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William Spier

  William Spier Director of CBS ’s Philip MorrisPlayhouse and Sam Spade . A bearded veteran of twenty years in radio, William Spier, director of the Philip Morris Playhouse , heard Fridays at 10 P.M. EDT over CBS , is generally rated radio’s top-notch creator of suspense-type dramas. Born in New York City, October 16, 1906, he began doing things upon graduation from Evander Childs Highs School . When nineteen, following a series of small jobs, Spier went to work for the Musical America magazine. Deems Taylor was then editor of the magazine and it was under his watchful eye that Spier rose to the position of chief critic during the five years he remained with the magazine. Spier’s next important assignment was that off producer-director for the Batten, Barton, Durstine and Osborn Agency in New York City. During his years with BBD & O, leaving there in 1941 to join CBS on the West Coast, Spier produced such radio programs as the Atwater Kent Radio Hour, Gener

A Star Who Mows His Own Lawn!

The Milwaukee Journal – Jun 20, 1943   A Star Who Mows His Own Lawn! By J. D. Spiro IT IS plainly written in the established Hollywood tradition that an actor cannot be a genuine 19 carat star unless he can list among his assets—or perhaps it’s his liabilities—at least one swimming pool and a butler who answer to the name of Jeeves. By these standards it would appear that Jack Carson , who still calls Milwaukee home, is unable to qualify, for Jack is not only without the pool and Jeeves but he actually admits, even boasts, that he mows his own lawn and gets the baby’s breakfast. Nonetheless, in the heartbreak town of Hollywood , where hundreds fail for every one who succeeds, this former Milwaukee boy, whose parents, Mr. and Mrs. E. L. Carson, live at 2009 N. Prospect av., Milwaukee, has at last definitely arrived at stardom both on the air and on the screen. Almost at the same moment several weeks ago, when he got his biggest break in radio as the top attracti

Steve Allen, himself

    Steve Allen , himself Radio TV Mirror Headliner “I’M THE happy victim of a series of lucky circumstances.” That’s Steve Allen talking, explaining how he happened to get where he is. “Nothing I ever did was the result of any special planning ahead, but each thing led to something better. Even the jobs I was fired from, the shows I wanted but didn’t get, the zany stunts I took a chance on doing. I’ve seemed to stumble onto my successes, and luck has had a lot to do with it.” It started when Steve quit Arizona State Teachers’ College to take a job as a radio announcer for KOY in Phoenix. He hadn’t any idea that he was picking up so much all-round knowledge of show business, including those little trick things that keep an audience interested. Practically everything he does now he began to learn then . When, some years ago, he got a six-night-a-week midnight show over radio station KNX in Hollywood , that was another piece of luck. Steve’s was the only comed

C. B. Pills the Strings—

C. B. Pills the Strings— Here’s How Lux Radio Theater Maintains Top Rating Year After Year LUCK and long shots play no part in the year-after-year success of “ Lux Radio Theater .” The consistently high quality of its productions is due in great measure to C . B. DeMille, wizard producer, with his million-dollar-star contacts in Hollywood and his uncanny ability to choose plays that are adaptable to the medium of radio entertainment. Furthermore, C. B. knows how to pick assistants—men like Charlie Forsyth, who handles all the sound-effects  heard on the show; George Wells, radio playwriter who does  the scripts. For every play from stage and screen must be “tailored” to fit radio technique. And Wells has been doing the job ever since the first airing nine years ago. Typical of the all-star casts Mr. DeMille picks for the show is the trio shown on these pages. Flawless performances given mean not only vision on the part of the producer and his helpers, but en

She’s Really Anything but a Dope (Gracie Allen)

The Milwaukee Journal – Oct 4, 1942 She’s Really Anything but a Dope By Carlton Cheney DOWN through the ages countless millions of words have been uttered or written about the manifold advantages of being smart. But one may look in vain to the advice of sages and pundits for single observation , a friendly tip extolling the manifold virtues of being dumb. This, it appears, is a gross and deplorable omission which we right here and now set about to correct, being moved to the effort by a visit we paid the other day to the home of Gracie Allen , that darling dunce of the air waves , on the eve of her return to radio with husband-partner George Burns . Gracie and George , as you no doubt know, have been taking a summer vacation, but they will be back on the ether Tuesday night, again supported by Paul Whiteman and his orchestra; Jimmy Cash, the Arkansas Singer; Bill Goodwin, announcer and stooge, and Clarence Nash as Herman the Duck. White the show this season w

Oh, Dinah—Is There Anyone Finer?

THE MILWAUKEE JOURNAL—SCREEN and RADIO          Sunday, April 4, 1943 In a Forthcoming movie, radio’s Dinah Shore will not only sing, she will dance and she will act. Dinah’s a favorite with the soldiers Oh, Dinah—Is There Anyone Finer? By Janice Gaines KNARAVELLA is Dinah Shore ’s cool. She receives a salary of $28 a week. She gets all day Sunday off, half day Wednesday, half day Friday and occasionally when she wants to do some shopping she gets a few hours here and there. “But Knaravella is worth that to me,” says Dinah Shore , the singing radio beauty, “because I’m strictly a home girl and she’s a good cook, and any sort of cook is hard to get these days.” Knaravella has had two raises in three months. She started at $21, mentioned defense work a month later, was raised to $25, was caught looking through the Lockheed want ads, she was jumped to $28. She does not know it set (and you must not send her this column), but Dinah would raise her again at th

ONE OF A KIND: Art Carney is the Only Network Staff Actor

VERSATILE ART, DIALECT EXPERT, CAN BE CHARACTER ACTOR OR MIMIC ONE OF A KIND ART CARNEY IS THE ONLY NETWORK STAFF ACTOR ART CARNEY is a young man with a job that many a free-lance actor would give his eyeteeth and ten years of his life to have. It is the only position of its kind existing in any of the four large networks. Art is the only actor who is a regular salaried staff member of the Columbia Broadcasting System . As anyone who has gone through the exhausting throes of becoming a radio artist can tell you, the hardest part of attaining prominence  is getting established with the network producers. It is a long tale of auditioning, getting interviews with producers and directors, and beating out a shoe leather symphony between advertising agencies and network offices. After some small encouragement, you spend all your time and ingenuity reminding the producers that you exist and are available for a little work. When you are in demand there is a vas

‘Night Watch,’ Radio Show, Real Thing in Police Work

Ready Eagle – May 3, 1954 ‘ Night Watch ,’ Radio Show, Real Thing in Police Work By NON THOMAS Hollywood , May 3 (AP) – The new “ Night Watch ” radio show tops “ Dragnet ” for realism in the cops-and-criminal department. It’s the genuine thing. Listeners to “ Night Watch ” on CBS Monday nights will hear the actual nabbing of a criminal. The recording was made during an arrest by Culver City, Calif., police. Columbia ’s answer to Jack Webb is an enterprising young man named Donn Reed. A radio veteran, he dreamed up “ Night Watch ” in an effort to find something new in radio. “I remember one day I came out of a radio conference feeling very depressed,” he told me. “I said to another fellow that I was tired of rehashing the same old things in radio. If only there was something new. “That day I went over to the place where I play handball. Another person who plays there is Ron Perkins who plays there is Ron Perkins, a sergeant with the Culver City police. H

A Howling Success: That’s Dolores Gillen, Who Fills Crying Need

The Milwaukee Journal – Feb 16, 1941 A Howling Success That’s Dolores Gillen, Who Fills Crying Need THERE are many kinds of crying. For example, there are those moans and laments which emanate from frustrated horse and poker player. And there are those from girls whose daddy-kins forget to bring new mink coats and wives whose husbands come home late. All these are unprofitable, except possibly the girl-daddykins combination. But for real, shining success in the field the award goes to Dolores Gillen, a kewpielike creature without the usual rotund frontal construction, who for a handsome sum, cries each day in the year. Miss Gillen recently told the New York World Telegram how she has filled a crying need in the radio world by having on tap everything from the low, chuckling, happy murmur of a baby to a raucous, heart howl. “The directors seem to like most the fact I can get sex into a baby’s cry,” she said triumphantly. “ Not real sex,” she added hastily. “I

Berle Boy Really Lets Himself Go

Sunday, March 18, 1945                                 THE MILKAUKEE JOURNAL –SCREEN and RADIO Berle Boy Really Lets Himself Go When He Gets All Wound Up With His Dizzy Jobs, Sandwiches Bring Relaxation; Their Effect Is Only Temporary By Irving Spiegel THE BERLE roared into his abode. It was a serene apartment in upper 5 th av.—of pastoral oils, soft lights, draperies of subdued color and row on row of books giving off a philosophical aura. Mrs. Milton Berle —the beauteous Joyee Matthews—greeted him. His galoshes spattered a mixture of snow and mud on light colored rugs. Mrs. Berle winced and the draperies rustled. The Berle puffed on a cigar of billiard stick length. He bellowed for a sand-vate telephone number known only by 4,000,000 friends and acquaintances and a legion of upper Bronx prospective gag writers. A Berle follower had said: “Maybe if you corner the guy in his apartment he might have a couple of rational moments.” It was

JOHN TILLMAN

Introducing JOHN TILLMAN AT FRANK DAILEY’S Meadowbrook last summer, a young ex-GI named John Tillman earned himself the moniker of “Dream Scream,” delightedly bestowed on him by the bobbysoxers who found his looks and his emceeing irresistible. In a way, Tillman found this very satisfying, certainly a change from having “Sergeant!” screamed at him for three years. Matinee at Meadowbrook is still on the air, beamed for GI’s still overseas. We ordinary citizens hear John as m.c. of Danny O’Neil’s Singing in the Morning (daily 9:15 A.M., EST, CBS) and as the smooth-voiced announcer of The Stradivari Orchestra (Sundays, CBS, 2:30 P.M., EST). John was born in Clio, Alabama, during the first World War. He became a professional performer while he was still attending Barbour County High School. At the age of sixteen, he became a staff announcer and singer on Station WAFG in Dothan, Alabama. His mother accompanied him on the organ for his singing program. After he was graduated fro