THIS IS AN AUTHENTICALLY AUTOGRAPHED LP BY BUD COLLYER..
BUD COLLYER ENTERTAINS WITH STORIES GAMES AND SONGS FROM HUMPTY DUMPTY'S MAGAZINE PUBLISHED BY PARENT'S MAGAZINE(RCA LBY 1015)PHOTO COVER IS SIGNED BY BUD COLLYER. CONDITION OF THE VINYL,COVER, AND AUTOGRAPH IS VERY GOOD.
Bud Collyer (born Clayton Johnson Heermance, Jr., June 18, 1908 – September 8, 1969) was an American radio actor/announcer who became one of the nation's first major television game show stars.
Collyer was born in New York City to Clayton Johnson Heermance and Caroline Collyer. He originally sought a career in the law and worked his way through Fordham University by acting in radio. Though he became a law clerk after his graduation, making as much in a month of radio as he did in a year of clerking convinced him to make broadcasting his career, changing his surname and becoming a familiar voice on all three major radio networks by 1940. Among others, his radio roles as Terry and the Pirates (Pat Ryan), Renfrew of the Mounted (the title role), and Abie's Irish Rose (the title role, again), not to mention announcing for a number of radio soap operas---including The Guiding Light and The Goldbergs, which was actually a serial comedy with dramatic overtones. But his best-remembered radio role arrived in early 1940: the title role in The Adventures of Superman on the Mutual Broadcasting System, a role he did in the 1940s radio drama and subsequent Superman cartoons. Collyer supplied the voices of both Superman and his alter ego Clark Kent. A highlight of every Superman episode was the moment when Clark Kent transformed into Superman, an effect which Collyer conveyed by shifting voices while speaking the immortal phrase "This looks like a job for Superman!". (Collyer's voice deepened by an octave while making the transition from one identity to the other.)
Collyer got his first helping of game shows when he co-hosted ABC's (the former NBC Blue network) Break the Bank with future Miss America Pageant mainstay Bert Parks; and, when he was picked to host the radio original of the Mark Goodson-Bill Todman team's first game, Winner Take All--the latter also becoming, in due course, the first hosting seat for another game show titan, Bill Cullen.
Collyer went on to host the television versions of both shows, but in 1950 he got the job which genuinely made him a household name: Beat the Clock, a stunt game show which pitted couples (usually, but not exclusively, married) against the clock in a race to perform silly (sometimes messy) tasks called "problems," the grand prizes for which usually came in terms of cash or home appliances. Collyer hosted the show for eleven years (1950-61), and co-produced it for part of its run.
Collyer did an excellent job keeping the show fast-paced; he spoke quickly and brightly, and was often moving around the stage as much as the contestants. Frequently Collyer would interrupt a stunt to offer helpful advice, or demonstrate a more efficient way to win the game. One of Collyer's trademarks on the show was securing his long-tubed stage microphone in his armpit (particularly while demonstrating the basics of a stunt for his contestants). He also typically wore bow ties, and liked to point out when contestants were 'bow tie guys' like himself, though initially, through the mid-1950s, he wore straight neckties most weeks. He enjoyed meeting families of contestants, and was fond of children. He would always ask about contestants' children, and sometimes would compare the number and sexes with that of his own family. When children were brought onstage with their parents, he would take time to talk to each of them and ask them what they wanted to be when they grew up, in a manner reminiscent of his contemporary, Art Linkletter.
At the height of the show's popularity, an installment of The Honeymooners (which surfaced years later, when Jackie Gleason released the so-called "Lost Episodes") featured blustery Ralph Kramden and scatterbrained Ed Norton appearing on and playing Beat the Clock. Unlike the show's familiar parody of The $64,000 Question (The $99,000 Answer), Gleason's Beat the Clock episode used the actual show and set, complete with the familiar large minute clock emblazoned with sponsor Sylvania's logo, and ending with Collyer and his famous sign-off: "Next time may be your time to beat the clock."
In 1956, Collyer became equally, if not more, familiar as the host of a new Goodson-Todman production, To Tell the Truth on CBS. This panel show featured four celebrities questioning three challengers all claiming to be the same person. Collyer would read an affidavit from the actual contestant, and then monitor the panel's cross-examination. Because the show depended on conversation instead of physical stunts, Collyer's demeanor on To Tell the Truth was much calmer and more avuncular than his fever-pitch performances on Beat the Clock. After the celebrities voted for their choices, Collyer intoned the famous phrase, "Will the real... John Doe... please... stand up." Collyer always employed pauses to build the suspense. Sometimes one or both impostors would pretend to stand up before the real contestant did, bringing a moment of last-minute suspense as well as a chuckle from Collyer. The sequence provided an especially riotous moment in 1962, when Collyer purred, with a particularly pronounced twinkle, "Will the real Bob Miller---please...stand up?" Two Bob Millers, both pitchers for the newborn New York Mets, rose.
Among the celebrities who served as To Tell the Truth panelists during the 14-year run of the show were Don Ameche, Orson Bean, Ralph Bellamy, Polly Bergen, Kitty Carlisle, Peggy Cass, Bert Convy, Hy Gardner, Phyllis Newman and Tom Poston. The show was popular enough to sustain a weekday version as well as a weekly evening version, and Collyer presided over both concurrently.
There was a side of Collyer's career that involved controversy. During his 1950s heyday with Beat the Clock and To Tell the Truth, he was a leader in an overtly anti-Communist faction of the New York chapter of the American Federation of Television and Radio Artists. That faction supported such publications as Red Channels (the famous list of 151 reputed Communists or reputed fellow travelers, as the term was then, in radio and television) and interest groups that shared the authors' politics---groups like AWARE, Inc. (co-founded, in fact, by the man who wrote Red Channels's introduction), purporting to screen broadcast performers for actual or alleged Communist ties, pressuring networks and advertisers to shun them under threat of boycott.