Evening star. [volume] (Washington, D.C.) 1854-1972, 1937-05-16

form Of stay-at-homes who might
have been paying customers, has
been principally the concern of mo-
ton picture theater operators, al
p though few producers share the
view. 1t is commended by the former
that the frequent use of "big-name"
screen talent as regular or guest per-
formers on air shows results in the
listeners becoming less eager to see
the stars at the cinema palaces and
makes visits to theaters less fire.
quent. Statistics indicating that
certain individual players have turned
to radio without a falling off of rev.
enue from their pictures have failed
to convince the bitter theater gentry.
From Hollywood comes the COM
plant that radio engagements and
the rehearsals entailed are interfer-
ing with shooting schedules for i'm
portant films. From time to time
producers have tried to bar their top
flight actors from regular air ap-
pearances entirely, relenting when
guest spot would be good publicity for
forthcoming or recently released
mOIlOn picture.
Realizing that it would be futile to
buck radio, the large producing COM
7 panies began some time ago rather
haf-hearted attempts to buy into the
competitive field and work more
closely with the networks. Paramount
once owned half interest in the Co.
lumbia Broadcasting System, but sold
1t during the depression years. Metro
Goldwyn-Mayer controls WIN in New
York City, and Warner Bros owns
kFWB. in Hollywood. Paramount re-
Gently signed Ruby Cowan. former N.
B. G. executive. to act as liaiSon Off
Ger IN the matter of radio work by
the stars on the company's pay roll.
Warner Bros. has Martin Gosch NOV
Ing between Hollywood and New York
City on the same business. Principal
USE made OF broadcasting by the pro-
Aducers, however, is to plug" new pic
lures through appearances of the stars
as guests" of established programs.
The current hue being raised by the
M. P. T. O. A. seems rather illogical,
since no screen player can impress in
the same manner through a micro
phone as in q film Few stars are
favorites on the basis of their voices
alone; few persons who enjoy their
acting would as well sit before a loud
speaker and merely hear their words.
The cellulo1d players who have turned
to radio have proven entertaining in
either medium, but not in the same
ic o1S RI y,
tend that they are competing with
themselves. Hollywood has drawn
many p star from network studios,
ready-made stars who have been sure
IRE box Office" because of audiences
established through the air toll.
A CCEPTING a medal bestowed by
the Army Ordnance Association,
Maj. Gen. James G.. Harbord. chair
man Of the board of Radio Corp. Of
America, calls radio, itself war
baby one of the first industries to
be called to the colors in the event Of
another war. Under the industrial
mobilization plan" of the War and
Navy Departments, the Army Signal
Corps has surveyed approximately l 400
manufacturers of electrical commune
cations equipment and has selected
about 400 as prospective sources of
supply. Harbord declared in his ad-
dress last week.
J. During the World War" said Gen.
Harbord, "the only use for radio
was for point-to-po communica-
we know 1t today. Broadcasting was
a war baby and the baby has now
come OF age. Many of the nations Of
Europe today are demonstrating that
y propaganda broadcast by radio both
for home and foreign consumption.
has become an important instrument
OF modern warfare.
In case of war, all broadcastinp
receiving sets in America will be-
come targets for enemy transmitters.
whereas our broaGcasting stations will
be carrying our own story to the rest
OF the world. The series of broadcasts
from Spain, available to American
short-Wave listeners, is an indication
OF what may be expected. Our geo.
graphical isolation would be a help
1or our home receivers are distant
from potential enemies. Fortunately.
the 1mprobability Of effective air raids
makes unnecessary the UNDERGROUND
studios the British Broadcasting Corp,
Is planning for London"
ONE Is adept at putting tune on
paper after hearing it PLAYED. he
will be able to secure the music for
many OF radios theme SONGS, which
are not otherwise available, for the
greater number Of theme melodies
are never published for popular con-
sumption.
Hal Kemp is responsible for both
"How I Miss You" and Lets Raise
the Curtain" "Carefree," identifying
melody OF Lily Pons' show, is from
the pen Of Andre Kostalanetz. Gus
Haenschen wrote an untitled theme
for the Saturday Night Serenade pro-
gram. while Victor Young turned out
AL Jolson's musical trade mark and
- Robert Armbruster did an original
number for the Radio Theater. VIC
tor Moore authored both lyrics and
score of the incidental music used on
his program.
l. DILL BAKER, who added comedy
to his principal talent only in re-
cent years In broadcasting, possesses
an accordion without parallel In the
world, as far as he knows. 1t was
made to his special order six years
ago, and features a slanting keyboard
instead Of the orthodox fiat variety
the better to travel up and down the
scale. The instrument is equipped
with attachments which make pos
sible flute and clarinet tones. He
employs the latter but rarely, because
: few believe that they are listening to