What's on the air (Nov 1929-Feb 1931)

Page so WHAT'S ON THE AIR BACK OF FAMILIAR VOICES (Continued from page 6) ticket to a student who was going West, and presently stopped eating. To forestall any dire results, the young man took what work he could get during the summer. He continued to earn a vicarious living for the next two years, until the war interrupted everything. Private Barlow sailed for France on one of the first transports, and Sergeant Barlow came back to Broadway and music on one of the last boats to return. During the seven years following the war, Mr. Barlow conducted the Peterboro (N. H.) Music Festival, organized choral societies, and in 1923 organized the American National Orchestra. He was then associated with the Neighborhood Players, arranging the musical backgrounds for their productions. "The Little Clay Cart" and "The Dybbuk" were two of the plays for which he was director of music. He left at the end of his third season and joined the staff of the Columbia Broadcasting System as a chrter member. Mr. Barlow daily grows younger in appearance and increasingly prominent in musical circles. At present he is the conductor of the Philco Symphony Orchestra, one of the leading symphonic groups of the radio world. Through this medium he hopes, by a gradual ascent, to cultivate the taste of the public to the point where classical programs will dominate the music of the air. dark eyes and dark complexion. He is popular with radio artists because of his complete poise and lack of nervousness or excitability in the studios. His home is 16 Lindbergh Street, West Hempstead, L. I. SHELL ECHOES (Continued from page 18) selections that somehow we had always had a hankering to hear just as this aggregation made them heard: operatic arias, concert numbers and popular ballads, old and new. At the close of the program a clean-cut young chap sauntered over our way and was introduced as George Redman, composer of lyrics of "Shell Echoes." Under the direction of Mr. Dumont, such radio artists as Chauncey Parsons, tenor; the Chicagoans Quartet; the Pickards; Tom, Dick and Harry, vocal trio; Fred Waldner, tenor; Sen Kaney, the old-timer, and Wendall Hall, the "red-headed musicmaker," are also heard at different times on this program. J. Oliver Riehl, composer and pianist, who is musical supervisor for the Chicago NBC studios, created and builds this unusual musical treat. All in all, a most enjoyable evening. Try it for yourself any Monday evening at 9:30, Central Daylight Time. WINS DICTION AWARD (Continued from page 12) peared as a soloist in Worcester churches, and frequently sang in amateur musical productions. Then, after some experience as a choir conductor, he went to Long Meadow, Mass., where he directed the Community Choral Association and a church choir. He appeared frequently as a baritone soloist. The World War broke out and Bach enlisted. He saw service in France with the Forty-fourth Coast Artillery and was in the Somme-St. Mihiel offensive. The war ended and Bach returned to the print-shop, although he still found time for concert engagements. He was asked to sing for Station WBZ in Springfield, then his home, and, after a few radio appearances, was taken on as staff announcer for WBZ. That was in 1922. While in Springfield he met and married Olive C. Murphy. There now is a seven-year-old daughter, Joyce Elizabeth Bach. In 1926 he was transferred to WBZA in Boston and made more than local reputation through his announcements of the broadcasts of the Boston Symphony concerts. More than two years ago NBC officials heard of the Boston announcer and soon afterwards he joined the NBC announcing staff. In addition to his work as an announcer, he is heard as a soloist on the air and on the concert stage. Bach is a crack bridge player, and plays tennis and handball. He also reads a great deal. Bach is six feet tall, weighs 170 pounds and has dark hair, ALWYN BACH. PARAMOUNT -PUBLIX HOUR (Continued from page 47) poration, owners of half -interest in the Columbia Broadcasting System, have been presenting their hour of entertainment over the nation-wide facilities of that network. From New York, Hollywood, Chicago, and even Paris, Paramount stars and featured players have been heard via the largest regular hook-up of stations to carry a commercial program. Ofttimes they contribute to the program from each of these cities during a single hour's broadcast. This requires extensive technical arrangements with accurately timed cues and switchovers— all handled with utmost perfection by Columbia engineers. The majority of the stars that shine from the motion-picture firmament have come to realize the vastness of radio's scope, its importance as a builder of good will, and the valuable training it offers, requiring only a worthy rendition in return. Paramount's theater audiences have been increased through the radio appearances of such favorites as Maurice Chevalier, Ruth Chatterton, Clara Bow, Ginger Rogers, Mary Brian, Gary Cooper, Jack Oakie, "Buddy" Rogers, Lillian Roth, George Bancroft, Richard Arlen and numerous others who have played in its movie palace of the air from time to time. Every star must have its setting. And in the studios of WABC, key station of the Columbia System, is gathered every Saturday night an imposing array of entertainers, including Jesse Crawford, "the poet of the organ"; Paul Ash, billed as the "genial giant of jazz"; David Mendoza, the noted maestro; Harriet Lee, deep-voiced contralto; Paul Small, tenor, and a large symphonic orchestra. They provide the musical background for the guest artists, while John Carlille, announcer, paints a word picture apropos to the entire presentation. Summer is here. However, the warm weather will effect no let-down with the Paramount-Publix Hour, for the sponsors of this popular feature plan to present even a more imposing array of their artists for the edification of the radio audience than in the past. The summer nights will be replete with stars — bigger and brighter than ever.