946)

lieve the victims of a flood or a hurricane or an epidemic. As a former special events announcer I remember covering floods and fires and famines, where radio performed an invahiable service to people in distress. 1 recall a Christmas Eve broadcast over a small Ohio station. The thermometer stood around fifteen above zero and a raging snowstorm swept the city. In the streets there was little traffic; families gathered by their firesides and in our studios the orchestra and the choir played and sang the joyous songs of Yuletide. Then came a phone call from a halfcrazed mother. Her daughter, aged three, had wandered out of the house and disappeared. Could we please help her? The child's name and address were broadcast immediately and listeners in that neighborhood were asked to please go out and join the search for the child. The plea was repeated every foiu^ or five minutes. The little girl, wearing neither hat nor coat, thoroughly chilled and badly frightened, was found 20 minutes later, ^vandering through the blinding storm about five blocks from her home. File that among your plug ugiies, kiddies. Radio is justly proud of its ability to do these things; and we should l^e proud of the American system of broadcasting. In many countries you buy a radio set and pay a yearly tax on it for the privilege of listening to what the government wants you to hear. You don't get the soap shows or the singing commercials; neither do you get the billion dollar entertainment provided by Fred Allen, Charlie McCarthy, Bob Flope, Jack Benny, Fibber & Molly and hundreds of others. Inhere are numerous legitimate faults lo be found with our present radio diet; and we are not proud of the behavior of all broadcasters. We acknowledge that we have good stations, bad stations and indifferent stations, and possibly always will have. But our present day faults will be corrected through sincere and courageous leadership within the industry. Not In' the Amalgamated Society of Plug Shiinkers; not by the wailings of Plug Ugly Fittell. Dekins Keeps ( With 38 Of/ii Adds New Sh WHEN Bekins Hollywood Music Hall had its premier over the Pacific Coast network of the American Broadcasting Co. January 6, radio was not a new venture for its sponsor, Bekins Van & Storage Company. Now in its fifty-first year of moving and storage service in the West, Bekins is a long-time user of radio as an advertising medium. For at least ten years, Bekins spot annoiuicements, newscasts and news anahses have been broadcast over various radio networks in western cities. Scheduled for weekly broadcasts every Sunday afternoon at 4:30 P.M. (PCT), the new program originates from the heart of Hollywood and brings listeners nuisical entertainment and dramatic behind-the-scenes stories of famotis Hollyw^ood personalities. Hollywood Music Hall follows Drew Pearson and Don Cardner, and precedes the Ford Sunday Evening Hour. In presenting Hollywood Music Hall, Bi KINS Van R; SroRAcn-: Ca)mpany is endeavoring to pr()\ ide the finest semi-classical and popular music for radio listeners, in the seven western states served by the company's 38 offices. The Hollywood theme and setting, with its universal aj)pcal. add glamoin to a brilliaiu cast. 11ns iiH hides Vi( toi Perrin, narrator; Richard Wallace, singing star; and Basil Adlain directing the Hollywood Music Hall orchestra with three featured soloists, Howaid Halbert, violinist; Lyman Gandee, pianist; and C^athryn Julye, harpist. Victor Perrin, narrator of Hollyxvood RADIO SHOWMANSHIP