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 1
Encyclopedia of
American Radio,
¡920–¡960
Second edition
This page intentionally left blank
Encyclopedia of
American Radio,
1920–1960
Second edition

LUTHER F. SIES

Volume 1 : Introductions, How

to Use, Entries 1–28040 (A–R)

McFarland & Company, Inc., Publishers

Jefferson, North Carolina, and London
 To my family:
My mother and father, Hilda and Frank Sies,
my brother, Roger,
and especially my wife, Leora M. Sies,
without whose love, understanding, encouragement
and assistance it never could have been written.
The book is also dedicated
to those countless pioneering broadcasters,
many of whom, unfortunately, have been overlooked
and forgotten for too long.

ALSO OF INTEREST
The Encyclopedia of Women in Radio, 1920–1960,
by Luther F. Sies and Leora M. Sies
(McFarland, 2003)

Volume 1
LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA
Sies, Luther F.
Encyclopedia of American radio, ¡920–¡960 / Luther F. Sies — 2nd ed.
p. cm.
Includes bibliographical references and indexes.

ISBN 978-0-7864-2942-4
2 volume set : library binding : 50# alkaline paper

¡. Radio brodcasting — United States — Encyclopedias.

I. Title.
PN¡99¡.2.S57 2008 79¡.44097303 — dc22 2007036686

British Library cataloguing data are available

©2008 Luther F. Sies. All rights reserved

No part of this book may be reproduced or transmitted in any form

or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.

Manufactured in the United States of America

McFarland & Company, Inc., Publishers

Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com
 Acknowledgments

This book is the result of more than thirty years of col- Fan-Fare, Tower Radio, Radioland, Radio-Movie Guide, Radio
lecting printed materials about broadcasting and its perform- Album, Radio Stars, Radio Mirror and Radio-TV Mirror.
ers and tape recordings of radio programs and their perform- This work was also enhanced by the assistance provided
ers from its early “pioneer days through its golden age.” The me by the librarians at Columbia University’s Oral History Di-
author is privileged that his audio research materials are pre- vision; Broadcast Pioneers Library at the University of Mary-
served in the Luther F. Sies Radio Collection of the Rodgers land; Yivo Institute for Jewish Research; the Library of Con-
and Hammerstein Archive of Recorded Sound, New York Li- gress; New York City’s Library of the Performing Arts at
brary of the Performing Arts at Lincoln Center (Don Mc- Lincoln Center, New York City; and the Research Division of
Cormick, curator). Many people have helped me over the years the New York City Public Library.
and deserve my thanks. In addition, Ms. Kathryn Moore Stucker, Curator of the
I begin by acknowledging several significant sources that Lum and Abner Society Collection; George McWhorter, Cu-
contained valuable information. First, there was Eric rator of the Edgar Rice Borroughs’ Memorial Archive at the
Barnouw’s masterful three-volume history of American broad- University of Louisville; George French of the Metropolitan
casting: A Tower in Babel, The Golden Web and The Image Em- Washington Old-Time Radio Organization; Mike Mashon,
pire. Second, Gleason Archer’s basic radio histories, The His- Library of American Broadcasting, University of Maryland;
tory of Radio to ¡926 and Big Business and Radio, were Ronnie Pugh, Country Music Foundation; and Amelia Todd,
landmarks in scholarship that proved invaluable to me. Finally, Research Assistant, Oral History Research Division, Colum-
the book that probably best captures the flavor and spirit of bia University generously provided me with their time, help
Radio’s Golden Age is I Looked and I Listened by Ben Gross. and knowledge. Most important, my wife, Leora, provided me
The contemporary periodicals and annuals used most fre- valuable advise and assistance that made this book possible.
quently were: Her help was indispensable.
Useful information about old-time radio programs can
Broadcast Listener (¡926–¡927)
be found in Swartz and Reinehr’s Handbook of Old-Time
Broadcast Programs & News — San Francisco/Los Angeles (¡939)
Broadcast Program for the Pacific Coast (¡923) Radio: A Comprehensive Guide to Golden Age Radio Listening
Broadcast Weekly (¡925–¡93¡) and Collecting; Buxton and Owens’ The Big Broadcast—
Broadcasting (¡93¡–¡960) ¡920–¡950; and Dunning’s Tune in Yesterday: The Ultimate
Radio Age (¡924–¡927) Encyclopedia of Old-Time Radio, ¡925–¡970. The most accu-
Radio Broadcasting News (¡922–¡923) rate guide to program dates and comprehensive information
Radio Digest (in its various formats from ¡922 to ¡932) about network programming can be found in Hickerson’s New
Radio Guide: The Blue Book of Radio (¡925–¡926) Revised Ultimate History of Network Programming and Guide
Radio Guide (later Movie Radio Guide and, still later, to all Circulating Shows, Harrison B. Summers’ Thirty-Year
Television-Radio Guide History of Programs Carried on National Networks in the United
Radio Listeners’ Guide and Call Book (¡928)
States —¡926–¡956.
Radio Stories (¡925)
Radio Weekly Post (¡925) My gratitude to quote is due: WBBM — News Radio,
Copyright ¡988: WBBM Radio—Yesterday and Today by Chuck
Various issues were also used from such papers as the Shaden; May Broadcasting Company, Copyright ¡985: KMA
New York Times, New York Herald-Tribune and the Christian Radio—The First Sixty Years by Robert Birkby; and Rose-
Science Monitor when available. The same was true for certain mary Thurber, Copyright ©¡948 James Thurber, Copyright
issues of Rural Radio, Radio Varieties, Microphone, Tune-In, ©¡976 by Rosemary Thurber from “Soapland,” The Beast in

v
Acknowledgments vi

Me and Other Animals, published by Harcourt Brace & Com- others gave me. I am particularly appreciative of the data on
pany. stations tirelessly supplied to me by Jim Roggentine and the
Many broadcasters have helped me by generously provid- information about Iowa’s pioneer radio stations given to me
ing information and encouragement. Among these profession- by broadcast historian Rick Plummer. Hugh Carlson, Marsha
als were: Mark Halverson, WHO-TV; Mike Stocklin, Gen- Washington George, Frank Bequaert of Rainy Day Books,
eral Manager, KGEZ-AM; Joe Davis, Vice-President, WMCA; Ada Fitzsimmons, Dale Manesis, David G. Hintz, Radio Co-
Don Hansen, Station Manager and Jackie Willcoxon, Admin- ordinator of the Rock and Roll Hall of Fame and Museum and
istrative Assistant, KMA; Chris Berry, Director, News and Mrs. Tommy Smalls also were generous with their assistance.
Programming, WBBM; Roy Shapiro, Vice-President-General Dick Judge, Peter Kanze and Max Schmeid supplied me with
Manager, KYW; Dan Fabian, Vice-President-General Man- some important recorded materials. Dave Siegel also provided
ager, WGN; Ricci Filiar, Programming Administrator, WJR; me with hard to find program recordings and helpful advice.
Debbie Billinslea, Administrative Assistant, WHAS; James J. Finally, my special thanks go to Glenn McDonald, the grand-
Carter, Vice President-General Manager, WTAE; Gregory son of Gleason Archer and Polly Willis Archer, two broadcast-
Skaltas, Manager, KGU; Herndon Hasty, President, WDAF; ing pioneers. McDonald, a radio correspondent for United
Ed Greaney, WMC-TV News; Bob Meyer, Vice-President, Press, who covered the Viet Nam War among other assign-
WSM; Bruce Still Operations-Compliance Director, WCKY; ments, is not included in this book, because he was too young
Jane Graber, Promotions Director, KCMO; Jennifer Lawhorn, to have broadcast during Radio’s Golden Age. He was very
Public Relations O‡cer, WNYC; Judith Rose, Listener Ser- helpful to me by supplying me with many of the writings of
vice, WHA; Dave Pavlock, WWRO; Je›rey D. Greenhawt, Gleason Archer and, equally important, arranged for me to
WQAM; Granville Klink, Jr., Engineering Consultant, speak with his grandmother, Polly Willis Archer, who sang and
WTOP-Radio; Dick Pust, General Manager, KGY; Anne Di- played the piano on Chicago’s KYW in ¡923. My talks with
eters, WWJ; Ray Watson, Senior Vice-President-Division her were both inspiring and informative.
General Manager, KXL; Ken Fearnow, Vice President-Gen- The author also appreciates the assistance provided me
eral Manager, WOW; Maria L. Soll, Administrative Assistant, for the second edition by Bobb Lynes, Martin Tytun, Arthur
WOW; Rick Lewis, General Manager, WOI; Jill Schroth, Pro- Robinson of LaGrange College, John Mainelli, program di-
motions Director, WAAM; Randy Brown, Creative Director, rector, WOR, New York, New York. Katherine Cassels, Lori
KRLD-Texas State Network; Bob Meyer, Vice-President- Cassels, Jeanne Toomey, Marjorie Weinberg, Michael Henry,
General Manager, WSM; Cindy Wood, Administrative Assis- Robert C. Carroll and Harry Miller, who also were generous
tant, WSM; Dennis Sturtz, General Manager, KFUO; Doug with their time and generosity in providing information.
Brown, Program Director, WOI, Bob Bruno, Vice-President- Thanks also to Tom Davis and Bryan College Finally, I ap-
General Manager, WOR; John A. Gambling, formerly WOR; preciate the valuable advice and assistance given me by my
John R. Gambling, WOR; and Philip Eberly. brother and sister-in-law Roger F. Sies and Dr. Andrea Wargo.
Other professionals who made significant contributions Unfortunately, even in its expanded second edition the
to my work include : Mel Blanc, Norman Corwin, Bing book is still far from complete. It remains only a representa-
Crosby, Benny Goodman, Brent Gunts, Quincy Howe, tive sample of broadcasters’ work from ¡920 to ¡960. The same
Granville Klink, Jr., Ward Quaal, Harry Richman, Robert is true of the listings of broadcasters by category in Appendix
Lewis Shayon, Frank Sinatra, Rudy Vallee, Eddie Walker, B. The book, however, and the categories included demon-
Ireene Wicker and Polly Willis. Their help and well wishes strate the diversity of the work of pioneer broadcasters. The
were greatly appreciated. My contacts with these pioneer author welcomes other information about broadcasters and
broadcasters helped me put a human face on Radio’s Golden programs, as well as the correction of any errors of omission
Age. Regrettably, not all of them are now able to accept my or commission. Those with additions and corrections should
thanks. send them to the author in care of the publisher. All responses
The author is also grateful to the special assistance many will be answered with thanks.
 Table of Contents

— Volume 1 —
Acknowledgments v
Introduction to the First Edition 1
Introduction to the Second Edition 5
How to Use This Book 7
The Encyclopedia, A-R 9
(entries 1–28040)

— Volume 2 —
The Encyclopedia, S–Z 577
(entries 28041–35976)
Appendix A: Chronolog y, 1906–1960 783
Appendix B: Broadcasters by Category 789
Bibliography 903
Station Index 909
Program Index 944
Name Index 993

vii
This page intentionally left blank
 Introduction to the First Edition

Radio was magic. There were no wires or phonograph posite each station give the distance in miles from his location. The
records. Music and voices just came out of the air into the home. total score is found by adding up the miles thus listed. In order to
For many Americans in ¡922, at least, it seemed like magic to make the game interesting, and permit a great number of persons
to participate, it is suggested that only such stations be listed as
hear these enchanted sounds pulled out of the air and coming have been heard on detector tube, without amplification except
from a piece of living room furniture. Other listeners picked that obtained by regenerative action of tickler coil or similar re-
the sounds from out of the air by delicately tuning the “cat’s generation. The distance between your station and the one heard
whiskers” of their tiny crystal receivers. These crystal receiv- can be easily estimated by scaling the distance on an ordinary map.
ing sets worked most of the time. If the set did go dead, the Some of the radio golf scores the issue contained were:
owner frantically moved the “cat’s whisker” to another part of
Milton L. Johnson, Atchison, Kansas 83,470
the crystal. If he still couldn’t hear anything, he added a drop
L.C. Davis, Berea, Kentucky 7¡, 345
of rubbing alcohol to the crystal and, as a last resort, he might Frank H. Jones, Tuinucu, Cuba 65,000
even bake the crystal in the oven for a few minutes.
Radio provided an exciting new experience for listeners. DX-ing in its many forms excited radio’s listeners.
Many Americans found romance, thrills and excitement in it. Annual radio sales soared. The $842,548,000 sales of
Nothing caught the imagination of Americans in the second radio sets in ¡929 was an increase over the ¡922 figures of
decade of the twentieth century as much as radio. Variety’s ¡,400 per cent (Allen, ¡93¡, p. ¡65):
front page headline on March ¡0, ¡922 read: RADIO SWEEP- ¡922 $60,000,000 ¡926 $506,000,000
ING COUNTRY —¡,000,000 SETS IN USE. Frederick ¡923 $¡36,000,000 ¡927 $425,600,000
¡924 $358,000,000 ¡928 $650,550,000
Lewis Allen has noted that although there was no such thing
¡925 $430,000,000 ¡929 $842,548,000
as radio in the autumn of ¡920, by ¡922 radio had become a
craze (Allen, ¡93¡, p. ¡65). Always aware of the changing patterns of show business
Early radio stations broadcast for only a few hours each and entertainment in general, Variety began to carry articles
day and many of them didn’t broadcast during daytime hours. about broadcasting from radio’s earliest days. The first formal
Others for many years didn’t broadcast on Sunday. Although reviews of radio programs, however, did not begin until Jan-
at first Americans could only listen a few hours a day, they uary 7, ¡93¡, when their “Radio Reports” page first appeared
found what they heard fascinating and wanted more. Soon with reviews of Phil Spitalny and his orchestra, Ted Lewis, Gus
they got it. Dunston’s Radio Log and Call Book for ¡926 re- Van and others.
ported that station WEAF (New York, NY) was broadcastings If radio reflected the life-styles of Americans, it also
an average of seven hours a day, excluding Sunday, and that changed the way they thought, acted and, even, how they
hundreds of stations were on the air. spoke. Taken for granted until it had virtually disappeared,
DX-ing, the practice of listening for stations from dis- radio’s Golden Age was a cornucopia of creativity and talent
tant cities, became a popular pastime for many listeners. Vari- that both entertained a people and reflected their life-styles for
ations on the practice of Radio Golf also became popular. almost 50 years. Radio broadcasting entertained, informed
Radio Broadcasting News ( January 6, ¡923, p.¡4) described and maintained morale during the Great Depression, World
Radio Golf for its readers in this way: War II and into the burgeoning post-war period. In the Fifties,
radio fought an unsuccessful rear guard action against televi-
The game [Radio Golf ] was suggested by Frank H. Jones of Tu-
inucu, Cuba. It is a gentlemen’s game and each person keeps his sion, only to lose its stars, programs, advertisers and much of
own score. The method of scoring is as follows: its audience to that medium, much as vaudeville years before
Let each person make a list of the stations he has heard, and op- had succumbed to radio and motion pictures.

1
Introduction to the First Edition 2

For many Americans, mystery, adventure and some chil- gone o› the air. Perhaps this book will help to preserve the
dren’s programs provided vicarious thrills and excitement, memories of that era.
being virtual auditory comic strips. Radio was at its best with A note on the book’s organization: American radio began
its comedy, music and dramatic programming. The birth of with the work of individual performers. There were few, if
broadcast journalism as we know it today can be found in the any, programs in the beginning. Singers, musicians, readers,
development of great radio news gathering organizations and monologists and announcers were some of the varied perform-
the broadcasting of momentous events (the Munich Crisis, D- ers who broadcast in radio’s early years. Announcers were the
Day and FDR’s death, etc.). Not only did radio entertain, in- first important figures. They seemed to be glamorous, roman-
form and maintain morale through both the vicissitudes and tic and mysterious figures. In the early days they were
happy periods of four decades, but it did so at no charge to its identified only by initials — not always their own. Famous an-
listeners other than the initial purchase of a receiver. nouncer Tommy Cowan, for example, identified himself on
Some critics have suggested that radio introduced greater the air as AAC.
informality into national life. If so, a similar transformation There were only a few programs broadcast during radio’s
can also be seen in the transition of radio’s formal manners first decade. Individual performers predominated. True, there
(performing in full-dress to broadcast) and the use of overly were a few early programs such as the Eveready Hour and the
precise articulation in its early days to the changes reflected by Nighthawk Frolic, but they were exceptions. It was the growth
Bing Crosby’s floral sports shirts, his casual conversational and development of network radio — what they called “chains”
broadcast style and his use of magnetic recording tape on his in the early days — that helped usher in the use of the “pro-
broadcasts. In some instances radio programs appeared to gram” format. It was not until the end of the medium’s first
change listener behavior. One example is that of daytime se- decade that the networks began to play a major role in broad-
rials (“soap operas”), where the Behavior Modification tech- casting. Although the network programming concept was well
nique known as “modeling” provided some possible solutions established by ¡929, some una‡liated stations continued to
for many women facing their own real personal problems. present individuals as their basic programming unit. In order
Radio, like comic strips and jazz, was an uniquely Amer- to reflect the nature of American radio as it developed, this
ican contribution, although other nations did make a few no- book arbitrarily assigned that year (¡929) as the last one that
table contributions to its development. American radio’s individual performers were a significant programming unit.
Golden Age entertained, transmitted information and main- Beginning with ¡930, programs are considered the basic pro-
tained morale with an e‡ciency and elan never duplicated be- gramming unit.
fore or since. For example, neither radio, nor television broad- Entries prior to ¡930, therefore, reflect the work of an-
casting during the Korean or Viet Nam wars provided a nouncers, singers, musicians, vocal and instrumental groups,
fraction of the positive morale boosting that radio provided newscasters and commentators and actors individually. Pro-
during World War II. gram entries, on the other hand, are included from their ear-
Although the work of famous radio performers such as liest appearance to ¡960. After ¡929, individual entries are
Jack Benny, Fred Allen and Bing Crosby and their programs made only for newscasters, commentators, female commenta-
have been preserved on recordings and discussed extensively, tors and home economists, DJs, singers, musicians, vocal
there were thousands of other performers and hundreds of groups and bands providing they had their own programs. If
programs that have gone largely unnoticed. Unfortunately, as they appeared on another program, their work is recorded as
time passes memories fade and printed records disappear or de- part of the entry for that programming unit. Such a pattern
teriorate. The author has seen many important printed source of organization reflects the structure of the growth and devel-
materials literally crumble into dust, because they were not opment of American radio from its beginning.
preserved by microfilming for the use of future scholars. This Separate entries are included for special topics* such as:
book attempts to record the work of some of those broadcast-
ers and the programs they broadcast from ¡922 to ¡960. It ar- BLACK RADIO
bitrarily ends at ¡960, because it ends a significant era in Amer- BORDER RADIO
CHARLATANS, DEMAGOGS AND POLITICIANS
ican radio history. By that time, not only had many comedians
CHRONOLOGY, ¡906–¡960 (APPENDIX A)
and programs made the transition from radio to television. Al- COMMERCIALS
most all the old favorite radio shows had gone o› the air. COUNTRY-WESTERN (CW) MUSIC
Then, too, when the radio was turned on instead of hearing DAYTIME SERIALS (“SOAP OPERAS”)
the music of Les Brown or Benny Goodman, it was more likely DRAMA
to be a group with a name like Mama Ego and the Little Ids. FOREIGN LANGUAGE BROADCASTS
One era of radio clearly had ended. By that time, not only had MUSIC ON RADIO
many comedians and programs made the transition from radio NETWORKS
to television, but almost all the old favorite radio shows had NEWS ON RADIO

*See Intoduction to the Second Edition, following, for additional special topics.
 3 Introduction to the First Edition

OPERA TRANSCRIPTIONS
RELIGIOUS BROADCASTING WARTIME RADIO
ROCK AND ROLL HALL OF FAME AND MUSEUM
SOUND EFFECTS Further information on format may be found in the
SPORTS “How to Use This Book” section.
STATIONS—GROWTH AND DEVELOPMENT
This page intentionally left blank
 Introduction to the Second Edition

The present volume is a revised, expanded and corrected elists; Investment Advice; Language Teachers; Miscellaneous
edition of the Encyclopedia of America Radio, ¡920–¡960. This Philosophers; Monologists; Music Appreciation and Music
second edition includes ¡0 additional extended entries: Amer- Talks; Musical Comb Performers; Musical Glass Virtuoso;
ican Traitors on Radio; Comediennes; Gender Discrimination Musical Saw Performers; Musicians (men); Musicians
on Radio; Holidays on Radio; Husband and Wife Talk Shows; (women); Newscasters and Commentators (men); Newscast-
Minstrel Shows, Vaudeville, Burlesque and Radio; Scopes ers and Commentators (women); Orchestras and Bands; Par-
“Monkey” Trial Broadcasts (¡925); Singers — Crooners, Ca- ent Education and Child Guidance; Personal Problems Advis-
naries, Country Belles, Cow Girls and Hillbillies; Superheroes ers; Pets; Piano Lessons; Popular Singers (men); Popular
on Radio; and Women Pioneers of Radio. Singers (women); Producers and Directors; Publicity; Quiz
Other additions are various supplementary information and Talk Panelists; Quiz Masters; Radio, Broadway and Hol-
included in the Chronology (Appendix A) and Appendix B lywood News and Gossip; Readers; Religious; Singers — Con-
that includes 83 categories of broadcasters: Actors; Actresses; cert and Operatic; Singing Lessons; Singing Teams — Duets,
Advice to the Lovelorn; Announcers and Program Hostesses Trios, Quartets and Quintets; Small Music Groups; Sound
(women); Announcers and Program Hosts (men); Astrologists, E›ects; Sportscasters; Station Owners; Studio Hostesses;
Mentalists and Numerologists; Aunts; Aviation Talks; Band Swimming Lessons; Travel Talks; Ukulele Lessons; Uncles;
and Orchestra Leaders (women); Band and Orchestra Lead- Weathermen; Women’s Exercise Programs; World War II In-
ers (men); Book Reviewers; Bridge Experts; Children’ Pro- formation; Writers; and Yodelers.
gram Performers; Choral Directors; Choruses; COM-HE; Unfortunately, even in its second edition the book is far
Comedians and Comic Actors; Comedy Teams; Comediennes from complete. It remains only a representative sample of
and Comic Actresses; Corillion Players; CW Singers (men); broadcasters’ work from ¡920 to ¡960. The same is true of the
CW Singers (women); CW Vocal and Instrumental Groups; listings of broadcasters by category in Appendix B. The cate-
Dancers; Dancing Lessons; Daytime Serial Actors (men); Day- gories, however, demonstrate the diversity of the work of pi-
time Serial Actresses (women); DJs (men); DJs (women); Dra- oneer broadcasters. The author welcomes other information
matic Companies; Educational and Self-Improvement; Exec- about broadcasters or programs, as well as correction of any
utives and Management; Gardening and Agriculture; errors of omission or commission. Those with additions and
Graphologists; Health and Nutrition; Hunting and Explo- corrections should send them to the authors in care of the
ration; Husband and Wife Teams; Imitators and Imperson- publisher. All responses will be answered with thanks.
ators; Inspirational Talks; Interviewers, Moderators and Pan-

5
This page intentionally left blank
 How to Use This Book

An explanation of the selection, content and the order of During radio’s first decade, individual broadcasters such
this book’s entries should be useful when seeking information as announcers, musicians, singers, readers, etc. are given indi-
on specific performers or programs. Entries for all individual vidual entries, because performers, not programs, were the
performers prior to ¡930 and newscasters, commentators, basic broadcasting unit. There were few programs listed as such
singers, vocal and instrumental groups, DJs, female commen- in the ¡920s. Later, when programs became the basic unit, en-
tators and home economists with their own programs are listed tries are made for programs, with any individuals who ap-
alphabetically by surname: peared on them included in the entry.
For example, in the ¡920s Will Rogers receives an indi-
Bertha Brainard as Brainard, Bertha
vidual entry for his broadcast appearances. In the next decade,
Thomas Cowan as Cowan, Thomas
Alan Freed as Freed, Alan however, when he was a regular performer on the Gulf Oil Pro-
gram in ¡933, his work is included in the Gulf Oil Program
All programs are listed alphabetically by title, excluding entry. Another example should su‡ce: The Jack Benny Show
articles such as a, an and the: entry includes mention of Mary Livingstone, Phil Harris,
Dennis Day, Mel Blanc, Don Wilson and, of course, Benny.
A Date with Judy as (A) Date with Judy
The program’s announcer, Don Wilson, receives a separate
The Chamber Music Society as (The) Chamber Music Society
of Lower Basin Street of Lower Basin Street entry because of his work in the ¡920s.
The Fred Allen Show as (The) Fred Allen Show Entries for newscasters, news commentators, sportscast-
Grand Central Station as Grand Central Station ers and orchestra leaders are not biographical. Instead, entries
focus primarily on their verified professional broadcasting ap-
The work of individual performers after ¡929 without a pearances. In some instances, chronological gaps in a broad-
program of their own are included in the specific entries for caster’s work might reflect job changes, military service or ill-
the programs on which they worked. Many broadcasters used ness.
professional names instead of their own given names. When A note about a program’s duration, time and date of
known their given surname is provided in parentheses: broadcast and the network or station on which it appeared is
Alan Reed (Teddy Bergman) necessary. A typical information line in a program entry in-
Mike Wallace (Myron Wallace) cludes information such as duration, day of broadcast, time
Lee Stevens (Ad Weinert) of broadcast, station and its location and year of broadcast,
when the information is available. Typically, it would be:
The index should always be used in case there are several
entries that might provide information about an individual’s (¡5 min., Tuesday, 6:00–6:¡5 P.M., WBAL, Baltimore, MD,
work. ¡935).
Radio stations during the years covered appeared, disap- Finally, the length of time a program was broadcast is supplied
peared and changed locations only to reappear later with when available. The best source for the years the programs
di›erent call letters. The initial listing of a station in any entry were on the air is Jay Hickerson’s (¡996)The New Revised Ul-
includes its geographical location at the time it is discussed: timate History of Network Radio Programming and Guide to All
WBAL (Baltimore, MD) WEAF (New York, NY) Circulating Shows and Harrison B. Summers’ (¡958) Thirty-
WGN (Chicago, IL) WMAQ (Chicago, IL) Year History of Programs Carried on National Networks in the
WJZ (New York, NY) United States —¡926–¡956.

7
How to Use This Book 8

Style and abbreviations used in entries usually follow Network abbreviations used were:
standard practices with few exceptions. Musical programming,
AFRS Armed Forces Radio
the instrumentation of radio bands and program types are ex- ABC American Broadcasting Company
ceptions. ABS Amalgamated Broadcasting System
Programs are designated as: CBS Columbia Broadcasting System
inst. mus. prg. Instrumental Music Program MBS Mutual Broadcasting System
vcl. mus. prg. Vocal Music Program NBC National Broadcasting Company
syn. Syndicated TN Texas Network
trans. Transcribed TQN Texas Quality Network
YN Yankee Network
Abbreviations used to identify orchestral instrumenta-
Women in early radio did not always receive the recog-
tion are as follows:
nition they deserved. At times, knowledgeable female com-
a. arranger mentators were lumped together and designated as “home
acc. accordion economists,” when they conducted “women’s programs.” In
as. alto saxophone order to alleviate this somewhat, the designation —
bar. baritone saxophone COM/HE — is used here to identif y the broadcaster as
bj. banjo
either/or a “commentator,” “home economist,” or both.
bh. bass horn
bss. bassoon An explanation of the language found in this book may
bsx. bass saxophone be useful for those who think some of it insensitive. The lan-
cnm. concertmaster guage used reflects that found in the original sources or peri-
con. conductor odical accounts. An example is the weekly broadcast schedule
c. cornet published for its listeners by station KSTP (St. Paul, MN). It
clr. clarinet illustrates the language that was in general use in ¡928:
dir. director or directed by
d. drums Uncle Tom, baritone soloist, will sing two Negro spirituals on
the Dusk in Dixie program to be broadcast from KSTP, the Na-
eh. English horn tional Battery Station, Sunday, November ¡5 between 8:00 and
elg. electric guitar 8:30 P.M. He has selected “Going Up” and “Ride On Moses” as
f. flute his o›erings for this weekly period of southern music.
g. guitar As usual the program will open with the stirring strains of
h. horn “Dixie” and the half hour will include:
ha. harmonica Orchestra — The Racoon and the Bee — Beyer
hp. harp Orchestra — Reminiscences of the South — Solomon
ldr. leader Baritone Solo — Going Up
m. melophone Orchestra — A Little Bit of Honey — Bond
o. oboe Orchestra — A Pickaninny Patrol — Strauss
Baritone Solo — Ride on Moses
or. organ Orchestra — Frolic of the Coons
p. piano
pac. piano accordion In quoting such sources the intent is not to disregard
pe. percussion significant changes to our language that have occurred through
pi. piccolo the twentieth century, but to record broadcasting history with
s. saxophone the greatest possible accuracy. At times, however, even origi-
sb. string bass
nal sources should be questioned as to their accuracy.
ss. soprano saxophone
stg. steel guitar Although original sources are considered the most accu-
t. trumpet rate basis for information, at times it was necessary to attempt
tba. tuba verification by cross-checking sources. Sometimes even well re-
tb. trombone spected sources contained obvious errors. For example, one of
ts. tenor saxophone them had a listing for the D’Orsey Orchestra that actually was
ty. tympani for a Tommy Dorsey remote broadcast. When original sources
u. ukulele were in conflict about the spelling of a name and no defini-
v. violin tive verification was available, possible spelling variations are
vc. violoncello provided; for example:
vb. vibraphone
vl. viola Gabrilowitsch, Ossip [Ossyp]
vcls. vocals Gaslight Gayeties [Gaities]
x. xylophone Goodelle, Niela [Nina].
 The Encyclopedia

1 (The) A&P Bandwagon. “Song Bird of advice was provided persons who were willing 15 Abbe, James. Newscaster (KWYO,
the South” Kate Smith was host of the A&P to tell their stories on the air. The program was Sheridan, WY, 1940–1941; KGW, Portland,
Bandwagon, a variety program sponsored by sponsored by Chase and Sanborn Coffee. After OR, 1944; James Abbe Observes, KGO, San
the A&P Food Company. Variety said the pro- only a short time on the air, the New York State Francisco, CA, 1946–1947; James Abbe Observes
gram’s chief purpose was to break the time- Supreme Court issued a statement that pre- the News, KSJO, San Jose, CA, 1949).
spot supremacy long held by Rudy Vallee’s vented all New York lawyers and judges from 16 Abbey, Eleanor. Actress in the Aunt
Fleishmann Hour. Although never a serious appearing on the program. The show then left Jenny daytime serial.
threat to Vallee’s popularity, the A&P Band- the air (30 min., Weekly, NBC, 1936). See A.L. 17 Abbey, Jean. COM-HE (Shopping
wagon did present entertaining variety fare Alexander’s Mediation Board Talk, 15 min., Monday, 9:00–9:15 A.M., WJR,
along with Smith’s beautiful singing voice. Co- 6 A.L. Alexander’s Mediation Board Detroit, MI, 1935).
medians Clyde Hager and Henny Youngman (aka A.L. Alexander’s Arbitration Program). 18 Abbott, Ade. Sportscaster (KGAR,
appeared on the program as guests. Jack Miller’s Alexander, who had previously produced and Tucson, AZ, 1938–1939).
orchestra and announcers Andre Baruch and moderated A.L. Alexander’s Good Will Court
Ted Collins were also program regulars (60 19 Abbott, Betty. “Girl baritone” (KHJ,
program, conducted this one where a judgment Los Angeles, CA, 1925).
min., Thursday, 8:00–9:00 P.M., CBS, 1936). was reached by a board of four arbitrators. In-
2 A&P Coffee Time. Kate Smith sang and 20 Abbott, Bill. Announcer (WMBD,
stead of the lawyers he had used in his previ-
hosted the variety program, backed by the Jack Peoria, IL, 1925).
ous series, Alexander this time used a panel of
Miller Orchestra. Frank Galop was the an- educators and social workers, since a New York 21 Abbott, Bob. DJ (1480 Club, KAUS,
nouncer (15 min., Tuesday through Thursday, lawyers’ group had protested against his previ- Austin, MN, 1948–1952; KMMT Austin, MN,
7:30–7:45 P.M., CBS, 1935). ous Alexander’s Good Will Court program. The 1955. Newscaster: KMMT, 1955).
3 (The) A&P Gypsies (Orchestra). WEAF sustaining program originated from New York 22 Abbott, Bud. DJ (Abbott Habit,
(New York, NY) broadcast the first radio ap- City (60 min., Friday, 9:00–10:00 P.M., WHN, WHAS Louisville, KY, 1949).
pearance of the pioneer radio orchestra in 1923. New York, NY, 1939). 23 Abbott, Carroll. Sportscaster (KERV,
When they played on WOO (Philadelphia, PA) 7 Aaker, Tom. Newscaster (KROC, Kerrville, TX, 1956).
in 1925, the A&P Gypsies contained only five Rochester, MN, 1960). 24 Abbott, Dotty. COM-HE (KIMO,
string players led by Henry Horlick. The Gyp- 8 Aalbu Sisters. Veteran vaudeville Independence, MO, 1955–1958).
sies eventually grew into a 32-piece concert or- singing team, Vera and Aileen, were radio pi- 25 Abbott, Ed. Newscaster (WCCO,
chestra sponsored, of course, by the A&P Food oneers (WCCO, Minneappolis–St. Paul, MN, Minneapolis, MN, 1939).
Company. Jessica Dragonette occasionally sang 1925). 26 Abbott, George. Sportscaster (Speak-
with the orchestra in 1927. The program was 9 Aanderson, Bob. Sports (The Sports ing of Sports, KOLN, Lincoln, NE, 1949).
announced, first, by Phil Carlin and, later, by Show, WNOP, Newport, KY, 1960). 27 Abbott, George. DJ (KDFM, Beau-
Ed Thorgersen. Typical songs featured were mont, TX, 1960).
“Shadows of the East” and “Black Eyes.” 10 Aaroe, Alden. Newscaster (WCHV,
Charlottesville, VA, 1939–1941). 28 Abbott, Grace. Miss Abbott broadcast
In 1930, the A&P Gypsies were a 27-piece
11 Aaronson, Irving. Orchestra leader talks for mothers on her Your Child program
concert orchestra with vocalists, including tenor
(Irving Aaronson and his Commanders, KFWB, (WJZ, New York, NY, 1927).
Oliver Smith, a male vocal quartet and a string
sextet. Milton J. Cross was the announcer (60 Hollywood, CA, 1929; Irving Aaronson Orches- 29 Abbott, Gregory. Newscaster (WINS,
min., Monday, 8:30–9:30 P. M., NBC-Red, tra, NBC, 1935; WOR , Newark, NJ, 1936; New York, NY, 1942).
1930). Later, tenor Frank Parker and bass Emile WOR, 1942). 30 Abbott, Jim. DJ (Money for Music,
Cote sang with the Gypsies. Tenor Jan Peerce 12 Abaray, John. DJ (WBIS, Bristol, CT, KFDA, Amarillo, TX, 1954. Newscaster
and the blackface comedy team of Molasses and 1960). (KTVT Dallas-Fort Worth, TX, 1960). Sports-
January were program regulars in 1932. Tenor 13 Abas, Nathan. Director, Nathan Abas’s caster (KFDA, 1954).
Ben Klassen replaced Jan Peerce in 1935. Hotel Pennsylvania Orchestra (WJZ, New 31 Abbott, Judith. Newscaster (WNEW,
4 A&P Gypsy String Ensemble. Classical York, NY, 1925). Violin soloist (KPO, San New York, NY, 1938).
music group composed of members of the A&P Francisco, CA, 1927). 32 Abbott, Nellie G. Violinist (WFI,
Gypsies Orchestra (WCAE, Pittsburgh, PA, 14 Abas String Quartet. Instrumental Philadelphia, PA, 1923).
1925.) group including Nathan Abas, violinist; Julian 33 Abbott, Tom. Newscaster (WNOE,
5 A.L. Alexander’s Good Will Court (aka Brodetzky, violinist; Michel Penha, cellist; New Orleans, LA, 1946; WJMR, New Orleans,
Goodwill Court). A.L. Alexander conducted Roman Joseph Verney, viola (KPO, San Fran- LA, 1952–1954). DJ (1450 Radio Row, WNOE,
the informative program on which free legal cisco, CA, 1929). 1948).

9
34–77 (Abbott • Accoke) 10

34 Abbott, Walt. DJ (Morning Varieties, 40 ABC Safety Club. The program, in- bridge, Amanda Randolph, Alan Reed (Teddy
KCSB San Bernardino, CA, 1952; Sentimental tended for children ages three to twelve, sought Bergman), Marion Shockley, Menasha Skul-
Journey, KFOX , Long Beach, CA, 1954). to teach the need for safety. Emphasis was nik, Sydney Smith, Julie Stevens, Fred Sullivan,
35 (The) Abbott and Costello Show. The placed on watching out for traffic on the way Ann Thomas, Marion White and Betty Win-
ex-vaudeville and burlesque team of Bud Ab- to school, not playing with matches and avoid- kler. The writer was Morton Friedman. The
bott and Lou Costello survived and flourished ing scalding hot water from the faucet (KVOO, directors were Joe Rines and Rip Van Runkle.
during the age of radio and television. They Tulsa, OK, 1927). Paul Douglas was the announcer (30 min., Sat-
also starred in numerous motion pictures, often 41 Abdou, Gloria. COM-HE (WCAE, urday, 8:00–8:30 P.M., NBC-Red, New York,
doing little more than repeating their old Pittsburgh, PA, 1956–1957). NY, 1942).
vaudeville routines. One of the typical bur- 42 (The) Abe Burrows Show. Versatile 61 Abiowich [Ablowich], Jr., Dave. An-
lesque gags they used was: comedian-writer-composer Burrows was fea- nouncer (KFPM, Greenville, TX, 1926).
LOU: Where do all the little bugs go? tured on the 15-minute comedy program. The 62 Ableman, Berwyn. Sportscaster
BUD: Search me. talented Burrows mixed his funny commentary (WPDR, Portage, WA, 1953). Newscaster
The boys began working as a team in 1936. with performances of his own compositions. (WPDR, 1960). DJ (WPDR, 1955).
They made their radio debut on the Kate Smith He performed his comedy routines and sang 63 “ABN.” Designation for Bertha
Show in 1938 and continued appearing there his song creations accompanied by the Milton Brainard, announcer at WJZ in the early 1920s.
through 1940, when their own show first ap- DeLugg Quartet. The program ran for only 29 It was during this period that announcers were
peared as a summer replacement. It became a weeks (15 min., P.M., CBS, 1948). known only as initials, not always their own.
network feature in 1942. 43 Abee, James. Newscaster (KGW-KEX, When listeners inquired as to the identify of
They introduced their famous “Who’s on Portland, OR, 1942). announcers, they might receive a letter such as
First?” routine in 1938, a routine they had used 44 Abel, Chuck. DJ (Tuneville Trolley, that typically sent by WHAS, Louisville, KY
years before on stage. Costello’s trademark was KAMD, Camden, AR, 1955). (Harris, 1937, p. 86).
his plaintive call: “H-e-y-y Abb-ott.” Writers 45 Abel, Thelma. Soprano (WEMC, Bar- Dear Madam:
for the program were: Ed Cherkose, Paul Con- rien Springs, MI, 1925). It is against the rules of this radio station
lan, Pat Costello, Don Pringle, Martin A. Ra- 46 Abele, Dorothy. Vocalist (Dorothy Abele, to divulge the name of our announcer.
gaway and Len Stern. The orchestras that per- vcl. mus. program, WMBD, Peoria, IL, 1936). With deep regret, I am ——.
formed on their NBC program were led by See Brainard, Bertha.
47 Abell, Fran. DJ (G.A. Bargain Show,
Will Osborne, Leith Stevens and Skinnay 64 Abner, A.K. Newscaster (Round Town
KBOX, Modesto, CA, 1952; KMOD,
Ennis, featuring such vocalists as Marilyn Reporter, KFJI, Klamath Falls, OR, 1954).
Modesto, CA, 1954).
Maxwell and Connie Haines. Ken Niles was
the announcer. Sound effects were produced 48 Abell, Mike. DJ (Sunday Serenade, 65 Aborbasell, Lisa. Miss Aborbasell was
by Floyd Caton (30 min., ABC and NBC, WLBN, Lebanon, KY, 1960). an opera star who appeared on the Edison Hour
1940–1949). On their ABC program, they fea- 49 Abell, O.L. Announcer (WWL, New Program (WRNY, New York, NY, 1926).
tured vocalist Susan Miller and the Matty Mal- Orleans, LA, 1925). 66 Abramchik, William. Newscaster
neck Orchestra. Michael Roy was the an- 50 Abeloff, Irvin G. Newscaster (WRVA, (WEDC, Chicago, IL, 1944).
nouncer. Richmond, VA, 1937–1938). 67 Abramo, Joe. Leader (Joe Abramo’s
36 (The) Abbott and Costello Kids Show. 51 Abels, Ed. Newscaster (Comments on Strings, mus. prg., WHDH, Boston, MA, 1939).
Abbott and Costello hosted the Saturday Local Affairs, KLWN, Lawrence, KS, 1952– 68 Abrams, Jr., Al. Newscaster (WEDO,
morning program for children. Young talent 1955). DJ (KLWN, 1955). McKeesport, PA, 1957).
appeared on the program that also included 52 Abels, Richard. Newscaster (WPAR, 69 Abrams, Irwin. Leader-violinist
quizzes and games (30 min., Saturday A.M., Parkersburg, WV, 1941). (Irwin Abram’s Band broadcasting from New
ABC, 1947–1949). 53 Aber, E.D. Announcer (WMBH, York’s Hotel Manger in 1927). Abram’s band
37 (The) Abbott Mysteries. Helbros Watch Joplin, MO, 1925). was a popular recording orchestra whose per-
Company sponsored the mystery program that 54 Abercrombie, (Mrs.) C.W. Organist- sonnel included: Julian Hess, t.; Louis Harmin,
Variety called a weak imitation of The Thin pianist (KMA, Shenandoah, IA, 1928). tb.; Les Crumbacher, Otto Tucker and James
Man. Adapted from the “Pat Abbott” novels of Imberman, ts.; Jules Towers and Glenn Wake-
55 Abergh’s Concert Ensemble. Popular
Frances Crane, Howard Merrill wrote the radio man, clr.; Fred Bilotti, violin; Elliott Jacoby, p.;
radio group (WLS, Chicago, IL, mid–1920s).
scripts and Roger Bower directed the program. Joe Fellini, bj.; Albert R. Smith, tba.; and Fred
The program began as Helbros’ summer re- 56 Abernathy, Helen. COM-HE (WKSR, Bauer, d.
placement for Quick as a Flash on MBS. When Pulaski, TN, 1957).
70 Abrams, Morrie. Vocalist billed as
the program returned to the air on NBC in 57 Abernathy, Matsy. COM-HE (WEEB, Maurice, The Singer of Romance on his vcl. mus.
1954, it was renamed The Adventures of the Ab- Southern Pines, NC, 1954). prg. (NBC, 1935).
botts. Chuck Webster and Julie Stevens were 58 Abernethy, Robert. Newscaster (News 71 Abrams, Terry. Sportscaster (WHIM,
the first to play Pat Abbott, a smart-aleck pri- on the Hour, NBC, 1950). Bloomsburg, PA, 1956).
vate detective and his wife, Jean, who managed 59 Abeyta, Vergie. COM-HE (KGGM, 72 Abramson, Mildred J. COM-HE
each week to bicker their way to the successful Albuquerque, NM, 1956–1957). (WROW, Albany, NY, 1960).
solution of a murder mystery. Les Tremayne 60 Abie’s Irish Rose. The situation com-
and Alice Reinheart later played the title roles. 73 Abrens, Walter. Baritone (Walter Abrens,
edy sponsored by Drene shampoo was first vcl. mus. prg., WOR, Newark, NJ, 1934).
Also in the cast were: Elspeth Eric, Ted Os- broadcast in 1942. It was based on the popu-
borne, Jean Ellyn, Luis Van Rooten, Sidney lar, long-running Broadway play by the same 74 Abromavich, Karin. DJ (Coffee with
Slon and Louis Sorin. Music was supplied by name written by Anne Nichols. The premise Karin, WTCN, Minneapolis, MN, 1949).
Albert Burhman’s orchestra. Cy Harrice was and the basis for most of its humor was the 75 Absorbine Jr. Setting-Up Exercise
the announcer (30 min., P.M., MBS and NBC). courtship and marriage of a Jewish boy with an Program. Robert Burdette conducted the ex-
38 Abbott Worsted Band. Commercially Irish Catholic girl. Sidney Smith and Betty ercise program appropriately sponsored by Ab-
sponsored band (WEEI, Boston, MA, 1925). Winkler originated the roles of Abie and his sorbine Jr., a product for sore muscles (WLW,
39 Abbott’s Radio Star Revue. Baritone Rosemary. Actors who appeared on the pro- Cincinnati, OH, 1930).
Martin Bills and operatic soprano Josephine gram were: Bill Adams, Charme Allen, Anna 76 (The) Abundant Life Mixed Chorus.
Lucchese appeared weekly on the music pro- Appel, Joe Boland, Richard Bond, Clayton The vocal group directed by John Henry Bod-
gram sponsored by Abbott’s Diaries. Arthur “Bud” Collyer, Richard Coogan, Paul Doug- kin appeared on the Operatic Night programs
Morgan was the announcer (15 min., Monday, las, Carl Eastman, Florence Freeman, Dolores (KOA, Denver, CO, 1925).
7:45–8:00 P.M., KYW, Philadelphia, PA, 1936). Gillen, Walter Kinsella, Mercedes McCam- 77 Accoke [Accola], Dorothy. COM-HE
 11 (Accordiona • Adams) 78–136

(KASL, Newcastle, WY, 1956). DJ (KASL, (30 min., Sunday, 5:30–6:00 P. M., NBC, rise Salute, WTAN, Clearwater, FL, 1952–1955;
1960). 1927–1928). Morning Show, WAZE, Clearwater, FL, 1960).
78 Accordiona. Phillips Dental Magnesia 95 Acree, Jimmy. DJ (WAGF, Dothan, 115 Adams, Charles F. Newscaster
tooth paste sponsored the music program that AL, 1949; The Wax Works, WAGF, 1954). (WMVA, Martinsville, VA, 1942–1947; Charles
featured soprano Vivienne Segal, tenor Oliver 96 Actor, Allen. DJ (WHIY, Orlando, F. Adams and the News, WMVA, 1948, 1955).
Smith and the Abe Lyman Orchestra (30 min., FL, 1957). DJ (WHEE, Martinsville, VA, 1955).
Tuesday, 8:30–9:00 P.M., CBS, 1934). 97 Acuff, Roy. CW musician and leader 116 Adams, Charlotte. COM-HE (Char-
79 Ace, Goodman. Comedian-writer Ace (Roy Acuff and the Smokey Mountain Boys, CW lotte Adams, a local homemaking show, 15 min.,
was born Jan 15, 1899. He worked twelve years mus. prg, WSM, Nashville, TN, 1938). Acuff WOR, Newark, NJ, 1948).
as a reporter, drama critic and columnist for was a leading performer on the Grand Ole Opry 117 Adams, Clara Acuff. Soprano (KOA,
the Kansas City Journal Post. A radio version of for many years, where he gained national Denver, CO, 1925).
his column was broadcast as The Movie Man prominence. Before gaining fame on the Grand 118 Adams, Clarence. Newscaster
over a Kansas City station. A year later he orig- Ole Opry, Acuff began working with such CW (KBTM, Jonesboro, AK, 1938; Arkansas Trav-
inated the Easy Aces program. see Easy Aces musicians as Pete Kirby and Lonnie Wilson, eler, KBTM, 1948; Morning Herald, KBTM,
80 Acevedo, Francisco. Newscaster both of whom continued to play with him for 1953–1955). DJ (KBTM, 1955).
(WKAQ, San Juan, PR, 1939–1942; WORA, years. Their group broadcast frequently on 119 Adams, Cliff. Newscaster (KYSM,
Mayaguez, PR, 1948–1949). Nashville, TN, stations WROH and WNOX. Mankato, MN, 1960).
81 Achor, Dave. Newscaster (WBIJ, Dal- Although rebuffed by George D. Hay on his 120 Adams, Dana. DJ (990 Club, KFDX,
ton, GA, 1941; WCHI, Chillicothe, OH, first attempt to join the Opry, he eventually Wichita Falls, TX, 1947; Club 600, KTBB,
1957). DJ (Plow Jockey, WBEX, Chillicothe, gained acceptance and great popularity on the Tyler, TX, 1948).
OH, 1954). Sportscaster (Sportsman, WBEX, program with his rendition of “The Great
121 Adams, Deborah. COM-HE (WFIL,
1953). Speckled Bird.” Acuff eventually starred in such
Philadelphia, PA, 1956).
82 Ackerly, Gene. Newscaster (KID, networks segment of the Opry as the Prince Al-
bert Show and the Royal Crown Program. See 122 Adams, Dr. Talked about canines on
Idaho Falls, ID, 1944; KFRE, Fresno, CA,
The Grand Ole Opry his Dog Talk program (WLW, Cincinnati, OH,
1947). Sportscaster (KID, 1945).
1928).
83 Ackerly, Robert J. “Bob.” Newscaster 98 Adair, Alyce. COM-HE (WCLI,
Corning, NY, 1956–1957). 123 Adams, Don. Newscaster (KVOD,
(KGO, San Francisco, CA, 1938; KGO and
Denver, CO, 1957).
KPO, San Francisco, CA, 1939; KJR, Seattle, 99 Adair, Billy. Leader (Billy Adair’s Or-
WA, 1939; and KXA, Seattle, WA, 1951–1952). chestra., WDAF, Kansas City, MO, 1926). 124 Adams, Dorothy. Contralto (WAAF,
DJ (KOMO, Seattle, WA, 1955). Chicago, IL, 1935).
100 Adair, Frances. Soprano (Frances
84 Ackerman, Al. Sportscaster (Sports Adair, vcl. mus. prg., NBC, 1935 and 1938). 125 Adams, Eddie. DJ (Clock Spinner,
Notebook, WHTC, Holland, MI, 1953; Look- WDAR, Savannah, GA, 1952).
101 Adair, James. Violinist (KOA, Den-
ing at Sports, WHTC, 1954; WOOD, Grand ver, CO, 1926). 126 Adams, Edith. Actress in the Today’s
Rapids, MI, 1956–1960). Children and Those Happy Gilmans programs,
102 Adair, Peggy. Singer (WPCH, New
85 Ackerman, Bernice. Soprano (Bernice York, NY, 1932). 127 Adams, Edna. Singer billed as “The
Ackerman, voc. mus. prg., WOR, Newark, NJ, Sweetheart of the Air” (KPRC, Houston, TX,
103 Adair, Robert. Sportscaster (WPMT, 1926).
1936). Portland, ME, 1954).
86 Ackerman’s Orchestra. Local band 128 Adams, Elinor Riggs. Soprano
104 Adair, Sam. Announcer (WOQ, (KOIL, Council Bluffs, IA, 1927).
(WOAW, Omaha, NE, 1923). Kansas City, MO, 1924).
87 Ackley, Howard. Chief announcer 129 Adams, Evangeline. Astrologer
105 Adams, Archie. DJ (Platter Chatter, Adams broadcast weekly “horoscope talks”
(WOWO, Fort Wayne, IN and WGL, Fort
WTWA, Thomson, GA, 1952). (1929). She was sponsored by Forhan’s tooth-
Wayne, IN, 1928.) Ackley began work as a
bookkeeper for the Main Auto Supply Com- 106 Adams, Ben. Newscaster (WOV, paste in 1931. For those listeners who sent in a
pany of Fort Wayne, the owner of both New York, NY, 1940). toothpaste box top, their birth date and a de-
WOWO and WGL. His first broadcasting ca- 107 Adams, Bernie. DJ (Musical Clock, scription of their personal problem, Adams
reer step occurred when he was forced to make WPDQ, Jacksonville, FL, 1948; WJAX, Jack- would provide them with advice on how to
an emergency announcement about a lost dog sonville, FL, 1955). Newscaster (WJAX, Jack- solve it. Adams was one of the country’s most
on station WOWO. sonville, FL, 1955). successful astrologers. David Ross was the an-
88 Ackley, Mildred H. Pianist (WIP, 108 Adams, Bette. COM-HE (WKEI, nouncer on her 1931 CBS program, which was
Philadelphia, PA, 1926). Kewanee, IL, 1955). said to produce more mail than any other in the
89 Ackley, Wayne. Newscaster (KSO, Des 109 Adams, Bill. Actor Adams appeared country. No radio astrologer, it was said, ap-
Moines, IA, 1940–1941). in Abie’s Irish Rose, Adventures of Mortimer proached Evangeline Adams’ popularity. See
Meek, Big Town, The Career of Alice Blair, Cav- Evangeline Adams.
90 Ackroyd, June. Soprano on the Nite
Caps on Lake Erie program (WJAX, Cleveland, alcade of America, The Collier Hour, The Gib- 130 Adams, Felix. Sportscaster (WIBC,
OH, 1924). son Family, Let’s Pretend, The Light of the World, Indianapolis, IN, 1942). Newscaster (WHOT,
91 Ackroyd, Lorraine. COM-HE The March of Time, Pepper Young’s Family, Rose- South Bend, IN, 1945).
(KGFL, Roswell, NM, 1951). mary and The Story of Mary Marlin programs. 131 Adams, Frank. Sportscaster (WNHC,
92 Acme Sunshine Melodies. Acme White 110 Adams, Bill. Sportscaster (KGW, New Haven, CT, 1948).
Lead and Color Works sponsored the music Portland, OR and KEX, Portland, OR, 132 Adams, (Mrs.) Fred Winslow. Singer
program that featured singing star, Smiling Ed 1937–1939; Ice Hockey, KWJJ, Portland, OR, (WBZ, Boston-Springfield, MA, 1924).
McConnell. McConnell was supported by or- 1947). Newscaster (Farm Reporter, KGO, San 133 Adams, Garret. Newscaster (WRJN,
ganist Irma Glen and Palmer Clark’s Orches- Francisco, CA, 1952). Racine, WI, 1941).
tra (30 min., Sunday, 4:30–5:00 P.M. C.S.T., 111 Adams, Bob. Newscaster (KMPC, 134 Adams, Georgia. COM-HE (WMFG,
WMAQ, Chicago, IL, 1936). Los Angeles, CA, 1946). Hibbing, MN, 1955)
93 Acosta, Joseph. Leader (Joseph Acosta 112 Adams, Carol. COM-HE (WHBC, 135 Adams, Glen. Sports (Hudiphone
Orchestra, instr. mus. prg., WCAO, Baltimore, Canton, OH, 1956–1957). Sports Column, WMRC, Greenville, SC, 1940).
MD, 1936; WCAO, 1942). 113 Adams, Cedric. Newscaster 136 Adams, Guila. Actress Adams played
94 (The) Acousticon Hour. The quality (WCCO, Minneapolis, MN, 1937–1942, 1952; Dorothy Dix and provided advice to the
light concert music program was sponsored by CBS, 1953; WCCO, 1957–1960). lovelorn (WMAQ, Chicago, IL, 1928). She also
Dictaphone, It was a 30-minute network show 114 Adams, Charles “Chuck.” DJ (Sun- appeared on the Stepmother daytime serial.
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