 Radio's own show, Behind the Mic. With a switch of a dial, radio brings you tragedy, comedy, entertainment, information, education, a whole world at your command. But there are stories behind radio. Stories behind your favorite program and favorite personalities and radio people you never hear of. Stories as amusing, dramatic, and as interesting as any make-believe stories you hear on the air. And that's what we give you. The human interest, the glamour, the tragedy, the comedy and information that are behind the mic. Now presenting a man whose name since the beginning of broadcasting has been a byword in radio Graham McNamee. Thank you, Gilbert Martin, and good afternoon, ladies and gentlemen of the radio audience. This afternoon behind the mic shows you how today's program was put together. We bring you amusing letters that have been written to the network by radio fans. A salute to the old Royal Vagabond program starring Mimic Ward Wilson, a well-known radio editor to answer questions from listeners, and finally a dramatization of a radio singer's attempt to stage a comeback. Ladies and gentlemen, this afternoon we're going to show you in a condensed version, a highly condensed version I might add, how a radio program is put together. And since we take it that you are interested in this program or else you wouldn't be listening, we're going to show you how this particular behind the mic program, the one you will hear this afternoon, was put together. Now the ideas for behind the mic are generally originated by the writer of the program, Mort Lewis, and his brother Lester, who assists him. They usually discuss the ideas of the program at home. What do we do for an opening spot, Mort? Well, how about doing that when we discuss the other day less, how the program's gotten up? It's a good technical spot. It can be entertaining, too. Yes, I think so, but you know what we need most less is a good, socky human interest story for our last spot. Say, I ran into Norman Sickle yesterday and he said... Sickle, who's that? You know, the radio production manager of the National Youth Administration. He told me about a girl he knows who sings in Philadelphia. Her name's Carlotta Dale, and there's quite a dramatic story in Bakova. He told me the details, but he's going to phone you himself and give you the story. Will she sing on the show less? Oh, certainly. Well, that's swell. We can tentatively put that down for the last spot. And say, I've got another idea. Remember those letters written by fans and the networks? We're going to use them a couple of weeks ago, but we couldn't because we ran over time in rehearsal. We can use them this week. That'll give the show a comedy touch. That's what I thought. Tanya, you know what program we can salute less? Ward Wilson's old show, the Royal Vagabond's. After the script is written, he writes better than he talks. After the script is written, the writer gets together with the production man of the program, Ed Whitney. And with the orchestra leader, Ernie Watson, generally at Whitney's desk in the NBC production department. How's the show look to you this week, Ed? Well, it's got a lot of variety this week, Mort. What about casting? I see you have Jan Savet in the Dale sketch. Will he be here? No, he's going to be out of town, but I've already gotten his manager's permission to have somebody impersonate him. Good. But why not have Norman Sickle do what he gave us the story? Well, that's okay with me. Well, that's swell. Then we'll have to get an actress to read a couple of those letters that were written to the networks by radio fans. I see. Well, I'll tell them what I'll try and get Elsie Mae Gordon. I'll have Gus Siskel call her and see if she's available. She'd better have him call her quick then, because she's pretty busy. She may have another show at that time, Little Conflict. Now, look, how about this number of Carlotta Dale? She sings, say, may I never love again? And what key is she going to do it? That's the one. Yeah, I called her in Philadelphia. She told me she sings it in the key of F and G. The first chorus in F and the second in G. All right. Then I'll make an arrangement of that and make it in both keys for the band. Say, Mort, on top of page 18, you have a voice fading, and Gray, I'm picking it up. I think we need a music bridge there. You're right. I think that would be better. Ernie, will you do a 10-second dramatic bridge right in that spot? Sure thing, Ed. When do you want to rehearse? Usual time, two o'clock Thursday. I'll get a studio. On Thursday, there's a script reading, primarily for timing. The script is almost always written long for the first reading, where the director and the writer get an idea of approximately how long the show will run. Mort, it looks to me as though we're going to be about five minutes over. Lad, you and I had better start cutting it. I know one spot where we can take two minutes out of the script. Yes, and we can get about a minute out of the dale spot. The program must be cut down so that the music can be paused. It runs about 29 minutes and 40 seconds. If there's a comedy spot on the program, some more time must be allowed for spread through audience laughter. And another rehearsal is called for Sunday, that is, this afternoon at 12.30. Here the script is rehearsed on the microphone with sound effects but without orchestra. The orchestra doesn't come in until about an hour later. The director directs the show from the control room and during the rehearsal makes frequent interruptions, as you may have heard on behind the mic a few weeks ago. I say, Ward. Yes, Ed. Will you read that line? There was a short, Miss Dale. It's off the air. We can't go on. I'm sorry. Read that and leave out. I'm sorry and go on. Okay, Ed. Why are we stopped? Shouldn't that be we're off the air instead of it's off the air? Yes, you're right, Ward. Take it that way. Okay. There was a short, Miss Dale. We're off the air. We can't go on. Oh, I'm jinxed. I'm sorry. And then at 1.30. The orchestra comes in and starts its rehearsal. All right. Quiet, quiet. Will you? Will you, fellas? Quiet. Please, please. Look in your books and get the routine straight. First is the theme. You got that? Second is the theme called amusing fan letter. I haven't got that. Why not? It ought to be there. Oh, here it is. I got it. I got it all right. All right. Third cue is called two oddities. Next, hey, next. Quiet, please. Next, salute to the favorite program. And at 3 o'clock, there is a dress rehearsal which ends at about 3.30. But we're not quite ready yet. Hey, Mark. We're half a minute over. We run 30.10 instead of 29.40. Does that allow for applause and laugh, Ed? And for a little spread in case somebody reads their lines a little more slowly. Okay. I'll make the cuts. Fine. And, uh, where? Yes. That sound effect of running footsteps was a little too loud. Take a little further off mic next time. Sure. Do you want to try it now, Ed? Oh, no. It'll be all right. And that, folks, is approximately how a radio program is put together. The program you'll hear this afternoon. Most of the letters written to the networks and to the various performers are serious, but every once in a while rather odd requests for information or unconsciously amusing letters are received. The following are actual letters which have been written to the national broadcasting company. For obvious reasons, the names of the writers are not mentioned. From Phoenix, Arizona. Gentlemen, please ascertain whether I or someone claiming to be me has ever appeared in any broadcast since I have been told so. To my knowledge, I've never been on the radio, and I would appreciate your enlightening me if it is so. From Coycton, New York. Dear sirs, in the song south of the border, does the girl get married or enter a convent? If neither of these is true, what's the meaning of the song? We'll continue. From Denver, Colorado. This letter was written to Walter Damrosch, who, of course, conducts the famous Music Appreciation Hour. Dear Mr. Damrosch, would you do a total stranger favor? Years ago, 18 to be exact, I was in Washington, D.C., and heard a concert. I was sitting very near the front, and one of your players, a young man who played the cello, took an interest in me and came to the front of the stage after the concert and insisted on my coming to the stage to talk to him. I was afraid to do as he wished. I have been sorry ever since that I didn't make his acquaintance. Now, every time I hear your program on the radio, I think of this young man who was very nice looking. Would you be so kind as to help a prospective romance by asking your present cello player if he is the man? I am a widow now, and thought perhaps this person might be contacted. From Boston, Massachusetts. Friday, while listening to your early morning program, I heard a song which went La de do de do la do. Will you please sing it again on Monday? Then finally, here is a letter which was received by a character known as Guffey on the Eddie Cantor program. He is no relation to the United States Senator, but nevertheless he got this letter. Mr. Guffey, United States Pennsylvania Senator, care of Mr. Eddie Cantor radio program New York, New York. Dear United States Senator Mr. Guffey, dear sir, all my friends and neighbors feel the same way as our family does about this. We think we pay you to go to Washington and make laws for us and our benefit and the welfare of the people of Pennsylvania and when you fritter away your time making arguments out of everything a nice fellow like Mr. Cantor says, you're wasting your time and his time and our money. And furthermore, lots of the things you say about him are not true. You should know what's what about big people like him and if you stayed in Washington you wouldn't have to make a fool out of yourself on the radio chasing after him on hollering. Sound effect of the week. From time to time behind the mic presents some unusual sound effect which was used on a program of the past week and tells exactly how it was done. On the Star Spangled Theater last week an effect was used which in itself is very simple but it is used on so many different programs we thought you'd like to know how it's done. I refer to the noise of thunder in the distance. Now wouldn't you be surprised to know that what you hear as thunder was simply an ordinary window screen being shaken and the sound being increased or amplified. You might be interested in knowing how this sound effect was originated. It happened when Ray Kelly, the head of NBC's sound effect department was carrying a window screen up the stairs of his home and in turning a corner the screen knocked against the wall. Ray's ear was close to the screen and it sounded very much like thunder to him. He simply amplified the sound on the microphone and that's how that thunder effect was originated. You might be interested to know that the sound of a sharp clap of thunder is made in a very different way by shaking a bladder filled with ordinary buckshot close to the microphone. It's a program you love. We in radio believe that radio has a tradition of which it can well be proud. A tradition of good programs that linger fondly in our memory and so each week we bring you a star or a part of a program you used to hear. The program you love. And this afternoon behind the mic salutes the program of the Royal Vagabonds which starred Ward Wilson and which decorated the air lanes from 1932 to 1933. It was on this program that Ward appearing three times a week in a 15-minute show and doing an imitation of a different star on each program established himself as radio's number one mimic. We took some of Ward's typical imitations that he did and welded them into one short program. The music used however in this revival is not that of the original broadcast. The Royal Vagabond starring Ward Wilson. How do you do ladies and gentlemen and how's everything tonight? This is yours truly Ward Wilson making inquiries on behalf of the Royal Vagabonds and myself. Our show is due to start and the ghost master of ceremonies will be my impersonation of that great Frenchman Maurice Chevalier. Okay Maurice. Good evening ladies and gentlemen. How's everybody tonight? Oh that is sweet. Well I'm so glad to know that everything is okay with you too but I must tell you about one of your funny American costumes. Take the way you drink. First you put in whiskey to make it strong. Then you put in water to make it weak. Then lemon to make it sour. Then sugar to make it sweet. Then you say here's to you and drink it yourself. So boys how would you like to go to work for a change eh? Sweat that's the spirit. Well ladies and gentlemen the Royal Vagabonds are all ready to play their first selection. He has a very beautiful number called love is and they will play it not tomorrow. Not next week but right now. Well sir this one looks like Dr. Walter Damerage. Good morning my dear children and friends of the music appreciation hour. This morning we are going to take up the subject of the art of mimicry in music. How the different instruments can be made to sound like the buzzing of the bees for example. Possibly the growling of the bear. To illustrate our point more clearly. Mr. Karen our trombonist will now give us the sound of the birds. And the members of the orchestra will together I hope play for you. You walked by. How about a few words from the old maestro Ben Bernie. Greetings greetings and salutations to all you guys and you girls. This is the old maestro Ben Bernie speaking atches. It is imperturbable baritone so help me so help me. We're about to perpetrate a bit of a radio program atches ladies and gentlemen. The good old Royal Vagabonds will trust their music at you. With a bit of a crescendo a bit of a diminuendo. It may have a bit of a fortissimo. And now let's find is to I hear a rhapsody. I hear a rhapsody. I hope we got here. Well if it isn't the two black crows Moran and Mac. Boy, quit shoving me around. I wish I was back in Rome. Rome? Why do you know about Rome? We used to have a farm in Rome. We used to raise goofer feathers for the king's pillow. Goofer feathers? Yeah, ain't you never hear the goofer feathers? Boy, it is so soft. Well what is goofer feathers? The fuzz from peaches. Well tell me, did you raise any olives? We made the olives, we knew how. You made olives? Yeah, we put green peas in vinegar and when they swell up they are olives. Well how'd you get the seeds in them? Oh, what's your idea in bringing that up? Well look who just walked in, our old friend Seth Parker. The folks, the purpose of these Sunday evening sings and githorns is to get better acquainted with the Lord so as we'll feel right that he's one of us while we do our daily chores. Religion ought to be sort of comfortable and neighborly. Lots of folks put it on now and then like a spare suit and they don't seem to be to home in it. But don't make no difference what church a fellow belongs to if he needs help, does it, Seth? No, Captain. I found you sing about as loud in the Methodist church as in the Baptist and I ain't noticed a whole lot of difference in church supper to its coffee and the cups of the Congregationalist and the Presbyterian. When you pour it out in the saucer, it cools about as quick one place as in another. Now let's all sing number 12. I think that's right, Fitton. You give us a note, Ma. Thank you, Ma, and thank you, ladies and gentlemen. Thank you, Lord Wilson. Those were swell impersonations you did on your old program and you still are the airwaves first mimic and a mighty good actor in comic besides. Thanks a lot, Ward. Here's from listeners. Each week we invite the listeners behind the mic to write us questions about radio and almost every week the questions we consider to be of most general interest we have answered on the air by the radio editor of some outstanding newspaper or magazine. This afternoon's question will be answered by David Gregory, radio editor of Stage Magazine. Miss Grace Sargent of New York City asks this question. Are radio stars exempted from the Selective Service Law? For Miss Sargent's information, Ezra Stone, star of the Aldrich family, just filled out his questionnaire. And Buddy Rich, Tommy Dorsey's drummer on fame and fortune, was called for service but released because he's the sole support of his family. And unless the Board of Appeals changes the Selective Service ruling, Ziggy Elman, famous hot trumpeter with Dorsey, will be in the Army by February the 6th. Mrs. A. Pam of Jacksonville, Florida writes in to ask, You salute favorite old programs and stars. I wonder if you could tell me what has become of some of my favorite stars? Radio's first great singer, Von Delief. The Sweethearts of the Air, Peter DeRose and Mae Singie Breen. Ray Knight of the Old Cuckoo Hour as well as Molasses and January. For Miss Pam's information, Von Delief has moved to the coast and has been heard on local NBC sustaining programs there. Peter DeRose and Mae Singie Breen are present not on the radio, but Peter is still busy writing songs. Ray Knight of the Cuckoo Hour is busy writing a column for a chain-gross restore magazine. He's also writing plays and review sketches. Molasses and January will soon be heard on a new radio program over a southern network for a soft drink sponsor. Thank you, David Gregory, for answering those questions. Here is a story of courage. A story of what happened to a beautiful young radio singer. Her name is Carlotta Dale. She was one of the most promising young singers on NBC with her own radio program called Songs by Carlotta. And had a regular job as vocalist with Jan Savitz Orchestra. Early one morning a couple of years ago, she and Savit were returning from an engagement at a party given by the most prominent family of Wilmington, Delaware. They were both very tired. Gosh, I'm about worn out. Why don't you curl up and take a nap? That's an idea. Carlotta woke up a little later to discover that her chintz gown had been caught in the door of the car. Half asleep, she opened the door of the car to release the dress. A fast-moving car, a windy night, an open door, and Carlotta. Swept out of the car and it landed face-first in the gravel along the roadside. The result had been pretty terrible. My face was torn beyond recognition. My body was a mass of burns from the impact. I was rushed to the hospital. First it was a question of actually saving my life. Then I found I had to go through a long series of plastic operations before I could be seen again in public. I spent months in the hospital. When I was almost ready to leave, it was decided to have me make a rather dramatic return to the airwaves from my hospital bed. The two-way hookup was to be made. The band was to be in an airplane flying over the hospital. There was a plane in the plane high above the clouds while I, still in the hospital, would sing with them. Contact was established during dress rehearsal and the show was set to go on over a nationwide hookup. The program went on the air and the band played two numbers. And then... The next voice you will hear will be that of Carlotta Dale. Carlotta Dale will sing from her hospital bed while the band accompanies her flying overhead in a plane. Well, at the hospital, I was terribly shocked. What's the matter? What happened to the orchestra? There was a short, Miss Dale. We're off the air. We can't go on. Oh... I'm jinxed. It seemed like a bad omen to me. I had fits of hysteria for the next few days. Finally, I realized it was just another bad break and I snapped out of it. I left the hospital and after a short rest at home, I went back with Jan Savet's band. We opened at the Hotel Lincoln in New York and I was featured on NBC with the orchestra practically every night of the week. But the shock had been too much. And at last, I went to Jan. Jan, I'm sorry, but I guess I can't keep on. I know, kid. It's tough. I've noticed you haven't been looking so well lately. I haven't felt so well either. I'm going home to rest. And I did go home. After resting, I went out with Will Bradley's band and I had a series of successful engagements with them on the road and in New York. My recording started to become rather popular and then... I'm sorry, Miss Dale, but you need complete rest. All right, Doctor. If you say so. So I had to leave Bradley's band and go back home again for a rest. But I couldn't stop wanting to sing in public. I started working. I was billed throughout the city as a featured attraction for some months. But again, the strain was too great. My nerves had been shattered by that accident. But this time, I decided that I just wasn't going to give up. I joined Dick Wharton's band, which is now playing at one of the leading hotels in Philadelphia. And that's where she is now. Determined that in spite of everything, she's going to get to the top, towards which she was headed when she had her terrible accident. And now Carlotta Dale will sing May I Never Love Again. May I never see the sun go down May I never feel the fall that's right and fair May I never, may I never love again Never see the blue, know the moon and stars Down the pretender Never take my love for love again I love America's foremost home economist, Ida Bailey Allen. Jimmy Dorsey. We salute one of radio's first dramatic shows, great moments in history, and more of the clamor, the drama, and the tragedy that are found behind the mic. This is Graham McNamee speaking. Good afternoon all. Behind the mic was written by Mort Lewis, original music composed and conducted by Ernie Watson. Permission to impersonate Ben Burney was given by his sponsors. Romo Seltzer Incorporated, this is the national broadcasting company.