Evening star., 1924-08-31
RADIO GOSSIP AND NEWS

1t may not behoove a radio writer
TO criticize the radio critic, but 1t is
a new vocation, or avocation. and
some one ought to do 1t, right at the
start
Readers of radio columns have no
doubt noticed that a new type OF
writer has come into the radio deld--
the radio critic, or better, the radio
broadcast critic. Perhaps there is
none in your home town. but there
are in New York, Boston, Brooklyn.
Newark and Washington. They call
their comments by various names in
dicating the nature of their effuSions,
some of which are good and some OF
which aren't fair to the broadcasters.
or listeners-in. for that matter. Some
are we'll written and some are not.
Since the radio critic Is In practi-
cally a unique position. the nearest
comparison perhaps is with the ac-
tivities of the dramatic critics. The
latterS qualifications include a knowl-
edge of drama. history, literature.
stage history and probably music. He
must possess a good background.
gained solely by experience, q large
acquaintance with actors; be judge
of dramatic ability and possibilities.
He should understand human nature
and be sensible to the many emotions
interpreting them and the plays he
sees for his public. He doesn't have
to be an author, an actor, a scenic
artist or a stage hand; he seldom Is,
and 1t Is better that he is not Usu-
ally a theatrical critic is a trained
student of the dramatic art. 1t is a
life's work with him.
1t would be better. probably, If the
radio critic were not a radio expert,
operator or writer. for he need not
comment on poor transmission or ra-
practically as well as any one how the
stun comes in. The radio critic, In
the opinion Of longtime listeners,
should comment on the entertainment
and the artists, comparing their Sc
lections and their abilities with
others of known standards. both at
home and abroad. At present these
critics stick pretty closely to home
stations, knocking performers and
their efforts, sometimes In anticipa-
ton OF the actual renditions. 1t is
easy to knock and unfair to antici-
pate broadcasts, even II it is close to
press time. Sometimes 1t is danger
Gus, as schedules are often changed.
Most critics listen in and then write
their comments but all should do so,
and eventually they will have to fol-
low this practice, like their dramatic
brothers
1t would be difficult, OF course, to
find finished radio critics immedi-
ately. They must be trained. and
broadcasting history must be made to
establish standards OF performance.
However, it is questionable, in the
minds of some fans and writer's.
whether the critic OF the entertain
ment on the air should know any
thing about radio at all. Ideally, they
believe, he should be a student of
drama, music and human nature And,
most important, he should study sta
ton programs, performers and their
selections, making comparisons with
broadcasts within range of his read
ers' sets Necessarily, he must have
tho best receiving set possible. in or
der that he may pick up distant sta
tions, eliminating his local interfer-
ence and be able to select just the
station he wants Unfortunately, so
far. few radio critics are provided
with good sets, but use what they
have Mr.. Radio Critic is up against
a continuous vaudeville show and "a
three-ring circus, and he should con-
sciously go through his dials, listen
ing to as many stations and per-
formers as is humanity possible up to
press time, and then commenting crit
ically but not hypercritically for his
readers on the programs.
Experience alone and a good men,
ory will serve him in writing in ad-
vance Of the features offered the lis
teners Here daily study of pro-
of artists past performances Is Of
great advantage. He can sell the
good performers to his readers, point
ing out the selections likely to be
good or of exceptional interest. This
will save time and insure a good
evening. The regular listener-in will
appreciate early tips on the best
offerings to come, as we'll as COM
ments on past performances, which
he can check against his own i'm
preesions- Constructive criticism is
what most Of the broadcast listeners
want, with advance news on coming
events or entertainment
The critic must bear in mind one
thing, at least for the present-only
. few stations are employing paid or
professional talent; most Of them are
using volunteer artists and many
amateur performers. The compari-
isn't fair. Imagine comparing two
vaudeville houses one of which en-
ploys professionals and the other de-
pend8 upon amateurs. Another thing
is the use Of copyright music, which
some stations are not able to trans
NIT for one reason or another, al
though an adjustment In this matter
is anticipated This restriction nat
urz1ly limits selections at many sta
tions, giving others a great advan-
tage.
A knowledge of technical radio
broadcasting problems would, of
course, be valuable to the radio critic
il he desired to tip of broadcasting
engineers and announcers as to trans
mission, modulation and individual
idiocyncrasies. His suggestion might
win him many friends AS nearly all
tho stations employ receivers for lis
tening to their own broadcasts, how
over, such activity on the part of the
critic would hardly be necessary.
Without intending to offend the
new member Of the fourth estate,
tho writer is endeavoring solely to
point out some Of the radio critics
difficulties, both to him and the pub
lie, and fairer criticism Of our enter
tainment via radio will make for
better broadcasting and is certain OF
general and generous support from
all fans.
Eliminate Power Noises.
An organized effort is being made
by the electric light and power COM
p2nies to eliminate electrical inter-
ference other than radio, which of
late Is the cause OF considerable COM
plant from the fans. A subcommit-
tee on radio Of the inductive co-ordi-