dials and channels - national capitol radio & television...

Dials and Channels September 2008

Vol. 14, No. 3 www.radiohistory.org September 2008

I have been able to uncover only sketchy infor-mation about WOL during the period 1940 to

1980. Hopefully some future historian will be able tofill in the gaps. (Harold Reed’s scrapbooks, whichwere the basis for the first two WOL history articles,did not continue after the early 1940s.)

In the spring of 1941, the FCC ordered frequencyshifts for broadcast stations. WOL’s assigned fre-quency changed from 1230 to 1260 kHz.

A February 10, 1946 article inThe Washington Postsaid:

“WOL, which has been sitting on blueprintsfor a 5,000-watt transmitter since October,received its FCC construction permit at11:30 a.m. Wednesday and had the dirtflying by 2 p.m. The new building onBrookville Road in Silver Spring also willhouse facilities for experimental work incolor television, FM broadcasting, andfacsimile (a gadget that prints newspapersby radio.) It is expected the transmitter willbe ready for use in 60 days and experimentalequipment installed by September.”

While the station didacquire a 5,000-watt trans-mitter, some of the rest ofthe information in thePostarticle does not seem verycredible. Regular colortelevision broadcasting didnot get underway until the1950s, and earlier color TVexperiments tended to bedone by major CBS orNBC stations rather than bysmall stations like WOL.While Crosley and RCAoffered home radio faxmachines beginning in thelate 1930s, the conceptnever caught on, and after WWII, television was thein-thing. Radio facsimile had fallen by the wayside.

By September 1946 WOL was running newspaperads describing the station as “The 5,000-watt Voiceof Washington” and calling attention to its “superbnew ultra-modern radio transmitter near the East-West Highway, just west of Silver Spring, Md.” Thestation boasted of its General Electric-sponsoredtwice-daily “Voice of Washington” news broadcasts.

WOL and WWDC Arrange a “Swap”

In articles appearing in the July 30, 1949 andDecember 15, 1949 issues ofThe Washington Post,

Dials and ChannelsThe Journal of the Radio & Television Museum

2608 Mitchellville Road Bowie, MD 20716 (301) 390-1020

The WOL Story, Part 3By Brian Belanger

[This is the conclusion of a three-part article on the history of Washington, D.C. station WOL.Parts 1 and 2 appeared in the December 2007 and March 2008 issues, respectively.]


a complicated set of transactions was described,affecting stations WWDC and WOL. The CapitalBroadcasting Company, which operated WWDC,had purchased the facilities of station WOL from theCowles Broadcasting Co. for approximately$300,000 and had sold station WWDC’s facilities toa subsidiary of the Ohio Farm Bureau Federation, thePeople’s Broadcasting Corporation, for $125,000.These transactions were submitted to the FCC forapproval, in the hope that the FCC would approve acall letter swap. (It did!)

ThePostindicated that the Cowles Broadcasting Co.wanted to sell WOL so it could concentrate ontelevision and radio stations it owned in Des Moines,Sioux City-Yankton, and Boston.

Following FCC approval, in February 1950 aswapping of facilities of the two stations took place.On February 19The Washington Postreported thatthe following move would begin at midnight:

Station WWDC moved its personnel and files toWOL’s building at 1627 K Street, NW. It took overWOL’s assigned frequency of 1260 kHz and WOL’s5,000-watt transmitter. (Stations on WWDC’s oldfrequency of 1450 kHz were limited at that time to250 watts, so presumably up-and-coming stationWWDC arranged this deal so as to achieve higherpower and a larger coverage area.)

The new WOL, operated by the People’s Broad-casting Corporation, got the 1450 slot vacated byWWDC as well as its studios at 1000 ConnecticutAvenue, NW, and its 250-watt transmitter. Whilethis new station had no management connection tothe previous WOL, it got FCC permission to use theWOL call letters. The official owner of the newWOL was the Farm Bureau Mutual AutomobileInsurance Companies.

WOL had been the Mutual Broadcasting Systemoutlet in D.C., but as a part of this reorganization, theMBS affiliation in the area was transferred to stationWEAM in Arlington, Va. at 1390 kHz.

Station managers were concerned that listenersmight be confused by this game of musical chairs.They engaged in extensive advertising to alert thepublic to the changes. On its first day of operation inthe new facilities, WWDC arranged to have an

airplane drop 10,000 “flying discs” overWashington, some of which were redeemable for$12.60 at the station. WEAM launched 100 balloonsat the Warner Building at 13th and E Streets NW,with slips of paper that could be cashed for $13.90.

Art Brown had been one of WOL’s most popularannouncers, and he transferred to WWDC as itsmorning host. WOL’s Tony Wakeman went toWWDC, but rumors at the time said that he mightreturn to the new WOL when his contract expired.Fred Fiske, who had started at WOL in the 1940salso transferred to WWDC.

The lineup at the new WOL began at 6 a.m. withthree hours of The General Store” hosted by JoeRockhold, “The Man of Many Voices.” Othersfeatured by WOL included Al Filipps, GeorgeCampbell, and Bill Cox. Frank Blair, who latermoved to New York and became a networkperformer, started at WOL. Two other well-knownlocal radio personalities, Bill Mayhew and MikeHunnicutt also worked at WOL for a time.

Willard Scott (who later became the NBCweatherman) and Ed Walker (now an RHS boardmember and the host of WAMU-FM’s popularSunday evening program,The Big Broadcast)worked together briefly at WOL in the early 1950s.Ed had a Sunday evening program. At the time,“easy-listening” was the station’s main emphasis.

At a date that I have been unable to pin down,Sonderling Broadcasting bought WOL and convertedit to a black urban format. Station manager E. G.Sonderling was portrayed in the movieTalk to MebyMartin Sheen. Sonderling Broadcasting began in1950, with station WOPA in Oak Park, Illinois, andeventually owned eleven radio stations.

In 1953, Harold Reed, whose scrapbooks reside inthe museum library (they made possible thesenewsletter articles), was still the station’s chiefengineer.

WOL was Washington’s top-rated rhythm and bluesstation in the 1960s and 70s. It then evolved into anAfrican-American talk radio station. As noted in Part1, Petey Greene was one of its most popularpersonalities.


Circa 1950 WOL ad. Personalities heard on WOL clockwise from top left include Joby Reynolds, Frank Blair,Jimmy Smiley, Larry Geraghty, The Silver Strings, and Steve McCormick.


WOL Transitions to the Modern Era: CathyHughes’ Influence

The station’s history during the past 25 years isdominated by one individual＿Catherine [“Cathy”] Hughes. Hughes was born in Omaha, Nebraska, andbegan her radio career there at station KOWH. In the1970s she was offered a job at Howard University’sWHUR-FM and moved to Washington, where shesoon became the station’s general manager, andincreased the station’s revenue by more than a factorof ten.

In 1979 she and her husband (later divorced)purchased WOL, and, building on its success,created Radio One, a chain of radio stations aimed atAfrican-American audiences, which soon grew intothe nation’ largest such chain, enjoying greatsuccess. Today Radio One is the nation’s seventhlargest radio broadcasting company, with roughly 60stations. Cathy Hughes is the first African-Americanwoman to head a firm publicly traded on a stockexchange in the United States.

When she took over the station, the previous ownerhad fired all of the staff, and the irate departingpeople trashed the station. She had to bring her own

records from home. Her personal finances at the timewere so strained that she had to sleep in a sleepingbag at the station for the first 18 months. Her owntalk show quickly became popular with listeners, andshe was called by many “The Voice of the BlackCommunity.”

WOL’s FM station originally simulcast the station’sAM programs. Later, sister station WMOD-FMchanged to an oldies format, and still later, WMOD-FM became WMZQ when Sonderling Broadcastingsold its assets to Viacom.

WOL Today

Today WOL is a 1,000-watt news/talk stationaffiliated with Radio One and Mediaspan, and can befound at 1450 on the AM dial. Its slogan is “WhereInformation is Power.” As with any station that hasbeen on the air for nearly three quarters of a century,its format has evolved considerably. But one thinghas not changed—it continues to serve the nation’scapital, and it continues to have loyal listeners. And,thanks to Harold Reed’s dedication to saving stationmemorabilia, the early history of the station can bepreserved by the Radio & Television Museum.Ŷ

The 2008 Board of Directors Election

Sixty-eight ballots were returned. The four candi-dates named on the ballot (Paul Courson, JohnRouse, Michael Rubin, and Christopher Sterling)were duly elected for three-year terms to the board ofdirectors. Welcome, John Rouse, our newest boardmember!

Five write-in candidates each received one vote:

Nestor Aparico – 1Michael Beaghan - 1Michael Henry - 1Ron Menchine – 1Michael Starling – 1

We were pleased to receive these suggestions forcandidates. The Nominating Committee will beginthinking about candidates for the next election soon,and these names will definitely receive consider-ation. Michael Beaghan and Michael Henry are bothknown to the board, but the other three are not. Weask that whoever suggested those names send ustheir resumes and contact information. (Withoutsuch information, we cannot consider thoseindividuals.)

Self-nomination is always in order. If you areinterested in being considered as a future candidatefor a board position, please contact any member ofthe board to let us know of your interest.Ŷ


Brian BelangerRockville, Md.Five framed ads, Zenith portable TV,hundreds of vacuum tubes, radiomagazines, RCA tube caddy, Emersonradio platform, variometers, 45 rpmrecords

Carol BittnerFalls Church, Va.ARA beer mug, test equipment

City of Bowie Museums OfficeBowie, Md.Two framed photos

Harold BoxenbaumN. Potomac, Md.More than 150 excellent conditiontable model radios, 1930s through1960s

Adam BrechtNew York City, N.Y.Framed portrait of E. H. Armstrong

Nancy BrownBowie, Md.Normende radio/phono

Barry CheslockArlington, Va.Bosch “Treasure Chest,” Philco 41-608radio-phonograph, working, withrecording microphone; GE clock timer,records, Motorola VT-71 TV set,Philco 42-PT-87 portable, SonyWatchman FD-20A, Sony TFM-121transistor radio

Robert Gibson CorderCulpepper, Va.Book –Edward J. Pawley

Mark DodgeHenderson, Md.Silvertone 1184-20 TV set

Anthony EdlerFt. Washington, Md.Hoffman table model,Capehart Model 410M

Thomas FelineyLong Beach, N.Y.Many items of test equipment, oldradio literature (books, magazines,journals such asRCA ReviewandIREProceedings, etc.), tubes, parts,headphones, Hickok tube tester

Joseph FlahertyPort Washington, N.Y.WWII military equipment, receivingtubes, transmitting tubes, T-54Hallicrafters TV set with extra CRT,Heathkit signal generator, powersupply, electronic keyer, NationalHRO-W with coil set and speaker,manuals and service literature, Sonymicro TV with carrying case, testequipment, other items

Carol GravesPort Charlotte, Fl.Silvertone Model 8090 console

Diana GuetzkowRiverdale, Md.RCA C11-1 and Emerson 573 consoles

Tim HenniganCape Coral, Fl.Radio & TV books

Robert HerrBowie, Md.Circa 1955 RCA console TV set

Jamie HigginsGaithersburg, Md.Atwater Kent Model 33, Kennedy XV,chassis, radio tubes

John HoltScottsville, Va.WRC-98 transistor radio

Gerald IlerMillersville, Md.Microphone, Ampex 985 music center,accessories, command set, antenna,speakers, test equipment, car radios,CB equipment, transistor radios, tubes,Garrard turntable

Rowland JohnsonReston, Va.Box of Antique Radio Classifiedmagazines, Garrard changer, ownersmanuals for radio equipment

Dale R. JohnstonWestminster, Md.Welch Scientific radio demonstrator

Ryan KenworthyGreenbelt, Md.Admiral 20X122 TV set

Vincent KerleyBeltsville, Md.Bag of radio tubes, radio/TV books

C. B. GintherDerwood, Md.Eico and Hickok test equipment

Sonia and Mike GreeneOdenton, Md.Norelco L6X38T multi-band portable

Jerry McGuireBowie, Md.1950 Admiral TV set

Ken MellgrenRockville, Md.Radio books

Suzanne MontieBowie, Md.Philco 42-395 console

Barbara MorrisBowie, Md.Akai CR 81D 8-track tape player

Jack PerrinWoodbridge, Va.Radio & TV training course

John RankinBowie, Md.~ 100 radio/TV tubes

Museum Donations Since the Last Newsletter Listing(Through June 2008)


Kathleen RusseySeabrook, Md.Radio tubes, Lear aircraft radio, parts

Michael SaugetLoveland, Colo.Radio literature

Margaret SchweitzerRockville, Md.Heathkit crystal radio, radio parts, testequipment

Mac ShaweNew Carrollton, Md.Zenith console, parts, radio books,power supplies, test equipment, tubes,speakers

H. David SpikesCrownsville, Md.Techtronics oscilloscope, Peavy 18”speaker

Stanley Taylor EstateAnnapolis, Md.Radio tubes, parts, Johnson Matchbox,Glode Sidebander, other items

Paul ToloviArlington, Va.Six boxes of vacuum tubes & projectorlamps

Chris VolatileHuntingtown, Md.Tapes of 1939 radio programs

Ed WalkerBethesda, Md.Sound effects records, Sony transistorradio

Carol WaytowichAlexandria, Va.Philco 41-295

Clarissa WhitacreLinthicum, Md.Several boxes of radio magazines, TVchassis

Virgil WinchellLandover, Md.Philco Model 60, several radiochassis,1925 Atwater Kent Speaker

E. Howard Armstrong’s New York City Apartment

Not too long ago, a visitor named Adam E. B.Brecht dropped in at the museum. Mr. Brecht

enjoyed the tour, and during his conversation withTony Young, he mentioned that he was the nephewof E. Howard Armstrong, the famous radio inventorcredited with several of the most revolutionaryradio inventions, e.g., regeneration, the superhetero-dyne, and FM. Naturally, we were truly excited tomeet a member of the family of a man who maywell be the greatest radio innovator to date!

Since we did not have a photo of HowardArmstrong on display, Mr. Brecht kindly sent us aframed photo, and it is on display now for all to see.(Admittedly, we also have a photo on display ofRCA’s legendary leader, David Sarnoff. It is widelyfelt that nasty patent struggles between Armstrongand RCA drove Armstrong to his death.)

Mr. Brecht also emailed us digital photos ofArmstrong’s apartment in River House in NewYork City. The top photo shows his rather elegantliving room. The bottom photo is even moreinteresting. It shows a mural on the walls of themaster bathroom. While at first glance it appears tobe a representation of a high-voltage electric powertransmission system, the towers resemble the huge

transmitting tower at Alpine, New Jersey thatHoward Armstrong built in the 1930s to demonstratefrequency modulation. In any case, it is not yourtypical bathroom wallpaper.


On May 31st and June 1st the National ParkService’s Prince William Forest Park, located

just off I-95 in Triangle, Virginia, hosted1930’sHeritage Days,a celebration of the 75th anniversaryof the Civilian Conservation Corps (CCC) andPresident Franklin Roosevelt’s New Deal. The Parkis a former CCC camp. The two-day event featuredvintage cars, crafts, music, and thanks to the Radio& Television Museum, radios of that era.

The CCC was an agency formed by the Federalgovernment to hire unemployed young men forpublic conservation work during the Depression. Itwas established as part of President Roosevelt's NewDeal in 1933, and formally organized by Congressin 1937. Its goal was to provide training andemployment while creating useful public works.Operating under quasi-military guidelines, the CCCconserved and developed natural resources byactivities such as planting trees, building dams andpipelines, and fighting forest fires. More than twomillion men served in the CCCbefore it was disbanded in 1942.

Immediately after the Corps wasformed, those in charge realizedthat they had no way to commun-icate with the camps scattered allover the country, mostly in remoteareas. It was suggested they tryradio, so they recruited younghams (amateur radio operators)already in the Corps as the firstoperators. Later they expanded theprogram to include radio operatorand radio service training as partof the vocational class offerings.

The camps were set up in anetwork where one central campwith a radio would be linked to asmany a ten smaller camps by fieldtelephones. The camp with theradio would take reports from the

other camps and then radio the information toheadquarters. When they weren't handling officialCorps traffic, the licensed operators were free tomake amateur contacts.

The Clough-Brengle Company of Chicago manu-factured the equipment used by the CCC undergovernment contract. Following the disbanding ofthe CCC in 1942 the radios were transferred to theArmy Signal Corps.

Planning for the special event began December 1st

when I visited the Park and was given a tour of Camp3, where the main event was to take place. Themuseum’s exhibit was to be housed in what was theformer arts and crafts cabin, complete with aninviting fireplace. (This building, pictured below, iswhere the RHS exhibit was held.) On that sunny, butcold winter day, I could only imagine how the placewould be transformed by spring.

The Radio & Television Museum and the NationalPark Service Collaborate to Celebrate a Milestone

By Peter Eldridge

A group of CCC workers (sometime during the 1930s), received radiotraining in the very building where the RHS radio exhibit was staged.


After securing formal RHS board approval inFebruary, I began thinking about the actual contentof the display and how best to reflect the theme ofthe CCC and the era as a whole. Fortunately, theAWA Journal carried a two-part article by RonLawrence (April and July 2006 issues), explainingboth the CCC’s radio operations and the restorationof Clough-Brengle Model 87 that had once served asa camp transmitter.

Because the focus was on the Depression era I beganto think about period radios that would have beenreadily available to people of limited means,including those serving in CCC camps. This wouldhave included crystal sets, smaller battery and ACsets, and perhaps a console model or two.Additionally, I began collecting printed material thatwould round out the visual aspect of the exhibit.While on a business trip to Harrisburg, Pennsylvania,I found some 1930s issues ofRadio Retailingcontaining wonderful pictures and ads that would addto the period flavor.

On April 18th I met with Museum Curator BrianBelanger to select radios and related memorabilia forthe exhibit. While the display did include an RCARadiola 22 battery console, we both agreed thatfocusing primarily on smaller sets was appropriate inkeeping with the “Depression theme” as well asaiding in the portability of the display.

Thursday May 28th was set-up day. Radios werearranged by type, beginning with crystal sets,followed by battery portables, small AC sets andfinally, automobile radio. In one corner a deskhoused period ham radio equipment with signageexplaining the CCC’s use of radio. Printmaterials, pictures and other artifacts were locatedaround the cabin. To add to the atmosphere,broadcasts of theThe Shadow, The Green Hornet,and other 1930s favorites were played throughoutthe day. From the beginning, the display provedpopular with the Park Service staff, who came byregularly to visit and ask questions.

Despite dire predictions of the weatherforecasters, Saturday May 31st dawned warm andsunny. By mid-morning a steady stream ofvisitors began filing through the cabin, manyreminiscing about their radio experiences.Sunday, too, was busy, with the crowds onlytapering off by mid-afternoon. Overall, the Park

Service estimated close to 1,000 people visitedduring the two-day event, with about 250-300stopping by the RHS display.

The most popular display item proved to be theQuaker Oats crystal set reproduction. Kids,especially, loved it and were fascinated that itworked without batteries or AC power. I wish I hada nickel for each time I explained how it worked.Visitors accustomed to today’s ubiquitous electricutility service could not imagine that in that era sofew people in rural areas had electricity (except for32-volt wind-driven farms systems or batteries).Only the coming of the Rural ElectrificationAdministration (REA) would begin to change that.

Publicity-wise the museum was mentioned in anarticle in the SundayPotomac Newsand I wasinterviewed at length by the Park Service’s in-housemagazine. The display was photographed bynumerous staff, visitors and the press.

Overall it was a good experience. The museum gotnoticed in an area where few people knew weexisted. While I had some qualms about the logisticsfor exhibitors, such as breaks, food service, andbeing involved in the planning, it went surprisinglywell. Given the success of this event, I would urgethe museum to consider other opportunities forspecial exhibits in Northern Virginia, such asManassas Train Days or the Fairfax Fair held inearly June.Ŷ

The exterior of the historic cabin, showing a few of the manykids who viewed the RHS exhibit.


Radio Happenings: The Winter of 1923-24By Brian Belanger

I love browsing through old radio magazines in themuseum library. I recently spent several enjoyable

hours readingRadio Broadcast issues publishedduring the winter of 1923-24, a time when entertain-ment radio was in its infancy. It is fascinating to notethe issues and news items that were capturing theattention of radio buffs during that winter.

Many people built home-made radios in that era toavoid the high prices of factory-built sets, henceradio magazines were full of construction articlesabout how to exploit the latest circuit developments,with titles such as “How to Make a One-Tube ReflexSet That’s a ‘Knock-out.’ ” Or, “Using What JunkYou Have in Making a Super-Heterodyne.” Articlesabout how to maximize the performance of anexisting radio were another popular genre.

Radio Drama

Radio drama was a brand-new art form in 1923.GE’s Schenectady, New York station, WGY, wasoffering a $500 prize for the best radio drama script.(The WGY Players were one of the very first groupsto produce live radio drama shows.) The article noted

that “the successful writer will have the personalsatisfaction of taking a leading part in thedevelopment of a new phase of dramatic art.” GE’sMartin Rice added, “the peculiar requirements of theradio drama . . . will in time result in a new form ofdramatic art.”

Sound effects had to be invented as the need arose.To simulate the sound of a collapsing roof, a WGYactor jumped from a table onto a wood packingcrate, crushing its top. For the sound of an approach-ing aircraft, a folded newspaper was held against theedge of an electric fan. The article continued, “Andat the risk of killing the romance for some who havebeen thrilled by radio dramas, it may be admittedthat in the love scenes, the hero plants a kiss not ofthe lips of the heroine, but on the back of his ownhand.”

The broadcast of a WGY Players’ drama wasreceived so realistically in Pittsfield, Mass. thatwhen a policeman on his beat heard a woman’sscreams issuing from an open window, he “hastenedto the house from which the sounds came to find outwho was being battered and assaulted.”

News Items

An article noted that public librarieswere being swamped with requests forbooks about radio, but most librarianswere not familiar with the technologyand therefore, puzzled about whichparticular books to purchase. Consul-ting with the town’s radio buffs wasrecommended, and every town, even asmall one, was presumed to have atleast a few radio aficionados.

In an era when sexism was prevalent,the all-too-common assumption wasthat radio was meant for men andboys. When women took an interest,the male writers were incredulous. TheNovember 1923 issue ofRadioBroadcastfeatured an article titled “A

Schenectady, N.Y. radio station WGY was one of the first broadcaststations to offer plays. The WGY Players had to invent soundeffects for this new art form.


Woman Who Makes Receiving Sets.” The tone ofthe article conveys open-mouthed awe aboutFlorence Bethman of Brooklyn who regularly builtand installed complex radio sets for friends andrelatives. Failing to understand the reporter’ssurprise, and somewhat annoyed at his attitude, Ms.Bethman commented, “Just because the electrontube eliminates nearly half the radio impulses is no

reason why the technicalities of radio shouldeliminate one-half the people who areinterested in it—not when that half happensto be the women!”

The radio industry in 1923 was reported tohave sold $150 million of radio apparatus.Not bad for a new industry in the early1920s.

A frequent topic was predicting how theretail radio business might evolve. An articletitled “Who Will Retail Radio?” consideredwhether music shops or electrical appliancedealers would be the more appropriate retailoutlets for radio. Subsequent issues contin-ued the debate. Electric shop proprietorsargued that radios were complex technology,and that music store owners typically didn’tunderstand radio. Music store owners whosold pianos, sheet music, and phonographsand records countered that modern radios

were becoming much simpler to operate, and theaverage radio listener cared not what was inside thecabinet, but rather was concern-ed with tone qualityand the ability of the set to reproduce fine operas andsymphonies. Music stores were said to be morefamiliar with those issues. The arguments weresurprisingly heated. (There were no WalMarts in those days.) In addition to those two

outlets, radios were also sold bydepartment stores, hardware stores, tireand automotive accessory stores, mail-order firms, and door-to-door salesmen.

Another issue was the implications ofradio for newspaper circulation. Somepredicted that if people could get theirnews via radio, there would be no needto purchase newspapers, and news-papers would die. Others, (includingmany newspapers that had establishedradio stations, such as WWJ owned bythe Detroit News) felt that if peopleheard an interesting news story on theradio, they might bemore likely topurchase a newspaper to get more in-depth coverage of the story. An articletitled “What Broadcasting Does for aNewspaper” concluded that a news-paper can create significant goodwillfor itself by operating a radio station. If

Here is Florence Bethman operating one of her custom-maderadios. The Radio Broadcast reporter was amazed that awoman could be so successful in a field of endeavor thought tobe for men only.

In 1923 radio stores like this one played a role comparable tocomputer stores today. As with computers, people bought a newradio every few years because the technology changed so rapidly.


the name of the newspaper were heardover the air often, that certainly wouldconstitute effective advertising for thepaper.

In 1923 commercials on radio had yet tobe embraced by the industry, and so theissue of “Who is to pay for broad-casting?” continued to be on the table.Station operating expenses were increas-ing rapidly. Radio Broadcastmentioned“frequently condemned” efforts byASCAP (the American Society ofComposers, Authors, and Publishers) tocharge broadcasting stations a license feefor the music they played.

President Coolidge’s addresses toCongress were being broadcast, and thepress wondered whether politicianswould be more accountable to the publicnow that their speeches could be heard live.

In 1923, automobile radios were roughly a decadeaway, although now and then someone would exper-iment with placing a battery-powered radio in theback seat of a car, lashing poles to the front and rearbumpers, stringing an antenna wire between them,and listening with earphones. Such experimentswere newsworthy. The home-made radio shown onthis page was installed in a car, but surely the ownercould have found a simpler one.(The original caption did admit thatthis radio is unduly user-unfriendly,even for those days.)

Insurance companies were trying toanticipate the implications of thisnew technology for their industry.They worried about tall antennamasts falling and injuring someoneand lightning hitting the aerials(antennas) as well as the increasedpotential for fires being started byshort circuits in battery chargers orother apparatus.Radio Broadcastnoted with perceptible relief thatmost insurance companies haddecided not to increase premiums forcustomers who purchased radios.

Letters to the editor often asked,

“When will we have radios that can be plugged intothe light socket?” The consensus was that theywould come, but it wasn’t clear in 1923 how long itwould take.

Other letters complained about the fact that radioprices quoted by dealers did not include tubes,batteries, battery chargers, or antenna kits, andsometimes, not even cabinets. Thus the naïveconsumer might experience sticker shock when all

How’s this for an incredibly complex auto radio? I count at least 22controls and four meters.

Washington, D.C. inventor C. Francis Jenkins, later to gainfame for his scanning disc television work, was featured inthe December 1923 Radio Broadcast for his successfulexperiments in transmitting still photos via radio.


these accessories were added to make up the totalprice of a new radio installation.

Still other letter writers complained that radiolisteners who were trying to see how many far-awaystations they could pick up were constantly frustratedby stations that announced their call letters tooinfrequently.

Radio Broadcast reported that concerts by theMissouri State Prison Band were being broadcast byJefferson City station WOS. In addition to fan lettersand postcards praising the musicians, they received“hundreds of cigarettes and cigars which they wouldotherwise be unable to procure.”

The National Bureau of Standards issued test resultson the selectivity and sensitivity of commercial radioreceivers and observed “an extremely wide range insensitiveness and selectivity.” While the Bureau didnot name the makes and models, theRadioBroadcasteditor felt that by reading the descriptions,consumers could figure out which set was which.

Comedian Ed Wynn reportedly had a terrible time inhis first radio appearance. Used to performing intheaters where audiences roared at his jokes, hestepped up to the microphone in the radio studio andbegan his routine. Of course there was dead silence,and he panicked. Perspiring profusely, he turned tothe announcer and said, “I can’t do anything!”Recognizing the problem, the announcer put on somephonograph records to stall for time, then quicklyrounded up everyone at the station, including thejanitor and telephone operator. As soon as the smallaudience began laughing at Wynn’s routine, heregained his stride and eventually became a skilledand regular radio performer.

Willis Wing reported on how he created a radio dailynewspaper on board the Great Lakes steamshipsS.S.South American and Tionesta. After receivingweather reports, baseball scores, and news bulletinsvia radio, Wing published a four-page mimeo-graphed newsletter that passengers could purchasefor ten cents. The novelty of having a newspaperaboard a ship sailing from Buffalo to Duluth,Minnesota was sufficient to cause passengers to lineup to buy the paper. (This was not a brand new ideain 1923. Ocean-going ships like theTitanic also hadnewspapers based on information received viawireless.)

Three Chicago radio stations, (KYW, WDAP, andWJAZ) conducted a “Listeners Vote Contest” todetermine what kinds of music radio listenerspreferred. The volume of mail (a quarter of a millionletters) greatly exceeded their expectations. Popularmusic came in first, at 29 percent, followed byclassical (25 percent), and jazz (18.4 percent). Allother choices (band music, religious music, opera,etc.) were in single digits or less.

Trans-Atlantic Broadcast Tests

The January 1924 issue reported on historic trans-Atlantic broadcasting tests carried out in November1923 during National Radio Week.RadioBroadcast, in cooperation with British publicationsWireless WorldandRadio Review,and also with thesupport of and encouragement from the BritishBroadcasting Company and the (U.S.) NationalAssociation of Broadcasters, organized these tests toascertain the extent to which broadcasts fromEngland could be received in the United States andvice versa.

Stations not participating in the tests were asked tobe silent during certain half-hour segments allocatedfor the tests, and most complied. GE and RCABoard Chairman Owen D. Young opened the trans-Atlantic broadcasts from the U.S. side. PowerfulU.S. stations WGY, WOR, KSD, WGR, WTAM,WOC, WSAI, WHAZ, WJAZ, and WGI broadcastthe test programs. Broadcasts listeners in the U.S.listened with apprehension when the British stationswere scheduled to broadcast and British listenersstrived equally diligently to pick up the U.S. stationswhen they were transmitting.

The tests were successful.Radio Broadcastpublished a list of listeners across the U.S. whoreported hearing the “Hello, America!” message orother programs from the BBC coming through theirheadphones faintly, but distinctly. Listeners in 32states and four Canadian provinces reported hearingthe trans-Atlantic broadcasts. A somewhat smaller,but still impressive list of British radio listenersheard the broadcasts from the United States.

In today’s world of Internet and instantaneoussatellite communication with anywhere in the world,it is difficult to appreciate just how thrilling thismust have been for those who picked up the voicesfrom “across the pond.”


Current Museum Hours:

Fridays 10 a.m. to 5 p.m.Saturdays and Sundays 1 to 5 p.m.

Other times by appointment

For groups of more than eight people, pleasecall a few days ahead to ensure adequatestaffing. Because the rooms are small, we

prefer to break up larger groups of visitorssuch that there are no more than eight

visitors per docent.

Dealing with Static and Noise

One of the most common complaints of early radiolisteners was static and other noise. In 1923, FM withits much quieter reception, had yet to be invented.The transmitters of most AM broadcasters operatedat very low power levels compared to today’s muchmore powerful stations, whose strong signals tend tooverride static and noise. Hence AM reception in1923 was frequently spoiled by static and noise.

During the summer months nearby thunderstormscaused loud crackling noises. People who lived inbig cities in apartment buildings had to deal withelectrical noise from elevator motors and passingtrolley cars. Vacuum cleaner motors with theirsparking brushes were a common source of severenoise. (Today’s electric motors usually generatemuch less electrical noise than those 80 years ago.)

Electric power lines can generate radio noise in anumber of ways. If an insulator on a nearby powerpole is dirty, that can lead to electrical leakagedischarges called corona discharges, producing buzz-ing in nearby radios.Radio Broadcastreported thatelectric utility companies were spending an increas-ing amount of time trying to track down sources ofelectrical noise causing radio interference. The photoon this page shows a vehicle owned by a powercompany equipped with a direction-finding loopantenna and a suitable receiver such that thetechnician can zero in on the source of interferenceand correct the problem. Apparently this approach

saved money for the electric company by reducingthe time it took to track down the source of the noise.

Today, vintage AM radios can be plagued by noisegenerated by some fluorescent bulbs, lamp dimmers,and computer power supplies.Ŷ

Catherine Moore was one of many radio listenerswho reported hearing the “Hello, America,” broadcastfrom England in 1923.

This utility company vehicle was equipped with aradio receiver and a directional loop antenna fortracking down sources of radio interference.


Museum News

Computer Upgrade

Thanks to the George and May Shiers MemorialFund, the museum has a brand new Hewlett Packardcomputer and printer/copier. The old machine washopelessly out of date. The new one is a hugeimprovement. The museum also has Internet accessfor the first time. If you wish to contact the museumwith general inquiries, email a message to:

[email protected].

Board member Chris Sterling administers the ShiersFund, a fund dedicated to the preservation of radiohistory. In addition to the new computer, RHS’snewsletter, Dials and Channels, is printed withfunds provided by the Shiers Fund. We are gratefulfor this important support.

Our Splendid Volunteers

Docent Noel Elliott is a clever fellow. He recentlydesigned and implemented an electronic system towarn staff when the museum front door is unlocked.Had the museum hired a professional securitycompany to devise a comparable system, the costwould likely have been very high.

Speaking of volunteers, here is a current list of ouractive docents:

Michael BeaghanBrian BelangerPeter EldridgeNoel ElliottBill GoodwinLou HariMichael HenryRowland JohnsonBill NighJohn RobinsonEd ShafferMac ShaweChris SterlingTony Young

Without these individuals giving of their time themuseum could not function.

Two other critical volunteers are Oscar Ramsey andJoe Colick. Oscar keeps busy repairing radios, TVsets, and test equipment for the museum. He is goodat diagnosing tough electronic problems. If you candescribe an item, Joe Colick can build it. In the pastyear Joe constructed a wide variety of items such asthe platforms displaying television sets, a specialstand to display a large transmitting tube, and thepushbutton units for playing audio clips. Oscar andJoe also spend time at the Davidsonville site, helpingTony Young maintain our tube inventory—sorting,testing, boxing, and selling tubes. (Enough of eachtube type are retained to satisfy the museum’srequirements; the rest are sold to raise operatingfunds.)

Museum Assessment Program

The museum is currently participating in a MuseumAssessment Program (MAP) from the AmericanAssociation of Museums. An experienced museumprofessional was assigned, and he began the assess-ment by reading the thick three-ring binder full ofinformation that we provided. He has been visitingwith key people involved in the museum and laterthis year will provide a comprehensive reportcritiquing the entire museum operations. No doubtthis advice will be extremely helpful to the board andeveryone else involved in the museum.

Donor Recognition

For quite some time now, the newsletters haveincluded listings of people who have donated itemsto the museum. In the future, we propose to listpeople who qualify for the categories of membershipabove the Basic membership, namely,

Supporter: $50 to $99 per year

Benefactor: $100 to $249 per year

Patron: $250 and above

Corporate: $1000 and above

If you qualify for one of these membershipcategories, but prefer that your name NOT be listedin the newsletter,please notify us by letter or emailor phone call. We will list you as “anonymous.”

ﾕ (Left Page) This RCA ad appeared in RadioBroadcast and other magazines in the winter of1923-24.


RHS Officers and Directors:

PresidentKen Mellgren (2009)13 Bitterroot Ct.Rockville, MD 20853(301) [email protected]

Vice President/SecretaryChris Sterling (2011)4507 Airlie WayAnnandale, VA 22003(703) [email protected]

Treasurer:Michael Rubin (2011)1427 Woodman AvenueSilver Spring, MD 20902(301) [email protected]

Executive Director andNewsletter Editor:Brian Belanger5730 Avery Park DriveRockville, MD 20855-1738(301) [email protected]

Membership Chair:Tony Young (2010)(301) [email protected]

Directors:

Paul Courson (2011)(202) 898-7653

Peter Eldridge (2009)(703) 765-1569

William Goodwin (2010)(410) 535-2952

Charles Grant (2009)(301) 871-0540

Robert Huddleston (2010)(301) 519-2835

Bill McMahon (2010)(304) 535-1610

John Rouse (2011)(301) 929-8593

Ed Walker (2009)(301) 229-7060

Volunteer Coordinator:Brian Belanger(See first column)

The Radio & Television Museum:A cooperative venture between the

City of Bowie andthe Radio History Society

Acknowledgements:

This newsletter was publishedwith support from the Georgeand May Shiers Memorial Fund.

The Museum thanks theMaryland Historical Trust for itsgrant support to enhance themuseum’s operations.

New Exhibits

The Collections/exhibits Committee is planning twonew exhibits:

A presidential election exhibit at the museum(for example, we will display a radio thatbelonged to President Hoover and a televisionset exactly like the one President Nixon had inthe White House).

An exhibit at the George Washington Universityon the history of FM radio.

At the time of this writing, we do not have firmopening dates for either exhibit, but watch the RHSwebsite, www.radiohistory.org, for more informa-tion and launch dates. The next newsletter willprovide details.Ŷ Burstein-Applebee and other mail-order companies

supplied radio parts to home tinkerers for decades.(1941 ad.)

dials and channels - national capitol radio & television...

Documents