In 1745...Invention of the Leyden jar (the first capacitor) by Dean Ewald Jurgen von Kleist of the Cathedral of Cammin.
|Fred W. Friendly with Edward R. Murrow|
In 1925...KUT-AM in Austin Texas began broadcasting.
A year later, a new license was issued, bearing new call letters WCM, which the station used to identify itself until 1925.
In these first years, the station was used for a number of purposes, beginning as a demonstration project in the Physics Department, whose Professor Simpson L. Brown had persuaded the administration to let him build the station in the first place.
Beginning in 1923, though, funding concerns prompted a transfer of operational control to the University's Extension Division for extension teaching. One of the stipulations of the transfer agreement was that funds would be provided for operations and maintenance to put the station in a "first-class" condition. The funds, however, did not materialize and broadcasting suffered until a state agriculture official needed a means to broadcast daily crop and weather reports.
A deal between the official and UT's Extension Division allowed agriculture broadcasts for one hour per day in exchange for equipment maintenance. At other times of the day, the University would broadcast items of interest from the campus, including a number of faculty lecture series.
But by the end of 1924, the Physics Department decided it wanted the station back, and with the approval of the Board of Regents, the Physics Department regained control in the summer of 1925. They had a new license granted on October 30 and it bore, for the first time, the call letters KUT.
KUT's early years were ambitious but, by 1927, ambition had outrun the funding. The expense of operating and maintaining the station had simply become too great for the Physics Department to sustain. University President Harry Benedict appointed a committee to study the matter, and the committee recommended that the project be discontinued. The station was dismantled and the equipment returned to the Physics labs for experimentation.
KUT would not re-emerge for 30 years.
During the '30s, Welles worked extensively in radio as an actor, writer, director and producer, often without credit. Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air.
Welles reflected in February 1983:
"Radio is what I love most of all. The wonderful excitement of what could happen in live radio, when everything that could go wrong did go wrong. I was making a couple of thousand a week, scampering in ambulances from studio to studio, and committing much of what I made to support the Mercury. I wouldn't want to return to those frenetic 20-hour working day years, but I miss them because they are so irredeemably gone."In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career and made the 21-year-old Welles an overnight star.
That September, Mutual chose Welles to play Lamont Cranston, also known as The Shadow. He performed the role anonymously through mid-September 1938.
After the theatrical successes of the Mercury Theatre, CBS Radio invited the 23-year-old Orson Welles to create a summer show for 13 weeks. The series began July 11, 1938, initially titled First Person Singular, with the formula that Welles would play the lead in each show. Some months later the show was called The Mercury Theatre on the Air. The weekly hour-long show presented radio plays based on classic literary works, with original music composed and conducted by Bernard Herrmann.
The Mercury Theatre's radio adaptation of The War of the Worlds by H. G. Wells October 30, 1938, brought Welles instant fame.
When the show began at 8 p.m., a voice announced, “The Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theater on the air in ‘War of the Worlds’ by H.G. Wells." In 1938, Sunday evenings were prime time in the golden age of radio and millions of Americans had their radios turned on.
On Sunday nights in 1938, most Americans were listening to ventriloquist Edgar Bergen and his dummy “Charlie McCarthy” on NBC and only turned to CBS at 8:12 p.m. after the comedy sketch ended and a little-known singer went on. By then, the audience had missed the introduction and the story of the Martian invasion was well underway.
Welles introduced his radio play with a spoken introduction, followed by an announcer reading a weather report. Then, seemingly abandoning the storyline, the announcer took listeners to “the Meridian Room in the Hotel Park Plaza in downtown New York, where you will be entertained by the music of Amon Raquello and his orchestra.” Dance music played for some time, and then the scare began.
An announcer broke in to report that “Professor Farrell of the Mount Jenning Observatory” had detected explosions on the planet Mars. Then the dance music came back on, followed by another interruption in which listeners were informed that a large meteor had crashed into a farmer’s field in Grover’s Mills, New Jersey.
The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners was later reported to have created widespread confusion among listeners who failed to hear the introduction, although the extent of this confusion has come into question. Panic was reportedly spread among listeners who believed the fictional news reports of a Martian invasion.
When news of the real-life panic leaked into the CBS studio, Welles went on the air as himself to remind listeners that it was just fiction. There were rumors that the show caused suicides, but none were ever confirmed.
The Federal Communications Commission investigated the program but found no law was broken. Networks did agree to be more cautious in their programming in the future.
Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. The Mercury Theatre on the Air, which had been a sustaining show (without sponsorship) was picked up by Campbell Soup and renamed The Campbell Playhouse.
In 1943...WINS switched to 1010 AM.
WINS relocated from the Hotel Lincoln to the WINS Building, 114 East 58th Street, June 19, 1932.
It changed its frequency from 1180 to 1000 on March 29, 1941 as part of the North American Radio Broadcasting Agreement and then eventually to 1010 on October 30, 1943. The Cincinnati-based Crosley Broadcasting Corporation announced its purchase of the station from Hearst in 1945, though it would be over a year before Crosley would take control of WINS, in July 1946
Disc jockeys would broadcast in ways that bore out their personalities:
- morning fixture Dave Herman was not afraid to mix Erik Satie or Donna Summer into the playlist;
- noontime stalwart Pete Fornatale promoted the Beach Boys when it was not fashionable and later started his eclectic weekend Mixed Bag program;
- afternoon legend Muni would use his gravelly voice to introduce largely unknown British artists on his "Things from England" segments;
- nighttime host Schwartz was a raconteur who would sneak in the Sinatra pop standards that he not-so-secretly liked better than rock;
- overnight presence Steele would play space rock groups in between readings of her equally spacey poems;
- weekend personality Vin Scelsa started his idiosyncratic Idiots' Delight program, which soon gained a devoted following.
WNEW-FM was among the first stations to give Bruce Springsteen significant airplay, and conducted live broadcasts of key Springsteen concerts in 1975 and 1978; Springsteen would sometimes call up the DJs during records. Later, Dave Herman featured a "Bruce Juice" segment each morning. John Lennon once stopped by to guest-DJ along with Dennis Elsas and appeared on-air several other times during his friend Scott Muni's afternoon slot. Members of the Grateful Dead and other groups would hang out in the studio; Emerson, Lake & Palmer's visit to Muni's show is often credited for popularizing the group in America. In addition to music, youth-oriented comedy recordings such as from Monty Python would also be aired.
In 1996...Leon Lewis, a radio talk show host for WMCA-AM, New York, died at age 81.
Lewis was the nighttime voice of WMCA from 1970 to 1980. On ''The Leon Lewis Talk Show,'' he took calls from listeners, debated public issues, offered advice to the troubled or merely provided a sympathetic ear, greeting each caller with a soothing ''Hello, my friend.''
Before he joined WMCA, Mr. Lewis was the moderator of ''Community Opinion,'' a call-in show on WLIB in Harlem. In 1967, the station won a George Foster Peabody award for the show, which was credited with helping to defuse racial tension.
Mr. Lewis, who was born in Bloomington, Ind., began his radio career at WABY in Albany. After working as a disk jockey and in advertising sales, he moved to New York City in 1954 and became circulation manager for The Amsterdam News. He left the paper in 1957 and joined radio station WWRL as news director before moving to WLIB.
In 2000...Radio/TV host Steve Allen died of a heart attack resulting from a minor automobile accident earlier in the day. Autopsy results concluded that the accident had caused a blood vessel in his chest to rupture, causing blood to leak into the sac surrounding his heart. He was 78.
|Steve Allen 1977|
Allen became an announcer for KFAC in Los Angeles and then moved to the Mutual Broadcasting System in 1946, talking the station into airing a five-nights-a-week comedy show, Smile Time, co-starring Wendell Noble. After Allen moved to CBS Radio's KNX in Los Angeles, his music-and-talk half-hour format gradually changed to include more talk on a full-hour, late-night show, boosting his popularity and creating standing-room-only studio audiences. During one episode of the show reserved primarily for an interview with Doris Day, his guest star failed to appear, so Allen picked up a microphone and went into the audience to ad lib for the first time. His radio show attracted a huge local following, and in 1950 it replaced Our Miss Brooks, exposing Allen to a national audience for the first time.
Allen's first television experience had come in 1949 when he answered an ad for a TV announcer for professional wrestling. He knew nothing about wrestling, so he watched some shows and discovered that the announcers did not have well-defined names for the holds. When he got the job, he created names for many of the holds, some of which are still used today.
After CBS radio gave Allen a weekly prime time show, CBS television believed it could groom him for national small-screen stardom and gave Allen his first network television show. The Steve Allen Show premiered at 11 am on Christmas Day, 1950, and was later moved into a thirty-minute, early evening slot. This new show required him to uproot his family and move from LA to New York, since at that time a coast to coast program could not originate from LA. The show was canceled in 1952, after which CBS tried several shows to showcase Allen's talent.
Allen achieved national attention when he was pressed into service at the last minute to host Arthur Godfrey's Talent Scouts because Godfrey was unable to appear. Allen turned one of Godfrey's live Lipton commercials upside down, preparing tea and instant soup on camera and then pouring both into Godfrey's ukulele. With the audience (including Godfrey, watching from Miami) uproariously and thoroughly entertained, Allen gained major recognition as a comedian and host.
Leaving CBS, he created a late-night New York talk-variety TV program in 1953 for what is now WNBC-TV. The following year, on September 27, 1954, the show went on the full NBC network as The Tonight Show, with fellow radio personality Gene Rayburn (who later went on to host hit game shows such as Match Game, 1962–1982) as the original announcer. The show ran from 11:15 pm to 1:00 am on the East Coast.
While Today developer Sylvester "Pat" Weaver is often credited as the Tonight creator, Allen often pointed out that he had previously created it as a local New York show. Allen told his nationwide audience that first evening: "This is Tonight, and I can't think of too much to tell you about it except I want to give you the bad news first: this program is going to go on forever... you think you're tired now. Wait until you see one o'clock roll around!"
It was as host of The Tonight Show that Allen pioneered the "man on the street" interviews and audience-participation comedy breaks that have become commonplace on late-night TV.
In 2007...Alberta-raised singer, actor Robert Goulet, while awaiting a lung transplant, died at age 73. His career began as an announcer at Edmonton radio station CKUA; he went on to sing frequently on CBC-TV. His Broadway debut in Camelot launched an award-winning stage and recording career (If Ever I Would Leave You, My Love Forgive Me). As well as starring in numerous televised musicals (Carousel, Brigadoon, Kiss Me Kate) he appeared 16 times on Ed Sullivan, and starred in a short-lived ABC WW2 series, Blue Light.