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MUSIC OVERTURE OPENS SHOW. AFTER THREE OR FOUR SECONDS, THE ANNOUNCER COMES IN. MUSIC IS FROM COVER GIRL (LONG AGO AND FAR AWAY) Announcer: Viator Products Corp., manufacturer of accessories for sophisticated travelers...brings you... ...Viator Radio Hour! ...with tonight's guest stars, Viator's own Andrew Shmerler and Wolfgang Albertus Mayer. MUSIC COMES UP AND PLAYS FOR FIVE OR SIX SECONDS, THEN FADES DOWN AND PLAYS UNDER ANNOUNCER. Hello, this is your announcer, Lonnie Lai, and now, ladies and gentlemen, here's the host of our show, Frank Capone. SFX: APPLAUSE MUSIC FADES OUT. Frank Capone: Thank you, Lonnie Lai, thank you, Andres Villagomez and the Viator Radio Orchestra. And thank you ladies and gentlemen. We're coming to you from the penthouse studio of the Tin Pan Alley Museum of Transportation, overlooking the Great White Way and the rest of the Big Apple, New York City. The museum is adorned with bizarre pictures of steamships and sculptures of Zeppelins. We also can see a vintage upright player piano and an impressive collection of old piano rolls that recall the twentieth century's golden age of popular music. MUSICAL STING OR FANFARE. Well, it's good to be with you this evening for the premier of Viator Radio Hour...which may or may be an hour, depending upon how long winded we are in describing the stylish Viator fabrics and the musical stories behind them. Now, before we introduce our special guests, I'd like to take a moment to explain the purpose of this unique program. Some of you in our studio audience, or listening at home or in your car, may have already received Viator's latest catalog. As an adjunct, this tape will serve as an audio sales pitch and musical soundtrack. During the show, you'll hear how Viator's top decision makers feel about this season's line of travelware and accessory products. MUSIC FADES UP. So, stay with us because we've got a wonderful evening of lively conversation and historic music. MUSIC FADES UP AND PLAYS THE LAST SEVERAL BARS TO COVER GIRL FOR ABOUT 20 SECONDS SFX: STUDIO APPLAUSE Frank Capone: Thank you...and thank you, Andres Villagomez. You've been listening to the overture from the 1944 film, Cover Girl, which starred Gene Kelly and Rita Hayworth...and featured the Oscar nominated song by Jerome Kern and Ira Gershwin, "Long Ago and Far Away," which, coincidentally, happens to be the name of one of the patterns featured by Viator Products. More about that in a moment. Now, the two gentlemen seated next to me are Andrew Shmerler, Creative Director of Viator Products, and Wolfe Albert Mayer, the company's National Sales Manager. Gentlemen, good evening. Wolfe: Hello, Frank. It's a pleasure to meet you. Andrew: Hello, Frank. Frank: Those of you listening can't see our studio, but our audience can see that we're being overrun with fabric travel bags. Andrew, I've got a copy of your catalog, and I notice all of your patterns are named after popular songs. Andrew: Frank, I have two passions about which I can't make a living -- old modes of transportation and old songs. Frank Capone: I guess your interest in music might explain why your sales manager has a name strangely reminiscent of a famous composer...Wolfgang Albertus Mayer? Andrew: I tell Wolfie it's purely coincidence. Wolfe: I can see right through that one. Frank Capone: I mentioned before that the overture to our show featured the song, "Long Ago and Far Away" and one of your patterns is similarly named. Wolfe, what can you tell me about this pattern. Wolfe: We felt that it's a natural choice for a line of travel accessories, because it's an old world map pattern, which also includes illustrations of the old sailing ships, which were used by the explorers who discovered the world back in the middle of the past... a world travel motif printed on cotton canvas. It's durable and especially lends itself to a travel appliance item like a travel coffee set or a folding suitcase. Frank Capone: Now...without even knowing the name of this next pattern, I'm going to guess that it has something to do with the jungle. Andrew: This was our first animal print, pattern number 118. Having started a trend for us, it's called Chant of the Jungle. Wolfe: It's very much a safari look, and you know when you think of safari, you think of big game hunting...exotic kind of traveling. It's a practical pattern because the colors are luggage colors -- tans, browns, and greens. Chant of the Jungle is fairly dark so it's not going to show soil. It is in fact a wild animal print illustrating lions, tigers, zebras, giraffes, and elephants. Frank Capone: Monkeys, too, I see...we musn't leave them out. Wolfe: No, we musn't. We celebrate animals that are actually found in the jungle. Frank Capone: I should hope so. Now, Andrew, where does the song come from? Andrew: "Chant of the Jungle" was written for a 1930 MGM film, "Untamed." Arthur Freed wrote the lyrics and Nacio Herb Brown composed the music. They were MGM's principal house song writers at that time. The song was performed in the film by Joan Crawford. Frank, if you remember, "talkies" came out in 1927, so "Untamed" was a very early movie musical. Frank: Let's sit back and enjoy the soundtrack recording of Joan Crawford singing "Chant of the Jungle." CHANT OF THE JUNGLE COMES IN. IT FADES OUT TO STUDIO APPLAUSE. CLAPPING FADES AS FRANK CAPONE COMES BACK. Frank Capone: From big game and wild cats we move to domestic felines and the following tune, "Angel Eyes." ANGEL EYES IS HEARD AS IT ENDS, APPLAUSE IS HEARD, WHICH FADES AS FRANK COMES IN. Frank: That was the composer, Matt Dennis. singing Earl Brent's lyrics. The song was introduced by Dennis himself in a 1953 film called Jennifer. Anyone in our audience recall that movie? Dennis originally wrote music for the Tommy Dorsey Orchestra during the '40's, and he later became a night club performer. The recording you just heard is from a live performance. Andrew, I can't wait to hear how you're going to get from "Angel Eyes" to cats. Wolfe: I'll do the easy part, and talk about the pattern. Mr. Shmerler can get you from angel eyes to cats. Angel Eyes is a colorized cat print...a cat colony. Andrew: As you can see, cats are clustered in the print and looking at us with piercing eyes. The song is a somber ballad of unrequited love. Its haunting, brooding quality reminds me of cats. In our print, their bright red angel eyes uplift a sinister scene.
OR, BEGIN "BY A Lonnie Lai: WATERFULL") Thank you, Frank Capone, and before we continue with our guests, let's take a brief time out for a word about our sponsor, Viator Products. THROUGHOUT THE SPOT, WE CAN HEAR THE MUSIC TO A PATTERN WE'RE NOT FEATURING Cornelia: WE CAN HEAR THE Emily, I'm really looking forward MUSIC "BY A WATERFALL" to some peace and quiet on this PLAYING IN THE vacation. April in Paris...aah... BACKGROUND. Emily: Me, too, Cornelia...Say, you don't mind if I bring my dogs with me. Cornelia: Goodness...I wonder how they'll get along with my cats. Emily: I didn't know you had cats, Cornelia. Cornelia: Oh, heavens no...not real cats, Emily, dear. It's my Angel Eyes travelware and accessories from Viator Products. Just look at the marvelous cat design on these pieces, will you. Here's my soft train case, duffel bag, jewel roll...and my cargo bag. And for those rainy days on the Champs Elysee, my Angel Eyes umbrella. Emily: I adore the pattern, Cornelia darling, but it can't compare to my Fidgety Feet dog pattern from Viator. Here's my hang-r-pak, twin zip utility bag, my gym bag to carry my tennis racket...and for those rainy days near the Arc De Triomphe, my Fidgety Feet umbrella. Cornelia: Tres chic, Emily. Now, there's only one problem. Emily: What's that? Cornelia: They don't let animals on the ship. Announcer: If your customers are looking for fashionable travelware and accessories to take on a business trip, or a vacation, you can help them leave in style with Viator Products. Your customers will find everything they need for traveling -- cosmetic bags, fitted kits, organizers for lingerie and jewelry, and carry-on totes. For more information, call Viator Products at 1-800-523-0669. MUSIC FADES. AUDIENCE APPLAUSE Frank Capone: Hello, we're back with our guests Andrew Shmerler and Wolfe Mayer. Gentlemen, I see it's time for a little voodoo -- Pattern 269, titled Witchcraft. Wolfe: Witchcraft is a very neat and elegant series. It's a serious solid black moire. It's for the more sophisticated traveler. Andrew: Because it's solid black, it color- coordinates with almost any other pattern in the line. Most customers buy more than one pattern, and they want them to look good together for display purposes. Now, Wolfie, why would you say I named this pattern Witchcraft? Wolfe: Witches are usually associated with darkness... Andrew: It's black on one hand and elegant on the other. By the way, the song was written in the mid 1950's by Cy Coleman, and Carolyn Leigh wrote the lyrics. It was almost immediately picked up by Frank Sinatra and recorded in 1957 during his tenure with Capitol Records. WITCHCRAFT PLAYS. WHEN IT'S OVER, AUDIENCE APPLAUSE. IT FADES AS ANDREW BEGINS SPEAKING. Andrew: Frank, our next pattern is number 271, which we call Lost In The Stars. Right, Wolfie? Wolfe: Aside from our animal prints, Lost in the Stars is probably our best seller. It's a dark green printed jacquard, very elegant. It has a tapestry look to it. One of the reasons why it sells so well is that it complements any kind of luggage. When I look at it, I think of the universe and the colors in the pattern -- the burgundies and blues and yellows that come through subtlely, representing the stars. Looking at the pattern, it's like staring into the Cosmos Frank Capone: This is a memorable song, "Lost In The Stars," but I don't think people know the interesting story behind it. Andrew: "Lost in the Stars" is the title song of a 1949 musical play based on the novel, by Alan Paton, which had been published a year earlier. It is a tragic story of an accidental killing of a wealthy white man by a poor young black man in apartheid South Africa. The murderer is the son of the story's principal character, Steven Kumalo, a minister from a tribal village, singing here as he questions his faith in a God who lets his people go astray and become "Lost in the Stars." The play was written by Maxwell Anderson, who also wrote the lyrics, and Kurt Weill wrote the music. Even though it was written over 40 years ago, the story is timely because of the revolutionary changes that are taking place in South Africa today.
Frank Capone: We're going to hear "Lost in the Stars" from the original cast recording, with Todd Duncan in the role of Steven Kumalo. Andrew: (cutting him off) Duncan's stage career was established 14 years earlier when he was chosen by composer George Gershwin to play the role of Porgy in the original production of "Porgy and Bess." LOST IN THE STARS IS PLAYED. AUDIENCE APPLAUSE COMES UP AFTER IT AND FADES OUT WHEN ANDREW COMES IN. Andrew: Just a quick note here, Frank. The next pattern 220, was named after a George Gershwin song, "Fidgety Feet." Brother Ira supplied the lyrics. It's from a 1926 show called Oh Kay, which starred Gertrude Lawrence in the title role. Frank Capone: By association, I surmise that this next series would be a good choice for women with little patience. Wolfe: That would be Fidgety Feet, another of our enormously successful animal patterns. First, we had Chant of the Jungle, the wild animal print. Then, we came with the cats, which made people ask, "what about dogs?" Frank: Exactly my question. Wolfe: Because it's on a white background, we felt the fabric should be laminated on the outside so that it would be soil and water proof. Frank: Who would like to tell me how you got from dogs to "Fidgety Feet?" Wolfe: Dogs have ways of walking and running about in their environment. The name was actually chosen by Mr. Andrew Shmerler, and still I'm not quite sure why he called it Fidgety Feet. Andrew: Actually, my family had a dog named Fidget when I was growing up. I forget why we called him Fidget. A lot of what you see here are the dogs lying about with their paws stretched out in front of them. Obviously, it's a playful kind of a title for a playful kind of pattern about a playful subject. But, when I saw this pattern, I naturally thought of my dog. And although it's not a well known song, we have both a studio cast recording that was made in the 1950's, and we also have a piano roll that was made in 1926, the year of the show. Frank Capone: Why don't we hear the cast recording now. RECORDING OF SONG FIDGETY FEET. APPLAUSE WHEN IT ENDS. Frank: Andrew, I'm holding in my hands the piano roll of "Fidgety Feet." Give us some insight into the performance we're about to hear. Andrew: It's a two piano arrangment of selections from "Oh Kay," including "Fidgety Fee," "Clap Yo' Hands," "Maybe," and "Do, Do, Do," but curiously omitting the outstanding song hit of the show, the immortal "Someone To Watch Over Me." The pianists are Edgar Fairchild and Ralph Rainger, artists for the American Piano Company, which made rolls for the Ampico reproducing system, and that is what you are going to hear. Rainger was born Ralph Reichenthal. He shortened his name to Rainger and went to Hollywood in the 1930's to write songs for films with his principal collaborator, Leo Robin, under the billing of Robin & Rainger. They wrote such standards as, "June in January," "Thanks for the Memory," and, " Easy Living." Tragically, Rainger's career was cut short in 1942 when he was killed in an airplane crash over Palm Springs. PLAY PIANO ROLL NEXT. AS IT ENDS, APPLAUSE COMES UP AND FADES. Frank Capone: (intro to song) Thank you Messr's Fairchild and Rainger. ANOTHER SONG FROM ONE OF THE PATTERNS NOT BEING USED WILL PLAY UNDER SPOT. Frank Capone: (continuing) As you know, we're speaking with our two guests about the 1994 Viator line, but we haven't spent any time with the people behind the scenes at Viator Products...the folks in McAllen, Texas who take sales orders and ship merchandise. Let's dial Viator's toll-free phone number and listen to the response.. SFX: PHONE DIALING Operator: Thank you for calling Viator Products Corp. For customer service or to place a sales order, please press one on your touch tone phone. To reach the national sales office of Wolfe Mayer in San Francisco, press two. For the New York office of Andrew Shmerler, press three. To speak with John Robinson or any of our general office staff in McAllen, Texas, press 4. If you're calling from a rotary phone, please hold. Frank Capone: We happen to have one of these new fangled touch tone phones, so let's press four and hear who answers. SFX: TOUCH TONE Operator: Please hold while we connect your call. Frank Capone: Since this is an evening show, and it's after business hours no one answers in McAllen. But I am told that Mr. Wolfgang here possesses a terrific talent for impersonating, so perhaps he'd be willing to stand in for his people and introduce Viator's Customer Service Department. Corinna: Hello, I'm Corinna. I'm the receptionist, and I also enter orders into the computer. The best part of my job is talking to customers on the phone. I try to be as courteous and helpful as possible to anyone who calls. I think the customers appreciate that. Maria Beatriz: My name is Beatriz. I process orders. I check inventory... to see if we have the products in stock. I also talk to the customers and help in taking orders. The thing I like best about my job is that it's always something different. I look forward to making customers happy. If we don't have something in stock, then I try to offer customers something else. Jane: I'm Jane, and I'm the bookkeeper. People generally don't like me, because when I call it's usually to ask, "When are you going to send money." My philosophy is that if you do things right and well the first time, it makes your job easier. That's why we have so few complaints. John: I'm John Robinson, Esquire, the third. I'm the schlepper... the chief cook and bottle washer. Actually, I run the operation down here in McAllen. I've been with the company since 1969. We take a great deal of pride in our ability to serve our customers. The staff is well trained and really like their jobs. Mistakes are extremely rare.
MUSIC FADES. APPLAUSE BRINGS US BACK TO SHOW. Frank Capone: (bridge out of spot) Now, gentlemen...my folks live on a hill. That would make them perfect candidates for your next pattern, number 127, appropriately named, The Folks Who Live On the Hill. Oddly though, when I look at this pattern, I see cows, pigs, flowers, a lovely, idyllic, farm setting. No people, though. Wolfe, tell us a little about The Folks Who Live On The Hill. Wolfe: Well, it's about country living and an outdoor type of setting.
Frank: But, who are the folks who live on the hill? Wolfe: Folks who live on the hill are anybody above sea level. Frank: I see... Andrew: "The Folks Who Live On The Hill" is a song written by Oscar Hammerstein and Jerome Kern for the 1937 film, High, Wide, and Handsome, starring Irene Dunne. It's a kind of a willowy romantic song in which she contemplates her future life with Randolph Scott and the peaceful world they hope to live in. And they're seeing themselves as the folks who live on the hill. But in this case, we're taking a bit of poetic license and our folks on the hill are farm animals. Frank: Is Irene here? APPLAUSE BEGINS TO BUILD. Yes, here she is now. Irene Dunne, to recreate the song, "The Folks Who Live on the Hill." SONG: THE FOLKS WHO LIVE ON THE HILL. AFTER SONG ENDS, STUDIO APPLAUSE COMES UP AND FADES AFTER FRANK CAPONE HAS COME IN. Frank Capone: Thank you, Irene Dunne. Now, Andrew and Wolfe, I see the next pattern we're going to discuss is pattern 215. Drifting Along With The Tide. Now, don't tell me. Let me guess. Andrew, you decided to name this pattern after you lost your luggage overboard during your last Atlantic cruise. Andrew: (laughing) Not exactly, Frank. Wolfe: Actually, I can take that one. It is named Drifting Along With The Tide because it signifies waves and floating. It's a very peaceful pattern. We selected this pattern as a means to offer small pieces to coordinate with the luggage in pattern 127, The Folks Who Live On The Hill. Frank: Now, Andrew...the person who composed this piece...did he happen to live on the hill? Andrew: Yes, on the hill on the bank of the Hudson, called Riverside Drive. "Drifting Along With The Tide" was written by George Gershwin for the George White Scandals of 1921. This was before he hit his stride as a composer, when he made his living cutting rolls for player pianos. In fact, you're about to hear one such performance, recorded for the Aeolian Company's Duo-Art reproducing system by Gerswhin himself. Frank Capone: Here's Mr. Gershwin now. SFX: STUDIO APPLAUSE SONG: DRIFTING ALONG WITH THE TIDE. WHEN SONG ENDS, APPLAUSE COMES UP AGAIN. Frank Capone: Thank you, George Gershwin. AS APPLAUSE FADES... Andrew, I especially like this next pattern, number 214, which is known as... Andrew: Broadway Rhythm. That, ladies and gentlemen, is what's known in show business as a song cue. At this time, it's Wolfe Mayer. Take it away, Wolfie. Wolfe: I believe we call this pattern Broadway Rhythm because it looks like the bright lights along the night scene of the Great White Way. In fact, it does have metallic strands in the print, which make it look electric. It has vibrancy. It has style. The story of Broadway Rhythm will be told by Mr. Andrew Shmerler who obviously has researched the title and hopefully will explain this to you in a few short words. Frank Capone: Well, I certainly do get a charge out of this pattern, Andrew. I seem to recall, somewhere in the deep recesses of my mind, a series of Hollywood musicals that went by the name Broadway Melody. Any connection? Andrew: As a matter of fact, "Broadway Rhythm" was the big production number finale of MGM's film, Broadway Melody of 1936, starring Robert Taylor, Eleanor Powell, Jack Benny, and the brother and sister dancing act, Buddy and Vilma Ebson. The score was written by Arthur Freed and Nacio Herb Brown. We heard from them earlier with "Chant of the Jungle." Frank Capone: Well, as it so happens, we have Francis Langford and chorus from the movie soundtrack to recreate Broadway Rhythm. Francis, take it away. SONG: BROADWAY RHYTHM WHEN IT ENDS, STUDIO APPLAUSE, WHICH FADES WHEN THE ANNOUNCER COMES BACK. Frank Capone: Well, we certainly tripped the light fantastic with that sparkler. Now, where are we headed with this next pattern, number 218? Andrew: Actually, we're headed overseas...to Paris, Frank. Pattern 218 is called April In Paris. Wolfe: A bright, uplifting series... a light, easy, happy pattern. It's a printed jacquard stripe. Andrew: It's cheerful on the one hand, yet also very sophisticated. To me it suggests the Bois de Boulogne. As far as the song, "April In Paris." It came from a 1932 Broadway review called "Walk A Little Faster." Frank: Well, if we don't talk a little faster, we'll run out of tape. Andrew: The lyrics were supplied by Yip Harburg, who, as I think I was informed at some point, had never been to Paris when he wrote this. Vernon Duke wrote the music. Duke was a composer born in Russia and trained as a serious musician. When he first came to the US in the early 1920's, and he needed to make a living which he couldn't do as a classical composer, he started writing popular music. The same thing happened to Kurt Weill. One of the reasons their music sounds so substantial harmonically is that they were classically trained. Duke's real name was Vladimir Dukelsky, which he continued to use for serious compositions and, at the suggestion of George Gershwin, Americanized his name to Vernon Duke for his popular music. Frank Capone: Let's hear "April in Paris." APRIL IN PARIS HERE.
Frank Capone: Andrew, correct me if I'm wrong, but it seems that pseudonyms were fairly common in the popular music business back when. Andrew: Very much so. In fact the recording you heard is an Ampico player piano solo performed by Edgar Fairchild, whom we heard earlier with Ralph Rainger playing "Fidgety Feet." Ralph Rainger originated as Ralph Reichenthal. Edgar Fairchild was a popular music pseudonym for classical musician Milton Susskind, the artist's given name, which he used in connection with his many classical two piano recordings with Arthur Loesser.
Frank Capone: Well, here's a most interesting segue. We're moving from Arthur Loesser to Frank Loesser's "Guys and Dolls". This isn't the lesser of two evils, is it? Andrew: Well, Frank...this is pattern 523, a casino print. Wolfe: ...Luck Be A Lady. Andrew: Frank Loesser was the younger brother of Arthur Loesser. Frank started out in Hollywood in the 1930's as a lyricist, and by the late '40's was writing his own music as well. In 1950, he produced his most successful work, Guys And Dolls. The recording we have is a demonstration record played and sung by Loesser while trying to raise money to produce the show. Guys And Dolls is a Damon Runyon folk tale about Gotham gamblers during the Jazz Age. "Luck Be a Lady" was gambler Sky Materson's plea that luck should cooperate with him. Frank Capone: Here's Frank Loesser and his own rendition of "Luck Be A Lady." THE SONG, "LUCK BE A LADY" IS HEARD. AS IT ENDS, WE HEAR THE STUDIO APPLAUSE. IT FADES AS WE GO INTO THE DIALOGUE FOR THE NEXT PATTERN. Frank Capone: Is it me, gentlemen, or has it suddenly gotten very hot in here? Wolfe: It's Summertime. Frank Capone: Actually, it's Springtime. And I sense both a pattern and a song coming on. Wolfe: This is pattern 219, called Summertime. Two types of fabrics have worked best for us -- animal prints on the one hand and printed jacquards on the other. Summertime is, of course, a printed jacquard on a light ground, so it looks like a Spring and Summer print. Very tasteful and very feminine. I think it suggests a peaceful warm weather time of year. Andrew: The song is a standard if ever there was one. It's the lullaby from the opening scene of George Gershwin's 1935 folk opera, "Porgy and Bess." The lyrics were written by Dubose Heyward, who wrote the novel and play, on which the opera was based. Hayward wrote the lyrics for the more folk-type songs, and for the more rhythmic pieces in the opera, Ira Gershwin wrote the lyrics. We're going to hear Summertime sung by Abbie Mitchell, who was the original Clara in the 1935 production. This recording was taken during a rehearsal session about a month before the opening, introduced and conducted by George Gerswhin himself. THE MUSIC IS HEARD. LOUD APPLAUSE IS HEARD. IT FADES.
Frank Capone: Here's an alluring pattern that makes me feel like dancing. Wolfe: That must be Shadow Waltz, pattern 526. It's a true woven tapestry... A rosy floral on a black background. We call it Shadow Waltz because it looks like a garden party in the night. Here's Mr. Shmerler to wax eloquent about the musical origins of this pattern. Andrew: Warner Brothers studio produced, in my opinion, the most ambitious movie musicals of the 1930's. A series of backstage musicals about putting on a show, with titles like, "Forty- Second Street," "Footlight Parade," and "Golddiggers," were artfully scripted and dramatized with gritty social commentary about urban life during the Great Depression. The regular players included Dick Powell, Ruby Keeler, Joan Blondell, and Guy Kibbee. Most of the songs were written by the team of Harry Warren, composer, and Al Dubin, lyricist. The films are perhaps best remembered for their extravagant choreography by Busby Berkeley...and his all stops out, fantasmagorias of Kaleidoscopic girls...achieving ultimate camp. Such a Warren, Dubin, Berkely production number was "Shadow Waltz," from Golddiggers of 1933. Here, from the original sound track are Dick Powell, Ruby Keeler and chorus. SONG: SHADOW WALTZ STUDIO APPLAUSE COMES UP. Frank Capone: Thank you Dick Powell, and thank you Andres Villagomez and the Viator Radio orchestra. THEME FADES UP. And as our theme song fades up to tell us we've run out of time, I want to thank our special guests, Viator Products Andrew Shmerler and Wolfe Mayer for being with us this evening. THEME FADES UP MORE. Lonnie Lai: This is your announcer, Lonnie Lai, saying Bon Voyage
Client: Parke-Davis In this program, we will present to the appropriate Parke- Davis sales representatives the findings of the Internationalcommittee For The Evaluation of Hypertriglyceridemia as a Vascular Risk Factor. This will be achieved by creating a program that is both informational and entertaining. The primary objective of the program is to spell out the conclusions reached by the committee. Secondary objectives communicated will include the three major classifications of hypertriglyceridemia, the causes of hypertriglyceridemia, and its treatment. The format of each tape will be that of a typical morning drive-time" radio show. As such, it will have a pair of hosts, show "regulars," and guests who will appear. We'll also hear news, weather, and traffic reports...perhaps even special commentaries. There will also be comic segments. This will in some way relate to the themes of the particular show. The outline shown on the next page will be used in all the shows. This approach will provide consistency from one show to the next and also allow the listeners to get to know the performers better. In this way, we don't have to provide the same exposition on every tape. For example, by tape two we will know who the characters are, what they're apt to do or say, and what's coming next. We won't have to expend added energy establishing their personalities. Some of them will appear in every show, some only sporadically. Our intent is to communicate two or three important objectives with each tape. This will be achieved with the carefully balanced mix of serious issues and intelligent humor. In each case, the serious forum will be presented first, while the humor will only re-enforce information. At no time, will the ethos of a doctor, pharmacist or Parke-Davis executive be compromised by being involved in any comedy. The humorous segments will be self-contained modules, which will be interpolated into the show while not disrupting the flow. Any humor between the show's two hosts will be merely banter or repartee. The Characters
THE SHOW OPENS WITH A THEME SONG, WHICH WILL PLAY FOR ABOUT 15 SECONDS. IT WILL INTRODUCE THE SHOW'S TWO HOSTS, JACK MOSS AND ROBERTA MILLER, AT WHICH POINT THE MUSIC WILL FADE QUICKLY OUT. Jack: Hi! I'm Jack Moss... Roberta: ...and I'm Roberta Miller, and you're listening to WPDS-AM in the AM. Jack: ...the only morning radio show that you can listen to any time of the day. Roberta: We keep you abreast of all the latest breaking news from the medical community... Jack:
Roberta:
Jack:
HE'S RUMAGING ABOUT. WE HEAR ALL SORTS OF APPROPRIATE SOUNDS Roberta: You found it? Jack:
SFX: DOOR OPENING SALES TRAINEE JIM FIBROZIL ENTERS. HE'S AN UNASSUMING, BUT EAGER TO LEARN SORT...A DRY SPONGE, ANXIOUS TO SOAK UP AS MUCH KNOWLEDGE AS POSSIBLE. Jim:
SFX: PHONE DIALING Jack: (into phone) Hi, is this Dr. Jan Worster? Voice: No, this is her secretary, Vivian. Jack: I need to speak with Dr. Worster. Voice: Do you have an appointment? Jack: No, I don't. Vivian:
(Following this segment, the tape comes back to the hosts, Jack and Roberta. After Jim asks the question, "How do you know when triglycerides are too high," we go into a news report with Scott Hailey, who introduces, Dr. Francis "Frank" Framingham. Dr. Framingham discusses the four separate classes of high triglycerides. Dr. Framingham is an older, somewhat eccentric sort, not a slapstick stereotype. Theinformation he'll disseminate will be done seriously. The action will take place in his lab, so we'll hear background sounds that will make the scene more interesting. An assistant can occasionally interrupt the Dr. with a lab question unrelated to the triglyceride discussion...something like, "Dr., the monkey's not in his cage," or "Einstein's brain wants to talk to you." After that, we'll return to the studio. Jim again will ask what types of treatment are prescribed for people with elevated triglyceride levels. Here Valerie Dwyer joins Roberta, Jack, and Jim, and she'll talk about an interview she had with a doctor, who gave her the five step treatment approach. Questions by the other three will amplify Valerie's answers. For example: when Valerie states that step one is to identify the cause of the elevated triglyceride, it will be revealed through questioning by the others that excess fat and simple carbohydrates are partly the reason, but there may be other reasons, such as genetic abnormalities. At this point, we'll take a commercial break, and the announcer can promote an upcoming episode of Doogie Schnauzer. We'll hear a brief snippet from the show, in which we soon find out that the show is in its 30th season on television. Doogie and Vinnie are still friends, but Doogie is forced to tell his long time friend he's got hypertriglyceridemia. Here, Doogie goes into a discussion of primary and secondary (or acquired) hypertriglyceridemia. After the commercial, Roberta brings us back to the show, and mentions they've been joined by a Parke-Davis executive in charge of sales training. Jim Fibrozil asks the question, I've been given the material, but what can I do with it?" At that point, a short, optional 15 second promo by Jack talks about upcoming tapes. Then, Roberta and Jack sign off. The show's music comes up and plays for 20 to 30 seconds and then fades out. |
