Chapter 1. Welcome One and All

Mechanized production, timesaving gadgetry and business efficiency were not the only marvelous new developments attributed to the Industrial Revolution.  Major communication discoveries such as the telegraph and telephone enabled millions of people for the first time ever to converse great distances.  Equally important, those new money-making enterprises opened the floodgates for other inventive types who wished to spread their wings.  Developing a practical solution to overcoming long-distance communication problems was one area well worth further investigation.  Early on the shipping industry expressed interest in it.  Industry leaders wanted scientists to come up with low cost, more reliable ways to communicate worldwide.  They believed that dependable, long-distance communication would save money and time.  Many inventors agreed.  One Scottish physicist James Clark Maxwell led the pack by studying electromagnetic waves.  His actions in the 1860s encouraged another English scientist David Edward Hughes to develop wireless telegraphy.

However, it took the genius of the Italian physicist Guglielmo Marconi to patent the first practical wireless system in 1896.  His ability to transmit reliable signals over vast distances separated him from the others.  He achieved international fame three years later when the New York Herald used his wireless to trace the American Cup races.  Within a year, Marconi sent a clear signal across the Atlantic Ocean and by 1903 he was operating a profitable commercial service from Cape Cod.  He was not the only one exploring that ripe area.  Others such as the noted University of Notre Dame professor Jerome J. Green and a well-known inventor Lee de Forest also devoted countless hours to it.  One of Green’s achievements involved replicating Marconi’s efforts while de Forest developed the amplifier and triode vacuum tube.

The sinking of the Titanic on April 15, 1912, followed by the mass destruction of the 1st World War’s hastened those initial efforts.  One of the questions facing many business leaders then was whether the emerging radio industry should be run by the government or handed over to the private sector.  To no one’s surprise, corporate America won out.  Cincinnati-based Precision Equipment was one of several forward-thinking companies willing to get its feet wet.  In October 1920, it broadcasted a full-length concert to very favorable reviews.  That was followed on election night by the first U.S. commercial broadcast from Pittsburgh, PA.  Called KDKA, this Westinghouse owned outlet rapidly modernized its original broadcasting capabilities.  Many business leaders throughout the world wondered why Westinghouse Electric & Manufacturing was so interested in radio.  However, those in-the-know knew why.  It dated back to the 1880s when George Westinghouse and Thomas Edison repeatedly debated the merits of alternating vs. direct current.  Westinghouse stressed the safety of alternating current while Edison favored direct power.

Whether the information Westinghouse provided the public with was accurate didn’t really matter if everyone bought it, which they did hook line and sinker.  Westinghouse’s interest played a key role in corporate activities for many years to come.  Imagining electricity as a source of power for broadcast was one thing being able to do it was something else.  Before that could happen amplifiers, antennas, powerful generators, receivers and vacuum tubes had to be developed.  From the start the profit potential for radio seemed endless.  That was all interested parties needed to hear.  By the winter of ’21 numerous amateur broadcasters were transmitting signals everywhere.  It didn’t take long before thousands of others joined in on the fun.

Major companies such as American Telephone & Telegraph; General Electric, the Radio Corporation of America and Westinghouse Electric set the pace.  In Westinghouse’s case, that company soon opened radio studios in Chicago, New York and Springfield, MA.  Profitable objectives inspired by groundbreaking new business principles enabled many to gain incredible wealth even if skeptics saw it as only a passing fad.  Some of those same critics reappeared two decades later when television arrived.  Fortunately, most doubters were soon put in their place as the number of new outlets increased from 30 in 1922 to well over 800 by 1940.  In fact, 75% of all Americans owned one or more radios by the late ‘30s.

Radio’s widespread approval encouraged many other corporations to enter this game.  Amazingly, this fierce new competition did not pose any serious threat to successfully established outlets that often eagerly assisted their new rivals.  The late ‘20s and early ‘30s saw many clear channel stations, with federal approval, allowing smaller broadcasters to piggyback on their latest, state-of-the-art antennas.  Such free-spirited thinking opened new economic opportunities in ways never previously imagined.  Equally important, adding signals to existing towers allowed less powerful stations to take full advantage of the latest broadcasting advances at a fraction of the cost.  Well-to-do outlets repeatedly jumped at the chance to assist others since it guaranteed that they would retain their assigned frequencies.

A number of discerning leaders in large cities, such as Cleveland, applauded that kind of competition.  Businessmen and women with plenty of financial backing set the standards from day one.  As you might have already deduced, open-minded communities embraced experimental radio as more outlets fought for local top honors.  The positive outcomes, resulting from such maverick actions, represented much more than just pure luck.  Fortunate many inventors were in the right place at the right time to enjoy the tremendous benefits resulting from their recent discoveries.  In other cases, pressing business matters determined ingenuity and success.  Regardless of the circumstances, their uninhibited curiosity repeatedly energized them.  To the amazement of many, they successfully won the day over traditional business practices.  In fact, their efforts often led to top quality new programs, extraordinary internal business advances and noteworthy technical advances.

Their knack of being able to repeatedly reinvent themselves saved them repeatedly from the scrap heap.  An interesting side note is that most of their advances were rarely viewed as “top secret.”  In fact, many of them filtered down industry ranks very quickly.  Few outlets lodged any formal complaints against rival broadcasters for stealing their ideas.  Perhaps they saw it an inescapable outcome of being in such a cutthroat business.  In all probability, they felt that any potential future legal battles were not worth their time or effort.  Little did they know that many of their avant-garde broadcasting approaches would shape the destiny of radio for many decades to come?  In fact, endorsing previously untested shows became a chief goal.  AM radio programs throughout the “Roaring ‘20s” covered a wide range of topics.  Anything from thoughtful educational presentations, valuable farm reports and delightful musical shows to informative newscasts, inspiring religious services and entertaining recitals got airtime.

Any kind of broadcast was okay as long as large numbers of people listened to them.  One of the industry’s earliest problems was whether its lineup should focus mainly on news or entertainment.  By the mid- 20s most outlets offered both.  To achieve that desired end, they broadcasted a wide variety of shows at various times.  Most popular comedies, intense dramas and informative newscasts were sponsored while community, cultural and religious broadcasts were not.  As competition heated up business managers began establishing more formal lines of communication to better handle their growing business needs and wants.  These new departments ranged from accounting, building maintenance, and dramatics to merchandising, orchestra arranging, programming and sales.

In most cases, advertisers not only footed the bill for broadcasting but also played a big part in determining which programs would be heard in prime time and which ones would not.  Over time, managers successfully handled the newly initiated federal guidelines.  Among other things, those rules required local outlets to broadcast news at both the top of the hour and at the half hour.  In between, they were encouraged to air “appropriate entertainment.”  The 30 second cutaway was one new very popular money–making strategy invented in the roaring ‘20s.  Placed at the end of half hour segments, it allowed stations to insert “spot advertising” in-between shows without intruding upon federally required breaks.

Initially assigned to 833 KC the U.S. Bureau of Navigation added a second band at 619 KC in December ‘21.  It was followed by still another at 750 KC followed in May ’23 by 550 KC and 1350 KC.^[1]  By 1927; there were numerous outlets all over the dial.  Yet, assigned spots did not stop radio signals from frequently drifting.  Also, many radiomen frequently broadcasted above their assigned wattage.  The unwillingness of the government to enforce its tough new controls didn’t bother radio fanatics who enjoyed listening to nationwide programs.  Of course, free-for-all broadcasting was not going to last long.  Eventually, Congress stepped in with the Radio Act of 1927.  That law placed broadcasting under the U.S. Department of Commerce.  Beginning that same year, the U.S. Radio Commission required all licensed operators to broadcast only from their assigned spots.  They also demanded tighter wattage control.  Furthermore, the commission checked program content and insisted that all outlets follow a strictly enforced “code of conduct.”  The commission handled adding and subtracting outlets, authorized new transmitters, permitted stations to move up or down the AM dial and prevented blanketed coverage.

The U.S. Congress in July 1934 enacted further restrictions under the newly created Federal Communication Commission (FCC).  Eventually, most large cities had one or two 50,000 watts stations surrounded by less powerful sister outlets.  Furthermore, the FCC specified which ones were to broadcast day and night and which were restricted to daytime only.  License restrictions and community size generally determined the number of broadcasters located within an area as well as their hours and range restrictions.  Of course, none of those rules were cast in stone.  Population changes, technical advances and shifting business cycles rapidly changed everything.  Amazingly, harsher federal controls rarely affected either the quality or quantity of programs presented.  Of course, large listening audiences tended to prefer outlets with more attractive lineups.  Remarkably, weaker signals and shorter broadcasting days did not automatically eliminate others from highly competitive races.  Subject to frequent format changes, many smaller broadcasters often did very well in the local rating wars.  Cool radio personalities, comprehensive news and better entertainment generally won out.

The advent of national networks significantly improved the quality of broadcasting.  It began when the Radio Corporation of America (RCA) launched the National Broadcasting Company (NBC) in September 1926.^[2]  A product of General Electric and the Marconi Wireless Telegraph Company of America, RCA gained favor when it presented a popular national sports show in the ‘20s.  Its clever staff, led by David Sarnoff, made it quite clear from the start that NBC’s reliance on the latest technical advances would guarantee top quality programming.

Early on, Sarnoff saw radio’s possibilities.  He presented a “radio music box” to the General Manager of the American Marconi Company Edward J. Neely in 1916 and the rest was history.^[3] On November 15, 1926, NBC broadcast its first concert from New York’s Waldorf-Astoria Hotel.  Sarnoff’s original 19 station network led by its flagship station WEAF New York covered the entire eastern half of the nation.  Within a year, NBC operated two networks.  Known as Red and Blue, each offered its own exceptional programming.  Although the Red network, under WEAF, drew the largest numbers, many also trusted Blue led by WJZ.

The Columbia Broadcasting System (CBS) was a second national network.  A well-known east coast promoter Arthur Judson set the stage for it when he founded United Independent Broadcasters in 1922.  He soon merged it with Columbia Phonograph & Records Company to become the Columbia Phonograph Broadcasting Company.  That enterprise, led by its flagship station WOR out of Newark, New Jersey, included 15 outlets.  Seeing its potential, William S. Paley bought it in 1927.  A graduate of the Wharton School of Finance & Commerce University of Pennsylvania, Paley purchased Columbia Phonograph for approximately $400,000.^[4]  The next year he sold 50% of his CBS’s Class A Stock to Paramount Pictures for a whopping $5,000,000.  Four years later, Paramount resold its stock to CBS and Paley for $2,000,000.^[5]

CBS aired its first show on January 18, 1929.  A succeeding merger with Atlantic Broadcasting provided the added cash necessary to relocate its flagship station from Newark to the Big Apple.  To honor that event, its call letters were changed from WOR to WABC.  It became WCBS in November 1946.  Not only did those two national hookups deliver newscasts and practical advice to thousands of listeners; but also, high quality programs.  CBS’s claim to fame was its award-winning dramas; culturally enriching concerts, entertaining soaps, fun quiz shows, hilarious comedies, and very informative talk shows.  There was something for everyone on CBS.

National networks also introduced a new broadcasting cleverness that was often lacking in earlier shows.  That faith in national programming only intensified during the Great Depression as more affiliates turned to their networks for direct help.  Sadly, national advertising dollars remained skimpy.  In fact, by the mid- 30s network advertising only covered 20% of their associates’ expenses with local advertisers and announcements expected to pick up the rest.  That might have been easier to swallow had those same outlets not been forced to devote more than 50% of their broadcasting day to high-priced network offerings.  Where was the fairness in that deal?  Amazingly, most stations had very little trouble getting local sponsors.  That was the low fruit on the tree.  Therefore, the problem was not finding advertisers per se; but rather, how much to charge?^[6]  In the ‘20s, broadcasters enjoyed high profits due to well-heeled advertisers who handled their own business deals.  Not so true in the ‘30s when the few remaining blue-chip companies chose more costly big city agencies to represent them.

Obviously, big city firms charged very high prices for their specialized services.  In fact, the going rate in the 1930s was a hefty 15%.  When it was all sorted out, a district’s size usually determined its rates.  By the late ‘20s, most airtime was sold in what were called “blocks.”  Under this plan, 15-minute blocks were set aside mostly for daytime programs, children shows and soap operas with 30-minute blocks reserved for comedies.  Highly respected educational shows and much sought after cultural events received the remaining 60-minute blocks.

Amazingly, many of Cleveland’s largest department stores such as Halle’s, Higbee’s and the May Company pursued a less expensive option.  Instead of trusting big agencies to promote their wares most choose cheaper radio advertising.  Promotions over the Cleveland airways represented a much easier way to get the word out.  Soft-spoken, on-air radio personalities, with Classical or popular music backgrounds, informed consumers about the many products or services found at those major retailers.  Further incentives such as deep discounts, offered only through that broadcaster, generally increased sales while also encouraging people to listen more to that particular station.

Without a doubt, repeated radio ads yielded high profits.  After all, wasn’t it the dream of every business leader to gain a larger percentage of an area’s market by outselling their rivals?  Of course it was!  Effective promotions carried over the airwaves achieved that end.  Some well-known national department stores took that idea a step further by buying controlling interest in one or more of their local stations.  That kind of lucrative partnership thrived into the ‘30s.  Unfortunately, the Great Depression forced many Cleveland stores to temporarily redirect the bulk of their advertising dollars towards locally based newspapers.  Fortunately, the pendulum began swinging the other way by the late ‘30s as the number of Clevelanders listening to local radio continued to skyrocket.

It was also no coincident that many papers such as the Cleveland Plain Dealer got into the act by purchasing controlling interest in at least one of their local stations.  Prime examples included the Cincinnati Post WFBE, New York American & Journal WINS, Chicago Tribune WGN and Sacramento, CA. Bee KLX.^[7]  Those publishers knew full well that the future of advertising would be closely tied to radio’s growth and that they had better get on board as soon as possible.  As station owners became more directly involved in the daily activities of their outlets, they soon discovered the importance of supporting new programming ideas as well as the latest advances in business and technology.

But an individual station’s long-term success went far beyond those business basics.  In the case of programming, it had to exceed the public’s immediate need.  Falling short of that goal was not a viable option.  Radio audiences were ready on a moment’s notice to drop everything to follow the latest trend.  Fans expected their favorite stations to follow suit.  Besides which, the public instinctively knew which outlets fulfilled their needs and which ones fell short.  Listener loyalty was temporary with one station being number one in the ratings one week only to be dead last the next.  From the broadcaster’s perspective regularly changing program lineups was a critical part of their daily business game.

As important as flexible programming might have been to successful broadcasting, most stations knew that their future prosperity depended on a number of other equally vital factors.  First, they understood the need to be honest with their listeners.  In their minds, they had to go far beyond wide-eyed business notions promoted regularly by overly zealous programmers.  Second, their long-term value rested on them being able to bring together their city’s cultural, religious and social traditions for everyone’s benefit.  Failure to achieve those goals often spelled disaster with listeners searching for other broadcasters who agreed more with their thinking.  Third, enthusiastic station owners never lost sight of the community they so proudly served.  That obligation led many to broadcast their own opinions on a host of controversial local issues.  That was allowed as long as they could demonstrate the merits of their actions.

In Cleveland’s case, radio started in the winter of ‘21 when a slew of amateur operators began broadcasting.  Welcome one and all.  In fact, the 5th city was a fertile place for such actions.  Led by bright business leaders such as Warren H. Cox, they left their indelible mark on that industry.^[8]  A well-known auto parts manufacturer, Cox believed that the future of radio rested on creating workable criteria that could eliminate fakers while encouraging genuine advances based on honest hard work.  Along with other local enthusiasts Cox founded the Cleveland Radio Association.  It broadcasted the best possible programs.  As you might have already suspected, most of their shows showcased popular music played by local bands.^[9]  They also emphasized traditional classical music pieces and favorite operas.^[10]  Cox’s high business standards appealed to many community leaders who held similar ethical values.  For example, Richard L. Rathbone the General Manager of Westinghouse Electric & Manufacturing Company, Rathbone praised Cox and the Association for making radio a legitimate new source of entertainment and information available to everyone.^[11]

Warren Cox through his temporary Payne Avenue studios broadcasted some of the finest sounds of the day.  Originality being his byword led him to purchase the best equipment available.  It included two 50-watt transmitting tubes and a five-watt tube voice amplifier circuit that radiated almost three amperes.  His state-of-the-art equipment enabled 8-ACS to become Northeast Ohio’s leading radio outlet.  It also inspired him to expand his initial offerings to embrace the Cleveland Boys Scout’s Exposition, special dance shows and selected inspirational programs.  He also presented political speeches prior to elections.  Changing federal requirements soon altered the nature and scope of radio.  Beginning in 1922, operators had to obtain a commercial license from the U.S. Bureau of Navigation.  With Ohio’s first license in hand, Cox debuted WHK on March 5th.^[12]  He owned it until ‘25 when he sold it to Radio Air Service Corporation.

Being Cleveland’s broadcasting leader gave Warren Cox a decided edge in both programming and technical advances.^[13]  However, others quickly added their expertise to this growing field.  The dominant thinking at that time was that the fiercer the rivalry, the better the chances of rapid innovation.  At 360 meters, this outlet’s top notched equipment included four 50-watt tubes; two oscillators and two modulators.  Cox also relied on a finely tuned speech amplifier; two 5-watt tubes, generator, 1.500 volts 600 watts, plate current supply, a speech amplifier battery, and a 225 volts Willard storage battery.  Additional devices such as monitored loudspeakers and adaptable antennas guaranteed nearly flawless broadcasts from the very beginning.

Eager to capitalize on its growing popularity, WHK’s astute management team arranged through the Cleveland Plain Dealer to print its daily schedule.  The station also left its Payne Avenue site for the Stuyvesant Building at 5000 Euclid Avenue.  Surrounded by thin cheesecloth curtains, this new one-room facility was the first in a number of studios it called home for the next decade.  Cox wanted his programming to extend far beyond the ranks of traditional classical music, news, sports and religious offerings.  To do that, he hired some like-minded, well-qualified professionals.  One of his first employees was Larry Roller followed by Cartwright Maxwell (Pinky) Hunter.  Hooking up with popular acts from nearby theatres also helped expand WHK’s offerings rapidly.  As everyone knew, vaudeville shows were capturing the imagination of Clevelanders and Warren Cox wanted to be part of it.  Starting in March ’22, he began broadcasting star-studded vaudeville programs to a growing listening audience.

Advertising has always been the lifeline of radio broadcasting.  Warren Cox and his gifted team of professionals fully understood that their future success rested on repeatedly selling quality goods and services on air.  Co-sponsoring radio equipment with reliable retailers was a logical next step in that amazing process.  With that in mind, WHK and Halle Brothers began running jointly ads.  One such advertisement in the Cleveland Plain Dealer on May 7, 1922 described how the popular radios displayed on that page might be easily linked to that radio station.  Persuasive promotions like that one paid-off well as more and more Clevelanders purchased radio sets from major stores such as Halle Brothers.  With summer fast approaching, WHK’s sharp managers began addressing other problems affecting Clevelanders.  The increasing number of vehicles stolen topped that list.  In fact, auto thefts had reached new epidemic proportions.  Unfortunately, Cleveland police did not have a great deal of luck in apprehending those criminals.^[14]

Station officials in August ’22 responded to this crisis by providing lists of stolen cars to the police.  The Cleveland Automobile Club assisted by offering $50 rewards for any information leading to arrest or conviction.  Those efforts significantly reduced auto thefts.  Fortunately, the station’s community efforts were not limited to just that.  Another issue was the growing list of disreputable auto dealers.  Whether that reputation was warranted or not didn’t matter much to the public.  Facts were facts, and the buyer’s negative view of local dealers had reached an unprecedented new high.  In response, Buick, through WHK, offered some practical advice regarding the purchasing of vehicles.^[15]

Hoping to increase its listening audience even further the outlet to provide other useful things such as weekly road reports and free cook books.^[16] It also offered easy-to-follow golf lessons. In June 1922, WHK announced plans to move its studio into the Winton Hotel.^[17]  One of its weekend dance parties called “Karnival” was a huge hit.  Live from the Winton Hotel’s Rainbow Room, this event was broadcast Saturdays from 9:30 p.m. to 2:00 a.m.^[18]  Its admirers loved the array of dazzling new shows found only on WHK radio.  “Mr. Bradley’s Garden Talks,” the “Children’s Hour” and a late-night musical variety show called “Happy Hour” topped that list.^[19]  In November 1925, this up-and-coming local broadcaster moved to 1100 AM and increased its power to 1,000 watts.  Those moves assured their lead for the foreseeable future.

Sponsoring a nightly radio quiz show that enabled contestants to win up to $26,000 in prizes only added to the fun.^[20]  On November 30, 1926, its friendly personalities reminded everyone that Christmas was just around the corner.^[21]  What better way to get into the holiday spirit than by visiting Santa and Jack Claus at William Taylor Son Department Store downtown.  Live broadcasts from the Cleveland Auto Show welcomed in 1927.^[22]  The exciting “Ford Dealers Competition Hour” drew attention to its sensational new Friday lineup as did the Geauga Lake Park concerts.^[23]  If that was not electrifying enough for listeners, WHK announced that in September it would be joining NBC Blue.^[24]  Being an NBC affiliate meant that its fans would now be able to enjoy such things as play-by-play accounts of the World Series.^[25]  What differentiated Cleveland’s pioneer broadcaster from its many outside rivals were its many hours of community service.

Whenever possible WHK managers added the latest technical advances like a modern modulation system and more powerful transmitter.^[26]  Better employee benefits and nice studio touches such as glass-enclosed broadcasting booths and a first-class pipe organ followed in quick succession.  The need for additional space led to another move in this time to the Engineer Bank Building.^[27]  This happened in March 1928.  WHK’s greatly expanded roster included old favorites such as the “Kodak Hour” and “Professional Boxing Matches” along with new ones such as the “Maytag Program” and “Robert Burns Panatela Pageant.”^[28]  Incorporating Cleveland air shows into the ’29 lineup added further zest.  At the same time, a new crime fighting communication system enabled police cruisers to more easily apprehend criminals.^[29]

With the idea of further enlarging its offerings, WHK left NBC for CBS in August of 1929.^[30] That same summer, its owners asked the feds to not only increase its wattage; but also, lengthen its broadcasting day.  The U.S. Department of Commerce boosted its power to 1,000 watts day and night and permitted it to move from 1100 KC to 1390 KC.^[31]  However, another request asking to refine its sound by shifting it to 1270 KC went absolutely nowhere.  That being said, the feds finally approved the construction of a new remote transmitter in Brecksville, OH.  WHK’s recurring success was noticed by its many peers.  Everyone knew that the 5th city’s business community had a great deal of money available for worthwhile new enterprises such as radio broadcasting.  Business speculation made perfect sense as long as the stock market remained bullish.  Major banks, in large cities like Cleveland, took those very positive economic indicators to heart and speculated on a number of new undertakings including radio.

In its earliest days the Cleveland business community praised 1390 AM as a model of business efficiency.  A flurry of activity ensued in which several banks toyed with the idea of operating their own outlets.  Finally, the Union Trust Company put its money where its mouth was.  On August 30, 1922, the Cleveland Plain Dealer announced that it planned to run its own station.^[32]   WJAX at 360 meters was on the air daily from 9:00 a.m. to 3:40 p.m.  Focusing on bond quotes, livestock reports and news coverage, it also carried the World Series and fine classical musical.^[33]  Popular music and local dance bands soon joined its lineup.  Trying to out stage WHK, it proudly aired a December ’23 live broadcast starring Jack Claus of William Taylor Son Department Store.^[34]  That not only increased its audience size; but also convinced its conservative ownership in February ’24 to move its headquarters to the new Union Trust Building.^[35]  It also tried to improve its broadcasting quality and listening range by erecting a more powerful antenna.

WJAX officials did not stop there.  They also explored other options including a morning show geared for women as well as a tasteful decorating show.^[36]  In the evening, they proudly showcased the “Western Reserve College of Women Singers” and “Midnight Musical Frolics.”^[37]  In March ’24, WJAX moved from 360 to 390 meters.^[38]  That shift ushered in other niceties such as a decorative glass-enclosed lobby.^[39]   “Nite-Caps’ Club for Music” and “Robinson’s Circus.” “Red Apple Club from Gray’s Armory “and “Hints on Wedding Gifts” led the WJAX roster.^[40]  Other shows receiving critical acclaim included “Organ Recitals Thursday Night,” Lithuanian Music, Higbee Fashion News, “and “Radio Contests by Marshall Drug Stores.”  An assortment of holiday classics aimed at pleasing the entire family lent a festive air to the ’24 Christmas season.  Regrettably that success didn’t last long and on January 11, 1925 it signed off.  The Cleveland Plain Dealer said that WEAR had purchased the station.^[41]  Owned by Goodyear Tire & Rubber, WEAR shared airtime with Cleveland’s newest radio sensation WTAM.  It rapidly upped its power by absorbing its recently acquired Summit County radio affiliate.

WTAM was Cleveland’s 3rd radio station.  Originally owned and operated by the Willard Storage Battery Company, it began at 390 meters on September 26, 1923.^[42]  From today’s perspective it might seem as if that station had always had a decided business advantage over its local sister outlets.  In reality, WTAM, later to be known as KYW, WWWE and again WTAM, has survived its fair share of successes and failures over its very colorful 100-year past.  That being said, Willard Storage Battery Company strove to produce top quality programming from the start.  That included spending big bucks to buy some of the best equipment, announcers and programs on the market.

As early as March ’24, WTAM pledged to present a wide assortment of top-quality shows.  Well-crafted women’s programs, first class operas and special events, such as Bailey’s Department Store Jubilee, led that effort.^[43]  College glee clubs, sports scores and contests added further listening pleasure.  WTAM also paid tribute to our many veterans on Memorial Day in a special concert as well as amply cover the Republican and Democratic National Conventions that same summer.^[44]  However, its success could not be measured solely by how well it broadcasted major events.  The station had to provide everyday listeners with much more than just the basics.  Highlighting Greater Cleveland’s arts and cultural scene was one way to separate itself from the crowd.  Enlightened programming, such as that, not only would focus favorably on the local arts scene but also provide fans with a forum setting in which to discuss the latest and greatest cultural opportunities.  Those two valuable goals could be achieved at a reasonable cost.

With that intention, WTAM spotlighted Canton’s performing arts scene in July 1924.^[45]  That highly anticipated broadcast was well received by the public.  Other summer breakthroughs such as jazz concerts out of local racetracks brought further acclaim.^[46]  Its many followers also loved the Cleveland Plain Dealer “All Italian Night” that August.^[47]  They were equally impressed with the “Hawaiian Singers” and World Series coverage that fall.^[48]  Being aware of the latest technological advances led WTAM to demand a clearer signal at 750 KC.^[49]  That enhanced signal helped to relay NBC shows to other affiliates.  Wanting to enhance its sound quality even further led WTAM to switch to carbon microphones that same year.  Those highly sensitive mikes radically improved its sound by removing auxiliary amplifiers.  Purchasing WEAR that October enabled WTAM to boost its wattage and expanded its present programming to include such things as “General Motors Goodwill Programs;” “Midnight Frolics at the Allen Theatre,” and “Duo-Art Promo Radio Recitals.”^[50]

“Bridge Lessons” and “Children’s Concerts for the Public Schools” further highlighted its captivating fall agenda.^[51]  Other shows gaining local attention were “Music Week” and “French Programs for Schools.”^[52]  Again, they reflected that outlet’s never-ending commitment to presenting the best programs.  In the early years, the public was fascinated by the business side of broadcasting that included advertising costs.  In response, the Cleveland Plain Dealer sporadically posted prices.  In the case of WTAM/WEAF, it charged an evening hourly rate of $3,770.  Half hour shows cost $2,356 while 15-minute broadcasts were more affordable at $1,466.  NBC Red charged an additional $200 to $250 per show.^[53]  Some of that funding went towards purchasing closer couplings that helped to improve signal quality considerably.^[54]

In June 1928, the Willard Storage Battery Company sold WTAM/WEAR to the Cleveland Electric Illuminating Company (CEI) and the Van Sweringen Brothers.^[55]  The two companies immediately spent $500,000 to upgrade it.  By mid-summer, the feds increased WTAM’s broadcasting day from 10:15 a.m. to 10:30 p.m.  Eager to pick up the slack resulting from WJAX going off the air led this outlet to provide bond and stock quotes.  “Mid-Day Music Shows,” “Radio Artists’ Auditions,” “Vogue Magazine Fashion Talks” and “Cleveland Orchestra Concerts” enhanced the lineup additionally.  Behind the scenes, more changes were in the offing.

It all started that September when WTAM/WEAR became a clear channel outlet at 1070 AM.  The feds also increased its broadcasting day from 9:50 a.m. to 12 midnight.  Regrettably, its wattage stayed at a paltry 3,500 watts.  The “College on the Air” and the “RKO Variety Hour” initiated the sparkling ’29 season.^[56]  Station promoters that April announced that WTAM’s General Manager Billy Evans would soon be teaming up with sportscaster Tom Manning to broadcast Cleveland Indians games.  Later that month, it unveiled its latest improvement, a 50,000 watts antenna.^[57]  After praising the many contributions made by the broadcasting team of Clyde Wood and Harold True, WTAM announced that Russell B. Wise and Fred R. Ripley would soon be joining them.^[58]

WJAY was the 4th Cleveland station in the “Roaring ‘20s.”  Established by Monroe F. Rubin; Charles Burns, Grant C. Melrose and Bud Richmond, it began on January 7, 1927 from the Hollenden Hotel.^[59]  Initially at 778 KC and 435.8 meters, it soon relocated to 688 KC.^[60]  From the start, its popular duo of Johnny Mack and Hal Cochran livened up their daily broadcasts with their own off-beat humor.^[61]  They set the stage for other future local comedy dues such as Martin & Howard, Baxter & Riley, and Jeff & Flash.  This new outlet gained an immediate following with women and children since many of their shows were geared for them.  Favorites like the “Al Koran Shrine Radio Party & Dance” and “St. Patrick’s Day Program” added to the joy.^[62]

Looking for a better spot on the AM dial, officials turned to Cleveland Radio Broadcasting Corporation for help.  Cleveland Radio brokered a much better deal than would have been the case had officials been left alone.  When the dust settled, WJAY was at 680 AM and 441 meters.^[63]  Recognizing the busy day facing Clevelanders, it began broadcasting time checks at 1:00 p.m., 7:00 p.m. and 11:00 p.m.^[64]  Its success led its managers to ask the feds about moving further down the dial.  The U.S. Department of Commerce responded on May 25, 1927.  WJAY and WHK began sharing 1130 K.C.^[65]  Its power was also boosted to 500 watts.^[66]  Later, it relocated to 1320 AM.^[67]

Moving further down the dial definitely improved its sound quality, but more had to be done.  WJAY’s highly capable staff knew that Cleveland was a sports town and as such they must devote more airtime to it.  That July, it added a popular sportscaster Tom Manning to its sports team.^[68]  Manning became 1320 AM’s chief sportscaster until ’29 when he jumped ship to announce Cleveland Indians baseball games on sister station WTAM.  WJAY’s helpful hints, rousing musical shows, in-depth newscasts, and lively sports reports were increasingly appreciated by its growing fan base.  Furthermore, its never-ending commitment to community service enabled it to focus on many pressing issues.  For example, it was the first to report the ’27 controversial election results.^[69]

Less than two months later, its sound and volume improved greatly with independent coupled amplifiers.^[70]  Two other changes in March ’28 proved equally important.  First, it moved to a much larger studio in the Schofield Building.  Second, it revamped its roster to embrace more on-line musical requests from its growing fan base.^[71]  That October, it broadcasted the highly popular Ohio State-Michigan football.  It also offered speedwriting classes starting that November.^[72]  WJAY also got permission from the feds to move to 1450 KC.  In March ’29, it shifted again this time to 620 AM.  That move extended its broadcasting range to 23 miles.^[73]

Part of its’29 summer agenda was devoted to better educating the public on how our local court system runs.  Debuting at 1:00 p.m. on June 8th the “Office of the County Prosecutor” was the first offering.^[74]  A second one led by Cleveland Judge Lee E. Skeel began a week later and was known as “Traffic Problems & Traffic Court.”^[75]  Odds makers in early 1929 believed that the ‘30s would be a carbon copy of the ‘20s. Only a handful of economists predicted that our current prosperity would soon end.  The majority claimed that this nation had survived harsh economic downturns in the past and that it could ride out any future setbacks without too much difficulty.  Boy were they wrong.