Radio stars (Sept 1933)

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RADIO STARS for chilly weather witii a fur around her throat. She's taller than Ann Loaf, considerably, with a fifjure like Joan Crawford's. Now Bob Taplinger is looking around, standing on tip-toe while Colonel Stoop- nagle gives an imitation of Al Smith. The imitation isn't go(xl and the Colonel knows it. It wasn't in the original routine but Bob's actors have run through their lines .so rapidly that he has time to fill. At its end. Bob is still looking about the room. "And now we're going to hear from Nat Shilkret," he tells a listening pub- lic. But in his eyes we can see that he doesn't know whether or not we siiall hear from Nat Shilkret, for Nat't in sight and Bob can't find him. We're just beginning to feel some of his panic when an unbelievably short man steps out from under a music rack and chins himself on a mike. A look of reprieve lights Taplinger's worried face. The whole studio relaxes and laughs at Nat's magic appearance. Announcer David Ross now smoothes some words from his Old Gold pro- gram into the air. Ross is this year's diction award winner, you remember, and he never stumbles on a syllable. At the end of his reading, he drops his script and cries, "Anda how do you lika dat?" It's the gag-line made famous by Old Gold's late Greek Am- bassador. This time, David speaks them—they are not written on his script . . . and that is news. It's the first time he ever ad-libbed anything on the air. IN swift succession come William Neal who towers over everyone in the studio. Emery Deutch who says "Hello," nervously and fades away. Then Phil Regan, the ex-cop with the Adonis face and angel voice. He's a CBS tenor. Little Jack Little goes to the piano to accompany him. Look ! Phil is laughing at sometViing. Jack ripples into "My Wild Irish Rose" with an attack that makes it sound like a banshee march. Phil opens his mouth but no sound comes out. Suddenly he bends double and laughs uncontrollably. Little Jack Little tum-tiddy-ums through another introduction. Finally Phil sings . . . clear, heady tones, that soar like birds . . . "When Irish eyes are .smiling . . ." Abruptly, his voice cracks and he backs away from the mike, shaking in the grip of uncontrollable merriment. Everyone in the studio is in near-hysterics. Bob Taplinger turns to his mike. "The eyes are not only smiling," he says, "they're laughing out loud." and that's the end of Phil Regan's ef- fort to sing, for Bob introduces Andre Kostelantz who leads Berrens' orches- tra into the closing song, "Till We Meet Again." Now, everyone joins in the chorus. William O'Neal is near one mike and Mary Eastman at another. Their voices harmonize in a .strange sort of beauty. We reach the last phrase. Bob pushes someone up to his own mike and we hear radio's most amazing voice drowning out all the rest. It is Poley McClintock, the frog-throated boy . . . "Till wc-e-c meet again-n-n-n !" ■very lood oy Reserves _ run LOOK ! 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