Radio-TV mirror (Jan-June 1953)

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Month's supply will go into purse. Tampax Incorporated, Palmer, Mass. R M 14 Accepted for Advertising by the Journal of the American Medical Association Biographical Notes: If you've been hearing Felicia Sanders plead with her loved ones to remain true to her while she is away, on her first Columbia release, "Please Be Good While I'm Gone," you've probably been wondering where she's been (musically speaking) all your life. Felicia is twenty -five years old, a native of New York who transferred her affections to Calfornia about 1942. Then she was studying to be a dancer. At the University of California, she was improving her piano technique when she discovered — just as a few hundred others were to confirm later — that she had a natural flair for song. She began to haunt the haunts of local musicians in Hollywood where there are plenty of talented ones, and to work with local composers on cutting their audition records. In order to eat as well as learn, she took several night-club engagements. Meanwhile, her recordings of songs with which composers hope to win some recording official's favor were making the rounds. It was Felicia's audition disc of "My Funny Valentine" which Mitch Miller of Columbia heard, and he said the magic words which finally bespoke a highly successful future for Felicia. Her "People In Love Can Be Lonely," backed by "Please Be Good While I'm Gone," makes for two mighty successful little numbers, and both Mr. Miller and Miss Sanders are pleased at the happy association which will be theirs for a while. The Gaylords, who've just been released by Mercury's recording of "Tell Me You're Mine" and "Cuban Love Song," are a trio who prove that a college education can lead to something else than selling bonds. Ronnie Vincent, organizer and guitarist, Bert Bonaldi, bass, and Don Ray, pianist, started out doing imitations of others, pantomiming everyone (from Al Jolson to Enrico Caruso) who had ever made a recording. Bert and Don were going to be actors, but Ronnie convinced them that while they were still in school they might try for local campus favor as a trio. They were so successful that, immediately upon being graduated, they went to work in Detroit's Conners Show Bar, where they've been working for the past two years. Branching out into television, the three boys became local TV favorites and, when Art Talmadge of Mercury was sitting at home watching a TV show one night, he happened across their talent. He signed them for Mercury Records and What's By CHRIS WILSON the rest is now heard on your home entertainment set . . . and if there's a teenager in the house — we might add — heard over and over again on their screech-box. Who's Who Among The Newcomers: Damita Jo — the voice on "I'd Do It Again" and "I Don't Care," for Victor. . . . Damita's twenty-two, was born in Texas, won first place in amateur nights from the time she was this high and finally made her professional debut as a night-club singer at the Oasis in Los Angeles, California. She began recording with Steve Gibson's Red Caps — first one was the hit tune "I May Hate Myself In The Morning," and she also did the first disc version of "I Went To Your Wedding." Last season she played the plush La Vie En Rose night club in New York. Gogi Grant — who was on Eddie Albert's TV show for three months and whom RCA Victor is grooming for stardom. . . . Her latest releases of "My Tormented Heart" and "Mommy's Little Angel," as well as "Where There's Smoke There's Fire" and "Forget Me Not," are still selling like mad. She, too, is from California, but from the small town of Santa Monica where most of the girls prefer to tan their beautiful forms on the beach, instead of airing their melodies. She made some audition records but never got out of the studio with her recordings. One of the boys who heard the records, took the discs to a talent agency who in turn took them to RCA Victor. Her voice is as good to listen to as she is to look at . . . and that's something. What's What For the Kiddies: Narrator Arthur Godfrey — that wonderful guy with the laugh in his voice who can amuse you as highly as the children on his new "Peter and The Wolf" record, which he made for Columbia Masterworks with conductor Andre Kostelanetz. For our money, he's just about the most talented man in the entertainment field — and his free-wheeling commentary, with its remarkable good humor, makes this album just about the best we've ever listened in on. As you know, this is the story of a brave lad who outwits a fierce wolf to save the lives of his friends. When the composer wrote the piece, he was attempting to teach children to recognize