Radio showmanship (Jan-Dec 1949)

it must make enjoyable listening for the entire family. That thinking led, naturally, to a musical format— but not an ordinary one. That's where the "light and mellow" comes in — for that's the description of the type of show that was wanted. That finally set the theme for the program — and gave the show its name. The show was molded, at the direction of Mr. Harlan, to the "Light and Mellow" label of Caryl Coleman, who was the first producer of the show. Coleman has since been succeeded by Sam Dickson, topflight KNBC producer. Harlan still keeps his hand in the production of the show. He dictates all matters of policy on construction and production. He works with the producer in all rehearsals and okays all continuity and programming. Any changes that have been made in the show have been designed to keep the show moving — a change of emcees, augmentation of the orchestra, the addition of new talent and an occasional guest star. These things have been done only to achieve variety — not to change the show — or the theme of "Light and Mellow." Much of the show's success is directly traceable to the featured star — "his mellow majesty: Armand Girard." Girard's deep baritone voice is as much at home with a pop novelty tune as with a ballad. It lends itself as well to his now famous "Light and Mellow" commercial as to a melodic classical song. Lois Hartzell is another featured "Light and Mellow" star. Her fine soprano voice is a perfect contrast to Armand Girard's baritone. She is a "Light and Mellow" discovery — and her voice has captivated even the most critical. Lois Hartzell is now a regular performer with the San Francisco Opera Company. In addition to these two top stars the show has used a long list of other talented voices. Peggy Lane, who once held a featured spot on "Light and Mellow," was picked from the cast for the lead in the national company of "Oklahoma!" Claramae Turner, who preceded Peggy Lane as the featured singer, is now one of the stars of the Metropolitan Opera Company. Another artist who is featured on "Light and Mellow" at present is "Whistling John" Schuler. His whistling version of popular songs is one of the high spots of each week's show as far as the audience is concerned. "Light and Mellow" has brought many new hit tunes onto the air. Glen Hurlburt, the brilliant blind composer, was on the cast of the show for more than a year. He composed many songs for "Light and Mellow"—and these are now among his most popular novelty tunes. "Light and Mellow" is blessed with two master craftsmen on the production side — Sam Dickson and Tony Freeman. Dickson is a radio veteran whose sparkling copy and innate sense of showmanship is an institution in Western Radio. Tony Freeman is the musical director — and his work need only be heard to be appreciated. The choice of music for "Light and Mellow" is one of the most painstaking parts of the production. It's picked for its appeal, for appeal is the watchword of the show. All types are used — classical, popular, and novelty. But they are not used for their popularity or their classical status alone. Popular music must be melodic and in keeping with the mood of the show. Classical music must be melodic, too — and lend itself to popular arrangement. That's why the best arranging talent in KNBC's musical staff is pressed into service for "Light and Mellow." Grieg McRitchie and his Satin Swing has just the right touch for popular appeal — and none of the syrupy sameness of many arrangers. Each week the program features a concert arrangement for piano of a popular number— done in the superb fashion of the orchestra's pianist, Frank Denke. "Light and Mellow," too, is the voice of Hal Wolf, KNBC's assistant program manager, who is the show's announcer. That's just another case where careful selection maintains the "Light and Mellow" theme. That formula is followed, too, in the commercial message of the sponsor. The advertising agency, with the approval of its client, the Regal Amber Brewing Company, keeps a rigid limit on the length of (Continued on Page 31) 10 RADIO SHOWMANSHIP