Radio varieties (Sept 1940-June 1941)

and acting talent led to an immediate contract with Paramount, and a few months later Lillian Cornell appeared high up in the Dramatis Personae of "Bucky Benny Rides Again!" Although our heroine has not yet reached the "star" class, she's definitely on the way. Rapidly, too. Her movies, as they appear, will win her larger and loyaler audiences, as her series of sustaining assignments did for her radio career. She has already appeared in four pictures, soon to be released, since "Buck Benny": "Dancing on a Dime," "Rhythm on the River," "Kiss the Boys Goodbye" and "Touchdown." All of which isn't to say that anyone with talent can be "built up to Lillian Cornell's proportions. For mere ability abounds today in the entertainment world. But one of the most elusive things in the world of talent is cm individuality that appeals to the public. That is what the scout has to keep his eyes peeled for in addition to personality, physical charm and voice. Arresting individuality. That's what the talent scout perceived in Lillian Cornell with the clairvoyance that only successful scouts possess. Then, once the catch was made, began his real job: to sharpen that individuality and through continual radio spots and an accompanying flood of publicity to etch her personality deep on the public's collective mind. All of which is a trying, painstaking task, calling for canny insight inio fickle public tastes and understanding of the panics and brainstorms of the show business. Anyone from NBC's Artists Service Bureau — the men who discover and develop divas, ballerinas, tap dancers, mystery writers, cowboy singers, symphonic conductors, diaJecticians, ad finitum — will vouch for that. Although night clubs, hotels and theatres are sources offering a vast amount of talent to radio, the biggest slice of radio's bigtime talent comes from small stations around the country. When a rarticu-arly fine voice is heard by a scout, its possessor is investigated, and if the necessary abi lity and individuality is there, he (or she) is taken to Chicago, Hollywood or New York's Radio City for an audition. Then, if the results are successful, begins the "typing," the press campaign, the whole general buildup. Movie, radio and gossip columns are plugged. New fashion styles are watched, and sometimes the artist's manager con even get a new style named after his charge. In some cases, even a color is named after a star, witness Genevieve Blue — after the party bearing that monicker on the "Amos claims: "Heavens, look how SoAnd-So came from nowhere and jumped suddenly into stardom!" — we hope you'll know the answer. For looking back over the case histories given, it is obvious that the management of radio artists figures extensively in their lise from obscurity to the cream c-i the vast radio crop. and Andy" program. Dorothy Lamoijr is an outstanding example of a radio artist who benefitted immeasurably by an extensive build-up. Artists Service "found" her while she was singing with a Chicago bond, placed her under contract, and planned her career with the result that she eventually became one of the most outstanding screen and radio personalities of our day. Lamour's publicity centered around her breathtaking glamour, and she was billed as the "Dreamer of Songs." The history of Lucille Manners sounds like a Horatio Alger story. Sometimes the vital role played by the artist's manager is overlooked in cases of her sort. A fifteen-doUar-a-week stenographer in Newark, Miss Manners missed many meals in order to pay for her coveted voice lessons. Eventually she landed a spot on a local New Jersey radio program and later an audition at NBC, where she was given an assignment on a small sustaining program. Meanwhile the Artists Service Bureau was building her up through guest appearances with popular concert orchestras. In 1933, this build-up, together with Miss Manners' natural talent, qualified her as the summer sxob stitute for the Cities Service Conceits. A few years later. Miss Manners became the regular Friday night soloist for the Cities Service Concerts! Wonder why the blonde soprano is referred to as Miss Manners? Well, it's a result of her build-up. Just as people associate the words Dorothy Lamour and sarong (they ore inseperable, aren't they?), they synonymize Lucille Manners, in their mind's eye, with good manners, satiny evening gowns and a personality sweet and sedate. Each Friday night she appears before the studio audience gorgeously gowned. Colored spotlights play on her face. The atmosphere is permeated with austerity. And well knowing that he must perpetuate the piiblic conception of his client, Lucille Manners' manager sees to it that her photos convey the same impression of sweet dignity. An entirely different approach is being used in building up a songstress you'll hear a mighty lot about before long. Her name is Yvette, and she sings French and American tunes in a pert and saucy manner. Petit, blonde and vivacious, Yvette lives the part she plays on the air. For NBC Artists Service, realizing that they have created an arresting personality different from all others as well as one that has caught the fickle public's fancy, will see to it that Yvette stays that way! Dinah Shore is another yoimgstor clambering up the successladder. Dinah was brought to Radio City from a small Nashville station where she sang while studying at Vanderbilt University. She was developed by her Artists Ser vice into the dreamy Southern type. Langour, not glamour, was her groove. First she was given a sustaining spot on NBC, and at present her wisteria-laden crooning is making her a favorite with network audiences. She sings every Sunday afternoon now with "The Chamber Music Society of Lower Basin Street." Unless all signs fail, she will star one day on a topflight commercial program. When that happens don't plant all the credit on her pretty head. Save a kudo for her builder-upper manager. RADIO VARIETIES — NOVEMBER Page 15