December 24 In Radio History

In 1818...Germany's Franz Gruber composes a melody to words written by Austrian priest Josef Mohr, creating the standard "Silent Night." The song is debuted tonight at Midnight Mass in Gruber's hometown of Obendorf.

Reginald Fessenden

In 1906...Reginald A. Fessenden became the first person to broadcast a music program over radio. The broadcast originated in Brant Rock, Massachusetts.

In the late 1890s, reports began to appear about the success Guglielmo Marconi was having in developing a practical radio transmitting and receiving system. Fessenden began limited radio experimentation, and soon came to the conclusion that he could develop a far more efficient system than the spark-gap transmitter and coherer-receiver combination which had been championed by Oliver Lodge and Marconi.

Wireless Station at Brant Rock, MA

On December 21, 1906, Fessenden made an extensive demonstration of the new alternator-transmitter at Brant Rock, showing its utility for point-to-point wireless telephony, including interconnecting his stations to the wire telephone network. A detailed review of this demonstration appeared in The American Telephone Journal.

A few days later, two additional demonstrations took place, which may have been the first audio radio broadcasts of entertainment and music ever made to a general audience. (Beginning in 1904, the U.S. Navy had broadcast daily time signals and weather reports, but these employed spark transmitters, transmitting in Morse code).

On the evening of December 24, 1906 (Christmas Eve), Fessenden used the alternator-transmitter to send out a short program from Brant Rock. It included a phonograph record of Ombra mai fu (Largo) by George Frideric Handel, followed by Fessenden himself playing on the violin Adolphe Adam's carol O Holy Night, singing Gounod's Adore and be Still, and finishing with reading a passage from the Bible: 'Glory to God in the highest and on earth peace to men of good will' (Gospel of Luke 2:14).

He petitioned his listeners to write in about the quality of the broadcast as well as their location when they heard it. Surprisingly, his broadcast was heard several hundred miles away; however, accompanying the broadcast was a disturbing noise. This noise was due to irregularities in the spark gap transmitter he used.

In 1922...the BBC broadcast the first British radio play. It was entitled, "Truth about Father Christmas".




In 1937...Mae West performed a skit about Adam & Eve on the NBC Radio network which subsequently got her banned from there.

The outrageous sketch was written by Arch Oboler, and starred West and Don Ameche as Adam and Eve in the Garden of Eden on NBC. She told Ameche in the show to "get me a big one... I feel like doin' a big apple!"  This ostensible reference to the then-current dance craze was one of the many double entendres in the dialogue.

Days after the broadcast, the studio received letters calling the show "immoral" and "obscene".  Women's clubs and Catholic groups admonished the show's sponsor, Chase & Sanborn Coffee Company, for "prostituting" their services for allowing "impurity [to] invade the air".

The Federal Communications Commission later deemed the broadcast "vulgar and indecent" and "far below even the minimum standard which should control in the selection and production of broadcast programs".

There is some debate regarding the reaction to the skit. Catholic groups took umbrage far more swiftly than the mainstream. These groups already had it in for West, whom they despised, for her outspoken use of sexuality and sexual imagery, which she had employed in her career since at least the Pre-Code films she had made in the early 1930s. The groups reportedly warned the sponsor of the program they would protest her appearance.


NBC blamed West personally for the incident and banned her (and the mention of her name) from their stations.  They claimed it was not the content of the skit, but West's tonal inflections that gave it the controversial context.  West would not perform in radio for a dozen years, until January 1950, in an episode of The Chesterfield Supper Club, which was hosted by Perry Como.  Ameche's career did not suffer any serious repercussions, however.




In 1944..."The Andrews Sisters’ Eight-To-The-Bar-Ranch" radio program debuted on ABC Radio.


In 1988....Bulgaria stopped jamming "Radio Free Europe" after more than 30 years.


In 2006…Broadcasting executive Frank Stanton, the president of CBS from 1946 to 1971, died at the age of 98.

Frank Stanton 1939

Stanton served as the president of CBS between 1946 and 1971 and then as vice chairman until 1973. Along with William S. Paley, Stanton is credited with the significant growth of CBS into a communications powerhouse.

Stanton was revered both as a spokesman for the broadcast industry before Congress, and for his passionate support of broadcast journalism and journalists. Former CBS News President Richard S. Salant – a widely respected news chief and an appointee of Stanton's – praised Stanton as a corporate mentor and statesman.

During the period of McCarthyism, Stanton created an office at CBS to review the political leanings of employees.  Although right-wing journalists considered CBS left-leaning, branding it "the Red Network", CBS maintained a questionnaire inquiring about journalists' political affiliations. At Stanton's direction, employees were required to take an oath of loyalty to the US government. Stanton and Paley "found it expedient to hire only those who were politically neutral", not wishing to take a position against the FCC and Congress, nor to jeopardize profit by "tak[ing] a stand against the vigilantes".

Stanton, Time Cover 12/4/1950

According to radio historian Jim Cox, "CBS and the blacklisting became synonymous".   CBS, in response to the culture of blacklisting, instituted a "purge of its own", as had Hollywood and president Truman; Paley was more responsible for policy setting, and Stanton its main executor. Radio producer William N. Robson was one victim of the CBS purge; initially reassured by Stanton that his listing in the anti-Communist Red Channels pamphlet would not mean the end of his career with CBS, Robson eventually found the executive office of CBS non-responsive to his inquiries, and his earnings collapsed.   Good Night, and Good Luck, a 2005 movie portraying this era, left Stanton out of the film as a character, partly because Stanton was still living and might have objected to his portrayal.

Stanton played a role in the infamous controversy involving Arthur Godfrey, CBS's top money-earner in the early 1950s. Godfrey insisted that the cast members of two of his three CBS shows, a group of singers known as the "Little Godfreys," refrain from hiring managers. When one singer, Julius LaRosa, hired a manager following a minor dispute with Godfrey, the star consulted with Stanton, who suggested that he fire the popular LaRosa, then a rising star, on the air – just as he'd hired him on the air in 1951. Godfrey did so on October 19, 1953, without informing LaRosa before the airing. The move caused an enormous backlash against Godfrey. Stanton later told Godfrey biographer Arthur Singer that "Maybe (the recommendation) was a mistake."




In 2009...Disc jockey (WABC-New York, WFIL-Philadelphia, KBTR-Denver, WRIT-Milwaukee, WIL-St. Louis)/TV sports highlights show host (The George Michael Sports Machine) George Michael died of B-cell chronic lymphocytic leukemia at 70.

Michael was born George Michael Gimpel in St. Louis, Missouri on March 24, 1939. He grew up near Tower Grove Park in the city's south side, and graduated from St. Louis University High School. While attending Saint Louis University, he worked as a Midwest promoter for several record labels such as Scepter and Motown. It was also during this time when he made his radio broadcasting debut on a one-hour Sunday night show at midnight on WIL, which invited individual SLU students to be the hosts every week. He earned a full-time job as a disc jockey at the station after he was judged to be the best of the group.

His first radio job outside of his hometown was in 1962 at WRIT in Milwaukee, where he worked the 6-to-10 pm shift until he was reassigned to 5-to-9 am morning drive time in early 1964.  His next stop was at KBTR in Denver later in 1964, working under the name "King" George Michael for the first time. He earned the nickname due to his success in "ruling" evening radio.

He became one of the original Boss Jocks at WFIL in Philadelphia when its new Top 40 rock and roll format debuted on September 18, 1966.  He served as music director and evening deejay for the next eight years. WFIL, which was popularly known as "Famous 56" after the transition, ended WIBG's listener ratings dominance and became the city's most popular station by the summer of 1967.

Michael was the first Philadelphia rock and roll radio personality to read the scores of local high school football and basketball games on the air. He also helped to start the career of Howard Eskin by hiring him to be his engineer.  Decades later, Eskin would be a contributor to The George Michael Sports Machine.   On George's last WFIL show (on September 6, 1974) he played "When Will I See You Again" by the Three Degrees for the first time ever on any radio station. The playing of this on his show broke the song into the mainstream, and within two months was a huge international hit, reaching number one in the U.K., and number two in the United States. George was personal friends with the owners of Philadelphia International Records and the song's writers Kenny Gamble and Leon Huff. The aircheck of this can be heard on WFIL's tribute site www.famous56.com, where he says,"I don't know if this song will be a hit".

Michael, noted for his energetic style, was hired by 77 WABC in New York City; his first on-air stint there was on the evening of September 9, 1974.  Michael now not only was entering the nation's largest media market; he also succeeded radio legend "Cousin Brucie" Morrow, who had jumped to competitor WNBC.  Several incidents from Michael's radio stint there have been chronicled in Morrow's autobiography.  Even though he was reunited with Dan Ingram and Ron Lundy (colleagues from his WIL days in St. Louis), Michael's time at WABC, which ended on November 17, 1979, was mostly frustrating because he was no longer a music director who had any influence on a playlist which was much shorter than the ones with which he was more familiar.  One of the highlights during his time at the station occurred when he anchored its coverage of the New York City blackout of 1977 after the music format was temporarily suspended for the night.

His first experience in sports broadcasting also came in 1974 when he was a television announcer for the Baltimore Orioles on WJZ-TV.  He declined an offer to work for the ballclub full-time in order to accept the WABC position.  As part of the deal to bring him to New York, Michael also worked for WABC-TV as the weekend sports anchor and a color commentator on New York Islanders telecasts for several seasons, paired mainly with Tim Ryan.   He served as an occasional substitute on ABC American Contemporary Network's Speaking of Sports show whenever Howard Cosell, the primary commentator, was on vacation or assignment.


In 2011...Talk personality Lynn Samuels WBAI, WABC NYC died from a heart attack at age 69.

Lynn Samuels

She began her radio career at WBAI in 1979, where in addition to her on-air work she was music director and an engineer and producer. Walter Sabo, in a tribute on the Alex Bennett program (hosted by Richard Bey) on December 27, 2011, stated that Lynn first worked for WOR on Saturdays from 4–6 p.m. "for quite some time".

Samuels was heard on Talkradio WABC from 1987 until 1992, 1993 until 1997, and 1997 until 2002, including two breaks in which she was fired and then rehired. Her third and final dismissal in 2002 was allegedly due to budget cuts.

Samuels was also a call-screener for Matt Drudge. In 2002, she joined WLIE for a brief time before being hired by Sirius in 2003.