Yabba Dabba Doo! Alan Reed Story

If you're not old enough to remember radio's premiere pompous poet, Falstaff Openshaw, on The Fred Allen Show, perhaps you recall that rockhead, Fred Flintstone from The Flintstones, that modern stone age family from the town of Bedrock. Both voices (and more) came from the talented mouth of Alan Reed, one of the greatest personalities ever to light up radio, television and films.

This biography about Alan Reed (the only one that I am aware of) is a great book. My initial fear, upon receiving my copy from the publisher, was the 200 pages (of which 50 was an appendix of his work). The 150 page of biography was an enjoyable read. I probably learned more about Alan Reed (a.k.a. Teddy Bergman) than I would ever forget.

For the most part, the first three chapters is a reprint of an unpublished manuscript written by Alan Reed. He never completed what he started, so we get his early years in his own words. A reprint of Chuck Schaden's interview with Alan Reed is reprinted. His Broadway and Vaudeville days are documented. Alan Reed Jr. contributed biographical material about his father, including family photographs. Television, movies and his voice work are also documented. 

The appendix offers rare treats. Alan Reed's writings, poems, letters to and from Fred Allen, and an extensive list of his radio career round out the remaining pages. Archival telegrams, photographs, Flintstones merchandise and behind-the-scenes photographs from radio and television and Broadway are included.

While I do wish there was more about Alan Reed, this book was worth the cover price and comes recommended.

Words At War by Howard Blue

I have to admit that I hesitated reviewing this book. World War II isn't my expertise. And the author, Howard Blue, was extremely pushy and annoying about me buying his book. It sat on my shelf for the past year and I finally got around to reading it. I should have read it much sooner. While this is no definitive book on the subject of radio broadcasting during the Second World War, it is very good for what most people are going to expect when they discover the book.

With index, the book spans a little over 400 pages. It's nice to know that Scarecrow Press still seeks an interest in publishing books with merit.

For easy reference, each chapter (there are 20 of them) is devoted to a different aspect of the topic and theme. From the script writers, the actors, Norman Corwin's contributions, the U.S. Armed Forces, America's Allies, women taking part in radio propaganda, fighting intolerance and the postwar era, it's all here. The section about Stephen Vincent Benet was a personal pleasure as very little has been written about him. 

Radio programs like The Free Company and Everyman's Theater are covered only briefly, and I sense that the only information gained (versus the encyclopedic entries found in John Dunning's On The Air) are a few excerpts from the New York Times, and the notes at the conclusion of each chapter verified my fears: the author consulted a large number of successfully published books. He did do his homework and some apparent legwork. And if seeking a book that covers all the angles of radio broadcasting during World War II and provides some tidbits of trivia that will fascinate, this book will not disappoint.

My only two complaints. One, there are very few photographs. What the heck? Second, the book is padded with plot summaries from various obscure radio programs. While this can be a sprinkling of sugar on top of strawberries, the author failed to provide much detail. Usually listing only the month and year. Why not the exact broadcast date? Examples randomly picked by randomly opening the book: page 314, he describes the plot to "The Battle of the Warsaw Ghetto" from June 1943. Why not the exact broadcast date? On page 175 he describes the plot to Arthur Miller's "Lips for the Trumpet" on The Doctor Fights from July 1945. Why not the exact broadcast date? On page 300, he describes "The Bullet That's Going to Kill Hitler" from August 1942 from Labor From Victory. Why not the broadcast date?

To me, a reference book should be simply that. Reference. Padding a book with plot summaries for radio programs that are not available in recorded form is preserving something about our radio heritage. So why not provide the exact broadcast date? Or better yet, why not an appendix with titles and dates for episode guides from these same radio shows that the author felt was so important to include and highlight? In short, the book is an interesting read but leaves room for another tome that might provide a larger service to the old time radio community.