1942: Radio Broadcasting

If any evidence were needed to show the intimate connection now existing between the American public and radio broadcasting, the trends evident in radio during 1942 would brilliantly illustrate this fact. Consciousness of a world at war had been increasingly brought home to listeners during the period before the United States was attacked and this was reflected in the tremendous increase in the volume of news carried on the networks. Similarly, since Dec. 7, 1941, when America herself became involved, an immense change has been undergone in practically every department of radio broadcasting.

News Broadcasts.

During the early stages of the Axis advance it was still possible to obtain remote pickups from a large number of countries directly or indirectly affected by the impact of the war, but as the war progressed fewer and fewer transmitters from which Americans were accustomed to gain news remained free. In their place we began to become familiar with voices speaking from Australia, from Cairo, from Iceland, and from the far-flung frontiers wherever American troops or their Allies were going into action. The main source of European news had of necessity in the earlier stages to be London, which remains of immense importance today, but it is supplemented by plentiful broadcasts from Moscow, Algiers, Cairo, and other points in or near the theatre of action. The domestic radio commentators remain of prime importance and the public is loyal to the same individuals to whom it has turned since news became an important feature on the air. But it has also welcomed many men whose voices it had been accustomed to hear when they were representing the American networks in foreign countries and who have now returned to the United States. Parallel with this has been the dispatch abroad of other figures familiar to listeners through their domestic broadcasts.

Broadcasts of Drama.

Interest in dramatic fare continued unabated, although the nature of the fare changed considerably. The ever popular mystery or detective programs, in many if not most cases, leaned heavily upon espionage or sabotage plots and used for material the evasion of wartime regulations and the maneuverings of those concerned with black markets. The daytime serials reflected perhaps somewhat the change in the composition of the listening public during the hours when they were broadcast, due no doubt to the absence from home in war plants of vast numbers of women and the presence at home of many men working on late shifts. Plotwise a great many of these programs introduced strong war themes, and in certain cases actually transferred the entire scene of dramatic action to France or some other place where actual war conditions could be made a part of the plot. Of unusual interest was an experiment in which both the CBS and the NBC participated, whereby for an extended number of weeks each week the author of a separate daytime serial, in addition to writing the regular scripts of the week, wrote five special scripts using the regular characters but plotting around a war theme.

The popularity of such programs as 'The Aldrich Family' and 'One Man's Family' continued unabated, but side by side with the public interest in these fine programs a new interest was shown in the work of some writers either new to or not regularly associated with the radio medium. The 'This Is War' series, carried by all four major networks, drew upon the talents of a number of well-known authors, and other series or special programs attracted unusual attention because of those who wrote them. Stephen Vincent Benet not only contributed a series under the title of 'Dear Adolph,' but several single scripts, outstanding among which was 'They Burned the Books.' Edna St. Vincent Millay wrote her first work specifically for radio, 'The Murder of Lidice,' which attracted nationwide attention when broadcast.

Mention should be made of the activities of the Writer's War Board, a group of patriotic dramatic writers, who have turned out a considerable body of scripts bearing upon the war effort and have made them available to local stations all over the country.

In the short-wave field, the major change that took place was the assumption during the year of control over short-wave transmitters by the United States Government. The program staffs of the networks operating the short-wave transmitters remained the same, but the government definitely assumed control. The volume of broadcasts sent by short-wave increased and the number of languages used remained as varied as ever.

The increase in hemisphere solidarity noted in previous years has continued. NBC founded the 'American University of the Air' and launched two special series under its auspices, 'Lands of the Free' and 'Music of the New World.' It continued 'Pan American Holiday' and several musical programs of an exchange nature between Brazil and the United States. 'Pan American Holiday' frankly set out to teach Spanish over the air by the device of teaching the words of Spanish songs. The enterprise was the idea of Vice-President Wallace, and it proved singularly successful.

The War Effort.

Networks and local stations alike devoted immense thought and pains to the presenting of programs that would further our path to victory. These were frankly service programs, such as 'The Army Hour' and the Navy Day broadcast of NBC, or dramatic, such as 'The Man Behind the Gun,' or talks of national importance or of special local interest, such as air raid instruction and enlistment in voluntary enterprises.

Record programs under the aegis of the Office of War Information were to be found extensively used, and the same organization worked closely with advertising agencies and networks and stations in a widespread use of allocation announcements and special programs.

Mention must be made of the bond-selling activities successfully conducted by radio.

One development of the year was the visiting of army camps and naval installations by the best comedians and their companies in order to sustain and build the morale of the men in the services. Similarly, radio programs have been broadcast from industrial plants and shipyards. An indication of the number of such broadcasts is given by the mere statement that Kay Kyser alone broadcast from twenty army camps in 1942.

An innovation of the year was the launching of the first regular weekly program ever devoted entirely to labor. NBC afforded time for a program called 'Labor for Victory' conducted on alternate weeks by the A.F. of L. and the C.I.O.

In war time the religious aspects of life take on new importance, and radio continued to afford ample time as before to long established programs devoted to the Catholic, Protestant, and Jewish faiths. In addition, NBC founded a new program under the title of 'We Believe' on which the Scriptures are read and the music of all three faiths is performed.

For the rest, it is sufficient to say that the established favorites have remained on the air; newcomers of importance have been few with the noteworthy exception of the Boston Symphony Orchestra on the Blue Network. The public has listened to the radio as never before, and radio has endeavored to serve the public to the utmost of its ability.

1941: Radio Broadcasting

News Broadcasts.

As in previous years, radio broadcasting in retrospect has shown itself resilient and responsive to major public interests during 1941. The march of world events, with the United States becoming increasingly more involved, and then actively at war, resulted in a tremendous interest in news. Whereas in 1940 news occupied between two and three times as much time on the air as in 1939, 1941 showed, at least as regards the National Broadcasting Company, a further increase of 65 per cent. These periods included an average of almost ten broadcasts a day picked up from overseas, although the number of countries from which news could be obtained with any degree of reliability had decreased. Probably the most outstanding example of news reporting occurred when the Japanese were attacking Manila and Bert Silen described what was going on against a background of roaring planes and anti-aircraft fire. In order that the country might be well served with news from overseas, NBC opened two powerful listening posts, one in the East, and one in the West, able to pick up radio signals from anywhere on the globe. The West Coast post was of vital importance to the United States when Japan attacked us.

The average American is on the receiving end of news, and beyond being generally aware of the fact that by short wave transmitters America sends news to other countries, he knows little about the extent of this activity. There are many powerful short wave transmitters in operation, but NBC alone repeats news programs several times a day in nine different languages. The transmitters are on the air seventeen hours a day, and in emergencies this is extended to twenty-four hours. Dual control has been perfected, making it possible to broadcast musical programs over short wave stations, with Spanish or Portuguese announcements, while at the same time American audiences listen to the English speaking announcer.

There has been a marked increase in interest, during 1941, in hemisphere solidarity. On the one side has been the expansion and organization of networks of South and Central American stations for the rebroadcasting of programs sent by short wave transmitters in the United States, with the Government increasingly showing its interest through the Office of the Coordinator of Inter-American Affairs; on the other side has been the sincere desire to describe and interpret to our own land the culture, character, history, and activities of our South and Central American neighbors. NBC launched and carried to completion one such series of broadcasts, twenty-one in number, each, except the final one, devoted to a separate neighbor republic. The ambassador, minister, or, where they were not available, other diplomatic representative of each country spoke briefly at the conclusion of each program, and the whole series received the warmest approval from Vice President Wallace and Secretary Hull.

National Defense Programs.

Again stimulated by contemporary affairs, national defense was very prominently present in many series of programs and single broadcasts of all networks and individual stations. The urgent need of financing the war effort caused the networks and stations, and, in two instances, a large manufacturer, to afford time for programs of the Treasury Department; on these programs appeared a scintillating company of the major figures of the entertainment world, who donated their services.

A long series of programs under the auspices of the National Association of Manufacturers was broadcast with the title of 'Defense for America.' The purpose of the series was to go inside American industrial plants of all kinds and show industry in ever increasing action. No actors were used, but actual workmen, supervisors, and owners described precisely what was happening.

Many programs aimed primarily at a listening audience of women have carefully directed their path so as to include or emphasize matters concerned with national defense. Questions of nutrition and health, all the activities which the average woman can undertake to be of aid to her country, are prominently present in 1941 programs.

Radio of course was in constant use throughout the year as a means of telling men of the needs of the various armed services. Nor did it forget to lend its full support to such great bodies as the American Red Cross and the Boy Scouts of America.

Public Service.

In the general field of public service stations and networks continued to advance. None of the major forums disappeared. More and more attention was paid to the caliber of writing and showmanship of presentation. The occasion of the retirement of Chief Justice Hughes from the Supreme Court allowed a re-emphasis of some of the basic concepts of freedom and democracy. Opportunity was taken during the summer to present four special programs dealing with the four most talked of men in the world today: Roosevelt, Churchill, Stalin, and Hitler, bringing out those salient characteristics of the men which made them prime forces behind the movement of world events.

Drama Broadcasts.

These four programs were plays, and plays continued to have unabated popularity. In fact, in commercial radio there was a tendency to increase the number of dramatic offerings. Very few of the long standing favorite series disappeared. Many new series were started. As was noted in 1940, the one-hour adaptation of the stage play or motion picture remained popular. The high-ranking favorites in the field of the daytime serial retained their hold and certain newcomers were seen during the year slowly climbing their way up the ladder of public acceptance.

Arch Oboler's series, which moved into 1941 under sponsorship, was terminated during the year, but Oboler continued to contribute plays for special occasions, which have attracted attention.

Norman Corwin undertook a remarkable series under the title of '26 by Corwin,' the bulk of which showed that radio writing is far from being static, but is forging ahead.

Certain new writers of talent were discovered through the experimental series conducted by the networks and one of them, Irving Neiman, sustained throughout the year an amusing series under the title of 'Joe and Mabel.'

The comedy programs with name comedians remained in high favor. The John Barrymore-Rudy Vallee combination introduced in 1940 rose in public esteem throughout 1941. Other comedians who launched new series on the air during the year included Red Skelton and Frank Fay.

A few of the quiz programs maintained their standing, but it is hard to think of a single new one which was launched and which survived more than a brief period.

The ASCAP-BMI collision did affect the popularity of commercially sponsored musical programs which relied upon new songs. Doubtless the most famous of these, 'The Hit Parade' remains, now that the musical war is over, a high favorite; but it has never climbed back to the place it occupied before the fight began.

Children's Programs.

Attention became rather sharply focused on children's programs during the year, because the net result of objections from parents and educational organizations as to the caliber of the programs resulted in there being very few children's programs on the air at all. As Variety put it, 'radio threw out the baby with the bath.' The most serious thought has been given to this aspect of programming, but thus far no solution has been found. Children, it is known, very largely listen to adult programs. Some maintain this is because many adult programs are written for a childish level of intelligence; but at any rate, children will not listen to the kind of programs that those who object to the melodramatic types would like to see on the air, and sponsors are shy of all types of children's programs, because of the difficulty of getting a satisfactory response.

Summary.

Broadcasters have endeavored throughout the year to operate in such a way as to support and encourage national morale. They have, therefore, as has been shown, devised and put on the air a great many programs specifically concerned with national defense in its widest meaning. They and the sponsors have kept on the air, or initiated, entertainment programs for the same reason. Finally, they have talked to the world through the international language of music, and there has been no abatement in the volume of chamber music and symphony performances given by the great artists. In a war-torn world radio has offered of its best in planning and in execution. See also INTERNATIONAL CONFERENCES; MUSIC.

1940: Radio Broadcasting

Just as during 1939 the stress of world affairs made radio an absolutely vital factor in practically all American homes, so in 1940 for this reason alone radio became actually paramount. The vast majority of American homes possess one or more radios. Surveys show that listening to the radio has now become the leading form of entertainment in the United States, outranking even attendance at motion picture theaters. The word entertainment must, of course, be allowed to stretch as a canopy over all the elements which 1940 radio stations offered to the listener. The greatest change in program content was to be found in relation to the presentation of news.

News Broadcasts.

News claimed between two and three times as much time on the air during 1940 as it did in 1939, and 1939 was roughly equal only to 1935 in the volume of news carried since accurate statistics on network operation were compiled. This great increase in the offering of news can only be attributed to the resilience of radio and its automatic flexibility whereby it feels a need existent in the public and promptly endeavors to supply that need. Whereas in 1938 and in the earlier part of 1939 world affairs had not so moved as to make impossible the pickup of reports from a great number of European countries, world affairs during 1940 have made such broadcasts limited to a smaller number of points of origination in general, and are apt to be given by regular representatives of the broadcasters stationed in certain cities, rather than by the improvising of an array of representatives of the great American newspapers and news-covering organizations such as willingly afforded their services when coverage of European affairs could scarcely otherwise have been adequately handled. News in America, therefore, in 1940, over the radio has come by way of regular European roundups and talks from one or two European cities; but predominantly it has been given by the reading in America of the Press Associations' bulletins and the commentaries of such veterans as H. V. Kaltenborn, Lowell Thomas and Raymond Gram Swing.

Broadcasts of Drama.

The unbroken eight-year rise in the number of hours devoted to drama continued through 1940, and once again a new high was reached whereby over one fifth of the total network hours of broadcasting was filled by this type of entertainment. There was no sign of waning popularity such as had been murmured about for a few years on the part of the five-times-a-week daytime serials. These stories in dialogue continued to hold their audience and the well-established veterans more or less kept their relative standing, while one or two newcomers such as Elaine Sterne Carrington's When a Girl Marries showed a steady rise over their competitors.

In the field of the radio play proper, undoubtedly the most interesting development was the sponsorship of Arch Oboler's plays. This was the first time that a sponsor had boldly taken a man generally conceded to be in the forefront of those attempting to write mature plays with some real intellectual content, and staked his belief that such plays, if offered under his sponsorship, would prove to have an audience that would justify the sponsorship. It is perhaps a little early to state definitely that plays of this nature can profitably be sponsored but Mr. Oboler's series did survive its first thirteen weeks and at the end of 1940 was securely away on its second thirteen weeks' cycle.

The popularity of the hour adaptation of a stage play remained unabated and there was an increase in the number of dramatic programs with a standard framework, such as "Manhattan at Midnight" and "Grand Central Station." The Columbia Workshop and NBC's Radio Guild and Listener's Playhouse all moved ahead with new work of writers already discovered and with the first broadcasts of plays by unknown writers.

There was no slackening in enthusiasm for the comedy programs which with their name comedians remained secure in public favor. The most interesting innovation in this field of presentation was the teaming up of John Barrymore with Rudy Vallee, a combination which has proved impressively entertaining.

Miscellaneous Programs.

The Quiz Programs and programs with audience participation which, like the daytime serials, have been slated for disappearance for a year or so, stood off disaster and remained high in popularity. "Information Please" changed sponsors but apparently lost no listeners, and there were many newcomers to which the public seemed to take. Many of these programs offer prizes, some of considerable size, and they are watched very carefully by broadcasters to be quite sure that they possess entertainment value and are not simply devices to keep the public at home and listening to the radio purely in the hope of financial gain.

In the field of public service, advances continued to be made. The veterans such as "Chicago Round Table," "National Farm and Home Hour," "The American School of the Air," and "America's Town Meeting of the Air" all remained available to the listening public. The Cavalcade of America continued under sponsorship to adhere to high standards of historical accuracy and dramatic integrity. Increased efforts were put out by the broadcasters to see that more and more public service programs were written by really competent professional men and women. More showmanship was injected into them and the trend in this direction started a few years ago is becoming stronger every month.

Children's programs were about the same in number and obtained the approval of educators and parents with singularly little dissent.

Musical Offerings.

The increase in listening hours devoted to news was made at the expense of music. The National Broadcasting Company devoted 4 per cent less time to music in 1940 than it did in 1939. Nevertheless, the NBC Symphony Orchestra under Arturo Toscanini and guest conductors, and the New York Philharmonic Symphony under John Barbarolli and others, offered as many concerts as before and there was a lavish supply of Chamber Music broadcasts and of course a vast number of broadcasts in the field of popular music.

Political Campaign.

Both local stations and networks covered the elections through innumerable speeches as well as by descriptions of the events at the nominating conventions. The NBC converted its huge studio 8-H into an election returns hall for the night of the actual presidential election, and thousands of guests came and saw the changing totals of votes written up as they came in over the wires.

International Programs.

There was a great increase in International Short Wave broadcasting. The bonds of the United States with its Central and South American neighbors were made even stronger. A host of programs in Spanish and Portuguese were directed to these countries and in many cases they were picked up and rebroadcast by South and Central American stations. The year 1940 also saw the authorization by the FCC of sponsored short wave programs, and several such programs are sent out on the short wave transmitters every week. The impressive amount of mail received from Europe by those operating International Short Wave transmitters testifies most eloquently to the value such programs, whether in English, French, Spanish, Portuguese, German or Italian, possess for those less fortunate than ourselves. The almost complete absence of transatlantic traffic except by Clipper has, needless to say, cut down upon the mail from Europe, but the NBC International Division is still receiving an amazing number of letters from appreciative listeners even in countries of Europe occupied by German troops.

1939: Radio Broadcasting

The most casual observer of the American scene could not fail to realize the impressive part played by radio during the year 1939.

News Broadcasts.

The year 1938 offered the opportunity for radio to show its power in bringing the news of the world to the public while it was being made; 1939 showed an acceleration in this respect. Perhaps it is best illustrated by the flat statement that on Sunday, Sept. 3, in addition to the regular news bulletins and flashes, a succession of pronouncements of the utmost importance was brought to American listeners. They opened with a declaration of war by Prime Minister Chamberlain, and continued from Berlin, with Max Jordan reading Germany's rejection of the British terms. These were followed by King George VI, reading a message to the Empire, by the declaration of war by Premier Daladier, a special message on American neutrality sent by President Roosevelt to be read over the radio, and the statement made by Premier Mackenzie King regarding the stand Canada was taking beside the mother country. Finally, this astounding day included the announcement by Fred Bate of the sinking of the S.S. Athenia.

Of an exceptionally interesting nature were the eyewitness accounts of the departure of the Graf Spee from the harbor of Montevideo, and her scuttling — broadcasts which reaffirmed the interest of American listeners in hearing up-to-the-minute news.

Broadcasters relied in general upon factual reporting of events, supplemented to some degree by interpretive comment, but they avoided editorializing as not being in the best public interest. The popularity of the veteran Lowell Thomas and other news commentators remained unabated.

Simultaneous with the responsiveness of the broadcasters to the public need for news brought from abroad, there was developed, in answer to another need, a widely increased service of broadcasting from the United States, directed towards foreign countries. The National Broadcasting Company alone broadcast several hours of programs daily in French, German, Italian, Spanish and Portuguese.

Dramatic Programs.

A steady eight-year rise in the number of hours devoted to drama reached a new high, and amounted, for the National Broadcasting Company, to nineteen per cent of the total hours of broadcasting during the year 1939. The same small stream of complaints regarding the five-times-a-week, fifteen-minute daytime dramatic programs continued, but every reliable indication pointed to the belief that programs of this nature were still gaining in popularity. The standard of the writing for such programs if it did not advance certainly did not fall back, unless the disappearance of one of the pioneer programs of this nature that contained considerable intellectual and sociological background is to be considered indicative of the unwillingness of listeners to daytime serials to respond to any demand other than the emotional that might be put upon them.

In the genuine field of drama, the novelty of Orson Welles wore off but he continued in general to offer outstanding interpretations of well-known plays and other literary properties adapted for the occasion.

The Columbia Workshop included in its schedule a number of impressive productions. Nevertheless the fact that many adaptations of short stories were broadcast during the year is indicative of the experience of all broadcasters who endeavor to experiment and pioneer and shows that a sufficient number of first-class experimental plays, with intellectual content specifically designed for radio and adaptable to a fifty-two-week schedule simply are not being written.

Generally conceded is the fact that the most scintillating figure in the dramatic field for the year 1939 was Arch Oboler, whose unbroken series of broadcasts or original plays on Saturday evenings has not only attracted wide attention from the public, but has so interested major figures of the screen and stage that they expressed enthusiasm for performing, and did perform, in plays especially written by Oboler with them in mind.

The enthusiasm of listeners for one-hour adaptations of stage plays showed no signs of slackening and the briefer form of dramatic offerings, frequently found on variety programs and those others of allied nature such as 'The Pursuit of Happiness,' continued to enjoy popularity.

Miscellaneous Programs.

Some slight trend (probably purely temporary) caused the shortening of certain variety programs from one hour to a half hour, and it should be noticed in this connection that the veteran Rudy Vallee program left the air for the first time since its inception nine years ago. It has been announced, however, that it is starting again under a new sponsor early in 1940.

The skilled comedians, including of course Jack Benny and Fred Allen, continued to hold a vast audience as did Major Bowes, Kate Smith, Bob Hope and that unique little person, Charlie McCarthy.

As distinct from such programs with personalities, another great body of programs remained high in public esteem — the quiz programs. While a few of the veterans disappeared, 'Information, Please' with its high standard continued to attract many listeners. It should perhaps be noticed, however, that 'The Battle of the Sexes' immediately following, 'Information, Please' on another network, by all analyses had an even larger volume of listeners, being keyed to a larger basic public.

The one outstanding innovation of the year should be mentioned here. It is best illustrated by reference to the 'Pot O' Gold' program in which, while every effort was made to include good entertainment values, the real grip upon the listener was the hope that he or she might win a substantial sum of money by answering the telephone if a call came from the program. The advisability of a program appealing to a large degree through the giving of cash prizes has been a matter of wide discussion. Many people feel that they are sound in every way, many maintain that they tend to destroy themselves by emphasizing the monetary reward at the expense of the entertainment value. Be that as it may, many programs were on the air in 1939 which offered highly attractive prizes.

Public Service Programs.

Real advances were made in the preparation and presentation of public service programs. Certain of those well established, such as 'America's Town Meeting of the Air,' 'American School of the Air,' 'Chicago Round-Table' and 'The National Farm and Home Hour,' had earlier found a highly satisfactory method of presentation. In the purely dramatic field great efforts were made to obtain thoroughly skilled writers and as a result both the programs originating through various government departments and those such as 'Art for Your Sake' produced by the broadcasters achieved and maintained an enviable standard of technical proficiency resulting in a wide listening audience and a more effective impact upon the listener.

A most interesting development has been the announced plans of those responsible for 'The Cavalcade of America,' a commercially sponsored program, to insure in future broadcasts the utmost fidelity by the engagement of Dr. Frank Monahan of Yale, Marquis James, the Pulitzer Prize biographer, and Carl Carmer. Such an endeavor on the part of a major sponsor to bridge the taken-for-granted gap between the public service program and the commercial program should result in another forward advance in the general standard and quality of writing and intellectual content of programs.

Music.

In the field of classical music little change was noticed. Arturo Toscanini gave another season of broadcasts with the NBC Symphony Orchestra. The performances of the New York Philharmonic Orchestra and the Metropolitan Opera Company were broadcast again and again and found faithful and appreciative listeners.

Popular music brought to the front an outstanding conductor in the person of Glenn Miller and a widely popular novelty in shape of the Calypso Singers from the British West Indies.

1938: Radio Broadcasting

If the year 1938 proved anything with regard to radio, it proved absolutely that this means of expression plays a very much greater part in the lives of Americans than even its most enthusiastic followers had suspected. For the first time in history it was possible to report the hour-by-hour developments of the world crisis which found at least a temporary resolution at Munich. The public interest in this is indicative of the high esteem in which all kinds of news and special events programs are currently held. For the first time it was discovered in America (although once before in England and once in Switzerland similar happenings had occurred) that the technique of news reporting applied to a dramatic program could terrify thousands of people into believing that some dreadful event was occurring.

The strong public interest in freedom of speech and expression has been exhibited in newspaper editorials and front-page stories regarding the broadcast last summer of Eugene O'Neill's 'Beyond the Horizon' with its alleged profanity, the refusal to allow General Hugh S. Johnson to speak on social diseases, and the controversy over Father Coughlin's radio addresses. A large part of America was thinking and feeling on these and kindred matters during 1938, and even a larger part was considering Charlie McCarthy as the fulfillment of their ideal in entertainment.

Charlie McCarthy ornaments the most popular radio program of 1938, a variety program. This pattern of show has remained a steady favorite with the American listening audience since its inception. It is built around a personality, a Rudy Vallee, a Kate Smith, a Bing Crosby, or an idea, such as the magic of radio, and it gives pleasure to the listener weekly by offering him the best to be found from the stage, motion pictures, vaudeville, and concert hall.

Another steady favorite is the program conducted by the skilled comedian, outstandingly Jack Benny, Fred Allen and Bob Hope. These patterns of program show no sign whatever of losing their grip upon the audience. Those who pay the bills of radio inevitably look for the formulae which have proved successful. They copy, if they can; and were there to be found a Jack Benny under another name or a Kate Smith with a different appearance, they would willingly pay a very high price and install them in programs that would flatter the originals by the slavish copying.

The audience participation programs vividly illustrate this tendency. The year 1938 saw on the air an unbelievable number of quiz programs, some carefully kept extremely simple so as to draw into the circle the greatest possible number of people, others maintaining a high level of intelligence, the crowning glory of all being, of course, Information Please. There is as yet little evidence to show that the public is in any way satiated with such programs. It seems, on the contrary, to be able to digest a limitless quantity of questions.

While there is a small stream of complaint regarding the five-times-a-week fifteen minute day-time dramatic programs, the best figures that can be assembled indicate that such programs, far from losing in popularity, are gaining. Where a Crosley rating of 3 was considered good not very long ago, many of such programs now rate from 6 to 9 and the great advance has taken place during 1938. The standard of writing seems to be slowly but surely rising, and although from the point of view of artistic and intellectual content such programs have a very long way to go, the fact that they are moving slowly but steadily upward is encouraging, particularly when the astonishing growth in the appreciation of music which has occurred in America since the advent of radio is borne in mind.

The year 1938 saw Maestro Toscanini complete his first season of broadcasting and the first half of his second season. It saw concerts of an increasing number of symphony orchestras presented by broadcasters, including, of course, the long-standing and beloved New York Philharmonic Symphony Orchestra concerts of the Columbia Broadcasting System every Sunday afternoon, as well as a wide variety of chamber music and vocal ensembles. The performances of the Metropolitan Opera Company were broadcast as usual, and, as usual, were received with great appreciation throughout the continent.

In the field of the serious drama, much was accomplished in 1938. Whereas the commercially sponsored dramatic program has to proceed cautiously so as to hold the wide audience it must command, in the sustaining field broadcasters experimented in many directions. The Columbia Experimental Workshop offered a number of most interesting plays carrying on the tradition established early in its career. The Columbia Broadcasting System also found an appreciative audience for Orson Welles' series of broadcasts which he conducted under the title of 'First Person Singular.' The National Broadcasting Company presented the greater number of plays which had won the Pulitzer Prize, including three by Eugene O'Neill, in specially prepared radio versions.

It also explored the possibilities of verse as applied to radio drama, continuing the work it had started with Maxwell Anderson's original play broadcast in the autumn of 1937. Two more plays by Anderson, partly in verse and partly in prose, were followed by the magnificent one-hour verse play by Alfred Kreymborg entitled The Planets which was so successfully received that it was repeated a few weeks later. A number of radio plays were submitted in the Maxwell Anderson-Stanford University prize contest, and of these two were broadcast by the National Broadcasting Company. In addition, a play by Kreymborg, Ballad of Youth, and the prize-winning play John Brown by Kirke Mechem, although not specifically written for radio, were acquired, and the former was broadcast last fall.

Verse plays offer remarkable opportunities, for they allow of the treatment of contemporary ideas in allegorical or semi-allegorical ways. They return to the basic elements of story-telling and delight the listener by intriguing him into discovering for himself what is the meaning behind symbols.

That there is an increasing public for plays dealing with ideas and the more basic human emotions is now amply clear. Radio is playing a great part in awakening America to the importance of ideas. Over fifty stations carry weekly the America's Town Meeting of the Air program broadcast by NBC as against about half that number which carried it in 1937. Programs for special occasions have to be better prepared and better written. Speakers have to learn the ways of the microphone, and forget the oratory of large halls, if they are to compete successfully for the attention of the listeners.

The techniques of today compared with those of a brief ten years ago are astonishingly adept. The clumsiness which accompanied earlier attempts at radio entertainment seem unbelievable when they are considered today.

Personalities still intrigue the American public, and 1938 saw very few names added to the roster of real favorites. That two of them belong to the so-called intellectual group, Orson Welles and Clifton Fadiman, is a most heartening indication. That one, Don Ameche, came purely from a radio background and was not imported from the stage or the screen, is another equally heartening sign.

If 1938 was a year which showed sustained interest in the familiar patterns of variety, simple drama, classical music, and dance bands, it had as its outstanding novelties the quiz programs and the wide experimentation in drama. It also saw the tremendous improvement in the standard of educational programs and a concentrated attempt to aim them very specifically at certain age and interest groups. The United States Office of Education in Washington and various other Federal bodies have cooperated most heartily with the broadcasters in the writing and producing of many really excellent series. The broadcasters themselves have taken pains to develop such outstanding radio successes as the Great Plays broadcast over the Blue Network and Shakespeare's England over the Red Network of the National Broadcasting Company, both of them heard on most Sundays during 1938. The wide interest in the dramatizations of Paul de Kruif's volumes, under the title of Men against Death, broadcast over the Columbia Broadcasting System, further proves what can be done in the way of intelligent educational programming.

If 1939 can show comparable advances, radio will indeed be broadcasting in the public interest.