 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. Human interest, the glamour, the tragedy, the comedy, and information that are behind the mic. And now presenting a man whose name since the beginning of broadcasting has been a byword in radio, Graham McNamee. And good afternoon ladies and gentlemen of the radio audience. This afternoon behind the mic brings you Fred Bate, NBC's news commentator in London. Hilarious mistakes by your favorite announcers. The ones they've made on the air. Lee Bristol, a real live sponsor. We will salute the old Palm Olive Hour with Olive Palmer here in person. And finally, three actors will demonstrate their resourcefulness in a most unusual behind the mic stunt. Ladies and gentlemen, practically everyone who listens to the radio nowadays has heard news broadcasts from London by NBC reporters. But this afternoon, for the first time, we are going to bring you the behind-the-scenes picture of broadcasting from a war capital. In a few seconds, I am going to have a two-way conversation with the NBC chief commentator in London, Fred Bate, who is going to give you the behind-the-scenes picture of broadcasting from a war-torn capital. At this moment, NBC's assistant director of special events, Jack Hartley, in our New York studio, is in communication with Fred Bate, chief of NBC's staff of radio reporters in London. We're going to let you hear that conversation first. Hello, Fred. Hello, Jack. You're going on the air in about 20 seconds. We lost you here for a few minutes, technical difficulty, I believe. All right. And due to the technical setup, I won't be able to come back and give you a report on this program, but I will at 7.15 tonight when we contact again. All right, Jack. OK, Fred, you stand by. You'll be on in 10 seconds. I'm standing by. Stand by. Folks, watch your clock. In a few seconds, we'll be talking to London. Hello, Fred Bate in London. This is Graham McNamee from New York. This is Fred Graham. How are you? Pretty fine, Fred. Fred, I'm going to ask you for some behind-the-mic scenes, some information about the way you broadcast. First, are you speaking from a regular broadcasting studio? Well, it's been regular since Sunday, September 3 of last year. Before that time, it was part of the restaurant section in the basement of the studio building. Well, do you and any of your staff live far from the studio? For the moment, about 300 yards. That is, counting the stairs down to it. Well, do you sleep in an air raid shelter like the rest of London? No, I sleep in NBC's Ground floor office department. As a matter of fact, Graham, you should have said like, come of London, because only something like 20% of the people do sleep in shelters. I have slept in this studio a few times. How many members of your staff are there to help you cover this material, Fred? Three. We're told, Fred, that all broadcasts coming from war capitals are censored. What's the purpose of this censorship in London? Man made to prevent military information going to the enemy. Uh-huh. How much in advance of broadcast time do you have to have your material ready for censorship? Well, theoretically, according to the rules, half an hour. But actually, Graham, it's time to enable it to be read before broadcast goes on the air. Well, Fred, if a story breaks while you're on the air, can you use it? Yes, if it's under no ban. That is, if no part of it contravenes the print regulations. How do you get the information you broadcast? You get it through usual news service sources, official bulletins, and then personal observations, trips, conversations. So do you have to go out during an air raid to get material concerning some story? Oh, sometimes, of course. But as a matter of fact, we're out every night, and there's nearly always an air raid on them. Uh-huh. Well, do you have to wear a tin hat, Fred, when you're out covering a story? Well, there's no obligation, but it's, uh, it's only sensible to wear one if you're out doing a raid. Yes, I always do. They'll turn a small splitter, we hope. How do you get around town in order to get news and make necessary contacts? Uh, well, by auto or taxi, on foot. I must admit, I don't like being stuck behind a wheel if it's a bad night. It's the one thing that gives me claustrophobia. I take my hand off them to the drivers who are out night after night, no matter what it's like. Oh, that's just... Incidentally, being an alien, I have to have a special, I have to have a special permission to have a car. Uh, being an alien, do you have to have a special permission to get anything else? Yes, to stay out after midnight, and to visit for, for hibernatorias. Can you interview pilots who take part in raids, Fred? Oh, yes, and have a couple, huh? I'm a friend of the D.C. network. Uh, their names are never mentioned. Why not? Well, I think it's from this strong feeling of teamwork. The individual has merged with his unit. Then decide, mentioning a man's name, might disclose his unit. And that might disclose military information. I see. Well, what do you do for amusement, Fred, in the little time that you're not working? Well, I go once a while, go to a movie occasionally. Newsreels. You live there on the last of an hour. Do you see my newsreels, Fred? No, not yet. One's incoming. Any time. Go ahead. As a matter of fact, Fred, I find you need a mess, nor particularly want a movement these days. There's a grand crowd of fellows here, and plenty of amusement and conversations. But you know, a bit of fresh air, a glimpse of quiet countryside, bridges, hedges, and cavals, and the smell of burning leaves. That's the break that really comes just now. Uh-huh. There's one last question I think most of our listeners are curious about, Fred. On those European roundups, when we in America hear from your colleagues in Berlin, in Vichy, Rome, and other capitals, do you hear them broadcast, too? Oh, yes, ma'am. Here's me quite clearly. Sometimes on their way to America, that's when broadcasts are loaded through London from, well, let's say Dublin or Colorado. When they go from European points direct to NBC, by short way, for instance, via RCA communications receivers, we hear them coming back from New York. Over the top Atlantic circuit, stand up between NBC Studios and London. Thank you a lot, Fred. Thank you. Fred Bate from London for taking us behind the mic on your broadcasts. I'll bet that. Good night. Good night, John. Good night, presenting odd little stories that help make radio sometimes amusing, sometimes exasperating, but always interesting to the people in it. This week's oddity. To show that even the best announcers make mistakes once in a very great while, we present what people in radio call fluffs or mistakes of famous announcers. Milton J. Cross, years ago, in announcing a program of the A&P Gypsies said, You will now listen to the music of the A&G Pipsies. David Ross, introducing Tito Guisard and his guitar once said it this way. Now we present Tito Guisard and his guitar and his famous guisard. Frank Knight in announcing the weather report said, Today's weather, ready, followed by claim. Ralph Edwards now emceeing on truth and consequence once introduced a singer as follows. And here is one of radio's most charming and lovely young sinners. Jerry Lawrence, describing the ceremonies welcoming the King and Queen of England, uttered this little masterpiece. Now the King and Queen have arrived when you hear the 21-son galoot. Hart Whiteside in presenting the Crown Prince of Norway on his station made this remark. It is our extreme pleasure to introduce the brown quints of Norway. Albert Crayham, we mustn't forget the most famous flop of all. You mean... Yes, yes, when a certain announcer on the Edwin show in mentioning his product said, I started to fill up with a tank full of Fire Chief Gasoline. Yes, and when Edwin got through kidding me that night, I never wanted to see the word gasoline again. It gave me the shivers for a month, I'll tell you. I'm going to give you the hand-the-mic picture of radio without devoting some attention to the man who pays and pays and pays for the radio program you listen to. The sponsor, Heaven Bless Him. This afternoon we have as our guest a real live sponsor. His outfit sponsors the Eddie Cantor and Mr. District Attorney program, among others. He is going to tell us just how and why the sponsors buy the programs you listen to. Introducing the vice president in charge of advertising of the Bristol Myers Company, a regular fella, a swell guy, a grand talker, and an old-timer in radio, Lee Bristol. Lee, you know, after that build-up, the least you could do is to buy our program. We'll skip that. Seriously, what does a sponsor look for in buying a program, Lee? Graham, he buys a program for two purposes, and they go hand-in-hand to put a sales message across to sell his product and to please the public, not himself. Because if he doesn't please the public, he'll never sell his product. Exactly how do you go about buying a show? Well, the first thing we do is to see what programs are available. We know what programs are available for resale, that is, programs which have been sponsored and are of proven popularity, but which can now be bought. We also consider new programs which are being offered for sale by the networks and by private radio producers and by our advertising agencies. Well, once you have a list of the programs you can buy, what else do you have to consider? Well, Graham, you have to consider the time available on the networks, because that would influence the type of show you'd have. The hour at which people tune in influences the type of entertainment they're willing to hear. Daytime serials, spot news, comedy shows, dance bands or what have you. The time also influences the type of audience willing to listen. Well, let's say that any time is available to you. What do you consider next? Well, there are two types of programs that you might decide upon. One is the program with a close connection between the show and the product. By which I mean that the Encyclopedia Britannica, for example, might, but doesn't, sponsor a program such as Information Please. On the other hand, Graham, you might have a program of entirely flexible construction, which can fit any product in which you might use if you're advertising two dissimilar products on the same show. Is there any way to guarantee that the program you buy will be a popular one, Lee? No. Of course, if the star of your show or the program itself is an established one, then you have a pretty good idea that what you buy will meet with favor. You also have to consider popular trends, and you follow those trends as much as possible. By which I mean, Graham, that if quiz shows are the trend, you might buy a quiz program. You know, Lee, I heard a program last week that wasn't a quiz program. Oh, you mean last Wednesday night? Yes. Isn't that Fred Allen terrific? Yes, he is, but we're sponsoring Eddie Cantor now. You can tell he's a sponsor! Does your organization only buy established talent, Lee? No, Graham. We might buy a program on some small station, which is making a local sensation because we could get it for little money. And the question of price must always be considered. If a sponsor can buy a program for less money, and he thinks the program will do a good job, he'll sometimes take a chance, even though the program has not been tried out on a big network. Well, all I can say, Lee, is that if you're looking for a darn good radio program for one of your products, I heard a terrific one last Sunday. What was that called? Behind the mic. Behind the mic? You've heard it? Oh, no. Is that the one with Wallington? No, that's the one with McNamee. Listen in next Sunday on NBC's Blue Network from 5.30 to 6. Eastern Standard Time. You'll love it, Lee. But seriously, thank you, Lee Bristol, for that inside information. Salutes a program you loved. 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, a program you loved. This afternoon, behind the mic, salutes the old Palm Olive Hour. We're honoring Olive Palmer and Paul Oliver, which was heard from 1927 to 1931 at 9.30 to 10.30 on Wednesday evenings. And now, for the next few minutes, it is 1930. And we're in the midst of the listener's favorite, the Palm Olive Hour. I heard the golden voice of Paul Oliver singing the dream. And now, the lovely Olive Palmer lifts her clear, beautiful voice in the kiss by Artiti. Name for a lady who was then and has been ever since. Her favorite singer is Virginia Ray. It was that program which began her rise to radio popularity. And Virginia, you certainly did a swell job this afternoon and thanks a lot. We had an ulterior motive in bringing those announcers fluffs to the air early in the program. We hope that they encourage Bill Huck. In case he makes any boners on his new announcing job. Bill Huck is the young man whom you heard audition on our program last Sunday. As a result of his appearance here, the GAC of Augusta, Georgia telegraphed an offer for Bill to join their announcing staff. Of course, Bill's sorry to leave his associations here in Radio City where he has had the valued training and experience of NBC's famous announcers when they weren't making fluffs to help him. Bill, before you leave for your new job in Augusta, have you got a word to say? Yes, Graham, I certainly have. I want sincerely to thank behind the mic for making it possible for me to get this opportunity. I should also like to thank Pat Kelly, NBC's announcing chief, for giving me that audition last week. I had a boy, Bill, and I want to wish you plenty of good luck. Ladies and gentlemen, the first blue network program which WGAC is carrying to its listeners in Augusta is behind the mic. We hope behind the mic will help station WGAC to continue on the road to success and prosperity. Gentlemen, sometimes on a radio program because of the illness of an actor or for some equally important reason, another actor is called in at the very last moment to act a part on a program. On some occasions the actor actually goes on the air without having rehearsed with the rest of the cast and even without having had much of a chance or any chance at all to read his part. This may sound incredible to you, so this afternoon we're going to show you in an unusual fashion the resourcefulness of radio actors. We have in an envelope a short playlet written especially for this program. We've called upon three actors to act in it. They've never seen the script, but they're going to perform it for you entirely unrehearsed. I am now taking the scripts out of the envelope and distributing them. You, Mr. Hampton, are to play the part of a 17th century English artist, a good-natured scamp. You, Mr. Harrison, are to play his blustering cockney landlord and you, Mr. Shirley, are to be a very proud and disdainful English gentleman who wants our artist to paint a picture for him. You ready, boys? Are you ready? Come on, answer up. Are you ready? Well, almost. That's better. Very well. Let's begin. The time is late 17th century. The place is London in a poverty-stricken, scantily furnished garret. A young artist, William Hogarth, destined to become one of England's greatest painters is visually painting one of his realistic street scenes for which he later became so famous. Uh, patron, no doubt. Enter, sir. You are... Oh, it's you. Yes, it's me, Master Hogarth. Who do you think it was? His Majesty? His Majesty... Master Matthews, do you mind standing over here in this light? And now, look here. What's that? No, no, no, no. Quietly, quietly. Turn your face to the side a little more. Hmm? Just as I thought. You are absolutely right, Master Matthews. You do look very much like His Majesty. I do. Now, really. Oh, some more of your eye-sounding talk. I came here to collect my rent. Your rent, sir? Do you mean to say I haven't paid you your rent? Oh, how careless of me to forget. Yeah, you've been careless for three months, and you know it. And as my wife was telling me... I mean, as I was telling my wife, it's long enough and you pay today or a how to go into the street. My dear Master Matthews, what's my account? How much do I owe you? £1.14 she lives. Oh, me a trifle. And you were upset about that? Why, when you know my rich Uncle Marmaduke's only heir, I am he. My poor, my poor uncle. He's at the point of death. He was at the point of death a month ago. He was? Well, you'll be pleased to know that he has recuperated. Now, she here. Look here. Do I get my rent or don't I? Master Matthews, I will have it for you next week. Her grace, the Duchess of Norfolk was saying to me only yesterday, Hogarth, she said, will you paint my portrait at a price, of course. And I bowed, and I said to her... You know her grace. My Master Matthews, it will please you to know she admires my work immensely. She may even pay a visit to my poor lodgings here. It'll make you famous. So wait for your rent. A while. The Duchess of Norfolk here. I'll go and tell the missus. Fly, my good man, fly and bring a message of glad tidings to your wife. I'll have to get the rent somehow. I can't keep putting him off much longer. Back again? What do you mean? I thought I told you... Your servant, sir. I'm sorry, I mistook you for another. Hello, are you Hogarth? At your service, your... Your Highness? Nonsense, Mr Abbingdon is the name. At your service. Will you sit down, Mr Abbingdon? No, not there. The leg of that stool is broken. Mr Hogarth, I have no time to waste. I have a commission for you, if you wish. If not, I shall take it elsewhere. In that case, your humble servant, sir. What is the commission? I have a rather large wall space over the stairway in my house, which I want to have covered with a painting. I want the painting to represent a biblical incident. The pursuit of the Israelites across the Red Sea by the Egyptians. The pursuit of the Israelites across the Red Sea by the Egyptians. What are the dimensions of the space to be covered? It's about 16 feet long by about 6 feet in height. Now, as to your price... That's a pretty big task, Mr Abbingdon. I should say 15 pounds would be a fair price. 15 pounds? Ridiculous. I'd pay you three pounds. Three pounds for all that work? Why, an apprentice would receive more. And I, sir, am a master artist. Master artist living here? Mr Hogarth, what do you take before a fool? My dear Mr Abbingdon, don't judge my state by the poverty of my lodgings. It is mere sentiment that makes me stay here. Instead of in the fine house I could well afford. The landlady here was my nurse. And I was telling the Duchess of Norfolk only yesterday. She's having me paint her portrait, you know. I said to her, your grace... Five pounds is my price. Five pounds? Even that is... See here, Mr... My good man, wait outside. Can't you see I have a visitor? I'll ring when I need you. Then you'll ring from outside in the street. I've talked it over with my wife. And she says, if you don't give me one pound 15 shillings you owe us, you'll go out in that street. Ah, ah, ah... A former servant of mine. Yes, Mr Abbingdon. He's quite mad, you know. Master Hogarth, I've changed my mind. I'll pay you one pound 14 shillings to paint that wall. One pound 14 shillings? For all that work? Take it or leave it, if you don't want it. I'll find someone who does. One pound 14 shillings? Well, I'm thriving, then I'll do it. I have no choice. The one pound 14 shillings must be paid now. Oh, very well, fellow. Here's your money. But the work must be done immediately. I'll expect you at my house tomorrow, the Duchess of Norfolk. Yeah. One pound 14 for all that work. At least you're industrious. Inducious indeed, Miss Abbingdon. I was just about to step down from the ladder. Your painting is finished. Finished? Impossible. You've been in my house scarcely three hours. Let me see. Why, what's this? You've nothing on the wall but a large red smear. Are you not familiar with the incident you wished painted? The crossing of the Red Sea by the Israelites? Certainly I am, you lout. I insisted all I see is a red smear. But that is the Red Sea. Nonsense. Where are the Israelites? The Israelites have already passed over. The Egyptians? The Egyptians, sir, are drowned. Emily Harrison, that was an amazing piece of acting when you consider that the first time you saw the script was when you stepped up to the microphone this afternoon. Thank you all. When Behind the Mic will bring you the unusual story of how a song sung by Lanny Ross changed the lives of several of his listeners as told by Lanny himself. We will salute Radio's first dialectician, Henry Burbig, and more of the human interest, the glamour, the comedy, and the drama that are found behind the mic. This is Graham McNamee speaking. Good afternoon all. Written by Mort Lewis. Original music composed and conducted by Ernie Watson. This is the National Broadcasting Company.