Chapter 2. A Changing World Brought New Responsibilities

The total collapse of the New York stock exchange on October 29, 1929 sent the U.S. economy into a tail’s spin.  Single-day losses of $14 billion foretold the worse economic depression ever with unemployment topping the 25% mark in ‘32.  Its destruction was felt everywhere with thousands of banks and businesses failing daily.  Had it not been for the insight of some highly competent business and government leaders, its reckless path of economic destruction might have continued unabated for decades.  A changing world brought new responsibilities that only a few business leaders were prepared to handle.

Both the entertainment and broadcasting industries were hard hit by it.  Many fly-by-night radio stations bit the dust, leaving the rest to seek out any kind of business arrangements or mergers they could muster.  Those outlets able to weather this catastrophe soon discovered that not everything was rosy once they reached the other side.  In particular, major cutbacks in advertising dollars proved far worse for affiliates that were repeatedly forced by their networks to broadcast their high-priced offerings over other, more affordable alternatives.  To show exactly how bad it got, NBC’s hourly advertising rate in ‘35 was a whopping $ 7,120 while its half hour rate was $4,272 and its quarter hour rate was $2,848.^[1] Those figures represented a 5% increase over the previous year’s unprecedented high levels.

Leading networks legitimized their actions by claiming that the additional costs went towards much needed research.  They maintained that electrically transcribed programs symbolized one of the many new advances resulting from rising prices.  Supposedly, electrically transcribed programs provided clarity and dependability second to none and NBC invested heavily in both its recording and distribution.^[2]  Had it ended there, many stations might have reluctantly accepted the inevitable.  However, the problem was not the high price per se; but rather, the way in which it was marketed.  In many cases, less than legitimate companies didn’t hesitate to cheat their clients whenever an opportunity presented itself.  Broadcasting Magazine warned their many subscribers to be on the lookout for such scammers.  Apparently, they offered electrically transcribed programs to stations free of charge.  The catch was that the client would have to pay an additional fee plus a high interest upon demand.  In essence, naive stations provided deceitful suppliers with free advertising time.  In the end, many were hoodwinked by what they believed to be a genuinely good deal.^[3]

Frequent ownership changes, cost overruns and shortened broadcasting days bankrupted many outlets.  It is interesting to note that in the mid-‘30s a group of savvy broadcasters took a very bold step by establishing their own independently operated network.  Known as the Mutual Broadcasting System (MBS), it debuted on September 29, 1934.  Unlike other corporate-owned networks, Mutual affiliates financed the bulk of their own shows by signing individual contracts with advertisers.  By 1940, MBS included over 150 outlets nationwide.^[4]  Most radio managers tried to promote a positive corporate image in spite of the many business pressures facing them throughout the Great Depression.  Local newscasts and talk shows intentionally downplayed its worst aspects while comedies, musical shows and sing-a-longs made every effort possible to lift their audience’s spirits.  Voluntary actions by the broadcasters themselves also kept federal examiners from knocking on their doors.

Talented station owners in the ‘30s and ‘40s knew that their very survival depended on introducing exciting new programs on a regular basis using the latest advances.  Keeping expenses down proved extremely difficult.  Fortunately, most Cleveland broadcasters enjoyed a business edge over many of their competitors.  The fact that Cleveland had dropped from 5th to 6th in size didn’t mean that its economic or financial clout had lessened.  It remained a viable national force with many homegrown businesses lending their financial assistance to stations whenever possible.  The resulting self-confidence displayed throughout the Great Depression of the ‘30s did not stop when the country entered the 2nd World War although its focus changed.  During that global conflict, Cleveland radio took over much of the war coverage.  In-depth newscasts; regular news flashes and special interviews helped it to achieve its desired end.  Regularly presented human interest stories also gave Clevelanders great comfort during some of our nation’s darkest hours.

This chapter will concentrate on the shocking impact the Great Depression had on Cleveland radio while the following chapter will focus on the role the 2nd World War played in changing that industry.  Relying on a chronological approach will provide a clearer understanding of how local broadcasting evolved over those two decades.  One thing worth noting is that during those critical years, the number of Clevelanders choosing to read local newspapers over listening to radio for their news and entertainment dropped considerably.  Convenience, better newscasts and more in-depth talk shows accounted for radio’s sudden gains.  Unquestionably, industry-wide advances not only improved broadcasting’s sound; but also, provided it the confidence necessary to weather that grave ordeal.  Moreover, stations willingly responded by broadening their spectrum as more and more Clevelanders turned to them as their chief source of entertainment, news and sports.  Without a doubt the more sophisticated programs of the ‘30s and ‘40s were a far cry from the informal presentations of the Jazz Age.  That change had its ups and downs.  But, in the end the Cleveland radio industry accepted its ever-changing role with few complaints.

The national radio community including WHK was in total shock during the winter of 1930.  What happened to our once booming economy?  Only a few months before advertising revenues were at a new all-time high with seemingly unlimited opportunities just around the bend.  Then in a blink of an eye it was all gone.  The problem they now faced was how best to cope with those unexpected reversals.  Local stations had two choices they could meet those new challenges square-on or knuckle under to them.  One might think that as the Great Depression dragged on major outlets, like 1390 AM, might have abandoned all non-essential projects awaiting a better day ahead, not so.  Not so, they acted as if nothing was wrong.  Introducing new programs and the latest technology remained a top priority for WHK throughout the ‘30s.

That became evident in the winter of 1930 when WHK’s programmers, responding to the growing interest in collegiate basketball, began airing more, not less games.^[5]  They also covered Ohio State football and Cleveland Indians games.  However, that outlet’s new programming did not begin and end with sports hardly.  They also focused on a host of other growing concerns including mounting household problems.  Two new programs the “Homemakers Club” and “Housekeeping” delivered helpful hints intended to lighten the load of listeners.^[6]  Still, the bulk of its shows focused on entertainment.  They ranged from Paramount Publix broadcasts dedicated to recent movies to Higbee’s program on famous stars.^[7]  The Cleveland Air Carnival and annual Balloon Races provided added chills and spills.^[8]

As early as 1931, its enlightened staff sought out public feedback on its many shows.  In fact, they hired three women to find out which programs the public liked the most and which ones they hated.  WHK radio had the honor of being the first outlet to broadcast a singing quartet from the newly completed Cleveland Municipal Stadium.^[9]  It also aired an appropriate broadcast that December warning consumers of the need to be thrifty.  Throughout the Great Depression, it never forgot the ever-increasing needs of Cleveland’s poor.  For example, in February ’34 1390 AM along with Fisher Foods and Women’s Organizations sponsored a competition called the “Label-Saving Contest.”^[10]  You guessed it; contestants could win anything from cold cash to a brand-new Ford.^[11]  Again, programmers tried to lessen their listener’s daily grind by broadcasting soap operas.  Prompted by several well-known soap companies as a way of promoting sales, those 15-minute dramas dealt with everyday people caught up in all sorts of messy problems.  The public loved them and most importantly those shows helped to sell lots of soap products.

Major Bowes Amateur Hour extraordinary success persuaded other broadcasters to try their luck at it.  Chevy’s “Amateur Night” was WHK’s answer while H. J. Heinz’s “The Children’s Show” entertained the young.^[12]  Both debuted in March ‘35.  One of its cleverest new moves that June encouraged staff members to submit novel program ideas through its “Idea Clinic.”^[13]  Its acclaimed dramatic series “Theatre of the Air” along with its inspiring choral recitals “Fireside Harmonies” came from this think tank.  A weekly series “See Your City,” “RCA Magic Key Hour” and “Higbee’s Show of the Week” were amazing additions to the ’36-’38 seasons.^[14]  “Meet the New Hans Anderson” rounded-off that sharp new lineup while “The Ross Trio,” “Revue in Miniature” and “Male Quartet” in ’29 lent a new sophisticated air to WHK radio.^[15]

With the outbreak of the 2nd World War, this outlet took on the task of regularly broadcasting the latest war news.  On a brighter note, popular music took center stage starting on January 8, 1940 with “Tempo of the Town.”^[16]  WHK’s well-orchestrated programs significantly enhanced the station’s business prospects in the ‘30s.  The fact that some prosperous advertisers continually supported 1390 AM did not mean that its officials recklessly spent money.  They scrimped and saved just like everyone else.  Although at times their actions might have seemed just the opposite.  A prime example of that happened in ‘31 when station managers sponsored a splashy campaign that publicized WHK’s move to its new, luxurious studios.  Located in the Higbee Building at Terminal Tower, this first-class facility featured six studios and the latest broadcasting equipment.^[17]

In the middle of that big promotional pitch, the Cleveland Plain Dealer, through its subsidiary Radio Air Service, acquired controlling interest in WHK radio.^[18]  Under this arrangement, the station’s majority stockholders, the Howlett family still ran its operations.  Big news flash Warner Brothers was going to film a major comedy in Cleveland in September ‘33.  “Good Bye Again” used Halle Brothers and 1390 AM as backdrops.^[19]  A tragedy shook the very core of the Cleveland radio community in June 1934 when WHK’s Commercial Director Harry Howlett died unexpectedly during a routine operation.  He was only 42 years old.^[20]

The Cleveland Plain Dealer that October reported a possible conflict of interest that involved a well-known Cleveland lawyer and current WJAY president Monroe F. Rubin.  Apparently, he owned 25% of WHK as well as its Columbus sister station WAIU.^[21]  WHK’s Publicity Director Larry Roller became its new Special Events Coordinator in ’35 while one of its prime announcers Polly Deal assumed his old post.  However, behind the scenes another major event was unfolding.  The board at WHK and WJAY announced plans to merge their two stations in ‘36.  Growing deficits inspired the deal.  Both companies reduced their staffs while jointly broadcasting from WHK’s new studios.^[22]  WHK radio proudly hosted the ‘36 Republican National Convention in Cleveland.  It also renewed its CBS contract.  However, it soon joined the NBC Blue ranks.^[23]  This outlet also ditched United Broadcasting for MBS.  The new responsibilities resulting from the merger and network changes led its advertising department to expand its duties.  It now ran educational events as well as facsimile broadcasts.  In May 1938, its publicists proudly pointed out that over the past six months community service accounted for nearly 20% of WHK’s broadcasts.  That was a 15% jump from the late ‘20s.  Hoping to expand local educational offerings further led its savvy board to help establish WBOE.

This Cleveland Board of Education through WBOE responded by broadcasting more top quality WHK shows.  After enduring the economic devastation of the Great Depression, Cleveland’s pioneer station in 1940 began preparing for war.  As anyone in broadcasting understood, buying the latest equipment at the lowest possible price was essential for sustained growth.  WHK started doing that as early as January ’30 when it’s new, more powerful signal reached more than 30 states.^[24]  The subsequent FCC ruling to increase its wattage to 2,500 day and 1,000 nights further improved its current situation.  The feds also lengthened its broadcasting day from 9:00 a.m. to 1:00 a.m.  Exciting news, 1390’s new studios not only used the latest microphones; but also, set aside plenty of space for television.  Always innovative, its engineers in ‘31 began manufacturing and marketing portable amplifiers.  In less than a year, orders for those products exceeded $500,000.

Outsiders didn’t ignore that station’s knack of successfully adapting and marketing the latest gadgetry.  In fact, experts met regularly with WHK’s engineers to see what was new.  By ’35, WHK was regularly showcasing its latest breakthroughs.  As you might suspect, they pushed their newer, higher priced equipment over older, bargain basement items.^[25]  Fortunately, those same talented engineers also tried their luck with facsimile machines.  In June 1936, the Cleveland Plain Dealer described WHK’s newest tower.  Not only did it double its power; but its reliance on a rim and spokes to confirm size and shape greatly improved its sound quality.^[26]  Two months later, its Technical Supervisor Edward L. Gove unveiled a super-efficient antenna addition designed to advance broadcasting capabilities even further.  That was followed in April ’37 by viable short-wave broadcasts that originated from numerous Greater Cleveland sites.  That combined short wave and long wave receiver, consisting of an automatic unit with a 100-watt short wave transmitter, broadcasted on 10 to 100 watts.  Operated by a studio technician it was placed at the top of the Terminal Tower.^[27]

The station purchased a new mobile unit and trailer in ‘38.  It operated on a 100-watt transmitter fed by an independent 1,000 watt gasoline powered generator.  Engineers inside the unit could hear standard and high frequency broadcasts while checking the time signal and broadcasting quality.  In February, the engineering crew conducted a facsimile test over 100 specially designated receivers.  Generated on rolled paper and arranged into three columns the news was printed out daily at 1 a.m.  A photo electric cell at the receiving site allowed that to happen.  Assisted by a scanning beam and photo cell, the operator got a full printed copy.  Using an electric stylus pen, brush and/or specially designed type bar it produced clear impressions on carbon paper.^[28]  By July, its facsimiles successfully reproduced newsprint as well as recognizable outlines of faces.

Within a month, station engineers were producing 60% of W8XNT daily facsimile programming.^[29]  Future plans called for building a 20 square foot studio with Western Electric’s help.  By October ’39, W8XNT was broadcasting 42,340 KC from 8:00 a.m. to 1:00 a.m.  Joined the ranks of top outlets such as WOR, WLW and WGN, engineers at WHK working with the Cleveland Board of Education soon developed a short waver using “Network Link.”  That high quality connection enabled 1390 AM to pick up Blue and Mutual Broadcasting programs which were then transmitted to participating schools.  Noticeable advances in both the quality and quantity of equipment signaled the start of a new era of industry-wide exploration.  Regrettably, the feds put a temporary stop to it after the bombing of Pearl Harbor.

As you might well have expected, much of WTAM’s programming at the outbreak of the Great Depression reflected the financial setbacks of that time.  No one in the radio industry was prepared for such an extensive calamity.  Its staff repeatedly tried to soothe its anxious audience by presenting lively shows.  What other choice did they have?  WTAM finally broke new ground in January ‘30 when it began airing useful poultry and egg market quotes.  A cooperative venture with the Cleveland Builder’s Exchange resulting in a “Modern Home View” tour that April.  The new “Cheerio Show” served to lift spirits.  Sports enthusiasts loved the all-new Hobby Riding Club broadcasted that August as well as the “Cleveland Fun Facts” show beginning in September.^[30]  Year’s end saw RKO theatres host a dazzling Christmas pageant featuring the popular duo of Gene and Glenn.

WTAM staff members participated in a special Groundhog Day salute in February 1932.  Later that same month, the station launched its own social science classes.  Ashland Artists Singers highlighted its March calendar and a 15-minute Marimba & Vibra-Harp concert made lunch time special.  May saw the arrival of “Nikki Norge & Her Marionettes” and the summer brought Boston symphony concerts by Serge Koussevitzky.  WTAM and NBC wished everyone Merry Christmas and welcomed Warner Brother celebrities to Cleveland three months later.  The first “Ford Network Program” debuted that July followed by the “Junior Ping Pong Championship” in January ‘34.  The Cleveland Radio Guild chose WTAM to broadcast its highly acclaimed plays that fall.  Conversation among airplane pilots, crew and passengers brightened the ’35 roster as did the Carling Beer’s “All Girl Revue.”^[31]

Enormously popular soap operas ruled the mid-day airways by the mid-‘30s.  Children loved “Popeye the Sailor Man” courtesy of Weatena cereal while their parents listened to Lowell Thomas each and every evening.  The ‘36 fall schedule sparkled with an array of college football games as well as a noted Oberlin College educational series and the “Big Time Variety Show.”  Women’s fashion programs, children’s shows, men’s only broadcasts and star-studded weekly productions accentuated its ’37 season.  “Friday Evening Radio Parties,” “Champions of the Keyboard” and “Music & American Youth” were welcomed additions the next year.  Those into astronomy tuned in every Sunday nights to marvel at the planets while Cleveland Orchestra concerts livened up the ’39 summer.   Many listeners listened attentively to new inspirational programs on the eve of the 2nd World War.

Like its other sister stations, WTAM throughout the ‘30s regularly cancelled existing programs and furloughed staff members.  It first occurred following the collapse of the Van Sweringen empire.  Fortunately, NBC came to its rescue.  In October 1930, it added WTAM to its popular Red network.^[32]  NBC further announced that WTAM’s General Manager John Royal would soon be leaving Cleveland for similar duties at WEAF in New York.  At the same time, the FCC threatened to revoke RCA’s licensed stations based on allegations of fraud.  Fortunately, nothing happened.  WTAM’s program success from day one convinced NBC to not only renew its contract for three more years in March ‘32; but also, upgrade its studios.  At the same time, NBC announced that Russell Wise was to become WTAM’s latest Production Chief.

WTAM added electrical transcription recordings in early 1933.  That same May, NBC officials included its Cleveland affiliate as part of a national sales campaign.  Deteriorating economic times in ’34 forced NBC to cut WTAM staff salaries again and institute additional layoffs.  Transmitting Red dot shows from New York to other Midwest affiliates soon became another WTAM tasks.  That spring, NBC introduced a new advertising approach intended to boast local business.  Network officials reminded everyone that Northern Ohio retail outlays and purchasing power now surpassed the $2,000,000,000 mark.  Intending to reduce the number of daily commercial blurbs, NBC required its affiliates, including WTAM, to cut their 10 to 20 second in-time lapses.^[33]  The following year, NBC accountants again reminded their many advertisers about the pluses of sponsoring prime shows through its affordable Cleveland affiliate.  After all, this 50,000 watts clear channel station reached more than 1,000,000 Ohio families.

In 1937, NBC once again reminded potential advertisers that WTAM programmers were more than willing to develop new shows spotlighting their many products and services.  At the same time, they assured their Cleveland audience that NBC would regularly update broadcasts.  One indication that the nation’s economy was slowly improving was the fact that WTAM’s new studios in the Guarantee Title & Trust Company Building were nearly completed.^[34]  That move occurred in February ‘38.^[35]  This well-known landmark remained its broadcasting home for nearly 20 years.  For the seventh year in row, WTAM offered an introductory course for women entering advertising.

WTAM’s determined investment in high quality equipment placed it light years ahead of most of its rivals.  WTAM’s chief engineer Edwin (Eddie) Leonard experimented with all kinds of gadgetry in the ‘30s.  He went so far as to say that listeners would soon be able to pick up their favorite shows through standard light circuits.  Always a leader, WTAM’s newest remote transmitter started operating in January 1930.  It could broadcast non-stop up to 19 hours a day.  Four months later, the feds permitted WTAM to begin broadcasting at 7:00 a.m. not 12 Noon.^[36]  Exciting news WTAM established a new two-way communication system with an experimental plane on June 1st.  In an attempt to lift listener’s spirits, WTAM in January ’32 broadcasted 15 minutes of chatter from the Flats.

Its “Hello America” salute in March of ’32 discussed the possibility of using light waves to pick up transmissions over standard radios.  Two months later, WTAM presented its first short wave program.  That September station engineers led by Eddie Leonard conducted special tours of WTAM’s up-to-date transmitter.  For those interested in the nuts and bolts of industry growth and change, NBC reported in April 1934 that it had just bought 20,000 miles of additional telephone wiring for its two networks.  A new boating service “Ship-to-Shore Telephone Service” was up-and-running that May thanks to the efforts of both NBC and WTAM radio.  Short wave mobile transmitters were the hottest things going on and Eddie Leonard had one.  The annual cost of running its newest, state-of-the-art 50,000 watts booster antenna was estimated to be somewhere between $60,000 to $70,000.^[37]  In ‘37, the FCC approved a request to double WTAM’s ground signal by adding a new 470-foot vertical antenna.  In early ’39, industry leaders acknowledged that WTAM was one of 15 stations employing a second pattern of engineering programming.  At the February 1939 Cleveland Advertising Club Luncheon commemorating WTAM’s commitment to community service, its savvy engineers demonstrated how two-way radios worked.  That was followed in March by a display on how modern mikes worked.  A specially devised box minus the cumbersome wires enabled WTAM’s sportscaster Tom Manning to provide play-by-play action of a ball game without static.^[38]

Unaware that our economy was verging on bankruptcy, WJAY strategists in the late ’20s mapped out what they believed to be a foolproof plan designed to make Cleveland’s 4th station even more competitive.  Its success hinged on wealthy local advertisers buying into it.  This highly ambitious initiative first surfaced in February ‘30 when it debuted a refurbished Hungarian show.^[39]  Other new offerings designed to liven up its lineup included “The Prosecutor and the Law” and “Slovak Broadcasts.”  Accurate stock forecasts and quotes by Bankers Economic Services, along with vignettes discussing the futility of prohibition, added yet another dimension to WJAY’s new and expanded schedule.  The fall season ran the breadth from musical offerings courtesy of the Cleveland Bible Institute to an authentic Jewish wedding.^[40]  Anything and everything was possible.

The 94th Anniversary of the Cleveland Grays and “Arnold’s Jolly Three Instrumental” highlighted its ’32 roster.^[41](41)  That April, a new morning series for women plus a variety show featuring blind entertainers got very favorable reviews.  Later that same year, WJAY proudly broadcasted the “Snappy Hour Concert,” the “Croatian Club” plus a revised “Breakfast Club.”  Veteran Cleveland broadcaster Wayne Mack presented “Old Colonial Reflections” to welcome in the new year.  It also presented the Navy-Notre Dame Football Game from the new Cleveland Stadium that November.  Station officials proudly announced that the majority of their very popular ethnic shows would soon be offered in their native tongues.  A popular violinist Mitchell Dane and a talented songstress Tiny Ann Treon were also highlighted.^[42]  “Man-on-the-Street” interviews by Morey Davidson and Mendell Jones definitely spiced up the summer fare.^[43]  Do “Man-on-the-Street” interviews seem vaguely familiar to you?  They should.  Similar techniques were used by Steve Allen, David Letterman and Jimmy Kimmel later.

In January ’34, the Cleveland Teacher’s Federation broadcasted its first education series over WJAY.  Later that same month, it aired a new soap opera “Just Married.”  Always a sports leader, the station provided the first daily baseball scores.  A revamped “Breakfast Club” starring Jim Sands gained an immediate following.^[44]  An exceptionally good new quiz show introduced that fall would later resurface on CBS.  The latter version hosted by John Charles Daly was called “What’s My Line?” while the earlier showstopper on WJAY was “Guess Who the Star Is?”^[45]

That September, Cleveland Mayor Harry L. Davis detailed how local businesses might join forces with city officials to improve the city’s economy.  WJAY’s ’35 agenda included two exceptional new offerings.  One called “Romance” starred the baritone soloist Mendell Jones while the second “Family Party” was a fun packed variety show.  Playing the latest Warner Brothers hits certainly perked up station ratings during the first half of ‘36.  Later that same year, WHK announced that WJAY radio would soon be carrying a number of commercially-free shows courtesy of CBS.^[46]  Resourceful programmers definitely sparked up dreary Saturday mornings with talented high school entertainers while it still showcased nationality acts.^[47]  Its publicists went so far as to sponsor a dangerous stunt at the ’37 Great Lakes Exposition.  One of its popular personalities, Carl Mack, played tag with a live octopus within a 50,000 gallon tank filled with water.^[48]  Guess what, the public loved it.

Its officials in an attempt to promote safe driving sponsored a unique program in which local high school students dramatized serious auto accidents.  Prior to ’37 Cleveland Indians games, Tip Top Beer sponsored a new show hosted by the one-and-only Guy Wallace.  He talked about celebrities, Cleveland theatres and the city’s lively nightlife.  An 1830s fashion show, part of Dunham Tavern’s dedication ceremonies, led its September ’38 lineup.  Other distinct new programs the next year included an in-depth discussion on how to build and finance a new home as well as lively music geared for those who were bored with weekend football.^[49]  In 1940, the Mutual Broadcasting System unveiled a series of new shows targeted specifically for that outlet.^[50]  No one knew then that the 2nd World War would undermine the whole plan.

As you might have already suspected, the severity of the Great Depression only worsened business prospects for marginally successful stations like WJAY.  However, few in the industry during the early months of ’30 could have imagined its corrosive, long-term effect.  In fact, the future seemed bright due to the growing number of profitable advertisers that had turned up over the previous five years.  Emerging companies such as United Food Stores and White Cross School of Beauty had just signed lucrative contracts with several outlets and they were not the only ones thinking about the possibility of long-term commitments.^[51] Unfortunately, as future opportunities began to shrink in the early ‘30s so did the number of sponsors willing to make such promises.  Over time, mounting debt and decreasing profits destroyed struggling stations such as WJAY.  How could it have been any different given the current economic circumstances?

In the summer of ’30, WJAY’s owners, the Cleveland Radio Broadcasting Corporation, tried to soften the blow by proposing the creation of a new regional chain of stations led by that outlet.^[52]  That idea proved to be little more than a pipe dream.  Further legal complications arose in October 1930 when WJAY was named in a court injunction for supposedly participating in illegal stock activities.  It turned out that placing controlling interest in the hands of a successful Euclid Avenue hardware store owner named Frank M. Potter afforded WJAY the kind of clout needed in ’31 to move to newer, larger studios at 1224 Huron Road.^[53]  Hoping to further improve its situation, its lead managers advanced John Volpe from Public Relations Chief to Program Director and Edythe Fern Southard from station announcer to Publicity Director.^[54]

Less than a year later, John Vorpe left WJAY radio for greener pastures at WHK where he became its latest Program Department.  In the summer of ‘32, WJAY’s Continuity Writer & Actor Don Butler along with the veteran broadcasting team of Ruth & Blair left for Columbus’s own WAIU.  On a more favorable note, WTAM’s highly respected Ian Martin joined WJAY’s business ranks in January ’33 as its new Dramatics Director.  Things were definitely looking up that spring when its board convinced a local brewer to sponsor a major concert featuring the Hungarian Gypsy Orchestra.

Trying to keep things moving forward led WJAY to sponsor a series of upbeat ads in both local newspapers and national trade publications.  One of them in January ‘34 bragged that WJAY carried more local advertising than any other Cleveland outlet.  A second claimed that a 60-word ad aired on their station during the 5:00 p.m. hour cost less than a new hat.^[55]  A third boasted that its advertisers were so happy with last year’s sales records that they signed up for another year.  Whether those claims were truthful or not was of little concern to WJAY.  Splashy advertisements, like that, kept the station going during some of its bleakest days.

WJAY’s public relations department knew full-well that operating as a daytime station had distinctive drawbacks.  However, they were sure they could eventually overcome them.  One idea in July ‘34 asked their loyal listeners to choose the songs they wanted aired the most.  Station programmers figured that if the audience liked the songs they played then they would be more inclined to listen to the outlet more often.  That tactic seemed to be working especially when it was announced that in September that a popular local radio personality, Vic Knight, would soon be joining its staff as its Production Chief.^[56]  Unfortunately, quick business fixes, like those, did not significantly improve the station’s bottom line and word spread quickly industry-wide that it was about to fold.

As you might have already supposed, earlier ownership demands for WJAY and its sister stations WAIU in Columbus and WKBN in Youngstown to streamline their services and exchange frequencies went absolutely nowhere.^[57]  There was further bad news in March ’35 when the American Broadcasting System terminated its affiliation.  Frequent personnel changes didn’t bode well.  Finally, the in May ’36 the government permitted the Cleveland Plain Dealer to control both WHK and WJAY.^[58]  Sixteen months later, WJAY call letters were changed to WCLE.^[59] During a mid-’36 jubilee, 1390 AM announced that WCLE would soon be broadcasting some of Mutual’s best programs.  That kind of positive news convinced WCLE’s officials to showcase some of their popular shows at pre-determined times.  They hoped it would end listener confusion as to what was being aired when.  The all-new WCLE entered the decade of the ‘40s with an array of thrilling new programs.  Regrettably, few of them saw the light of day

As everyone knew then and now a station’s enduring success depended on its willingness to replace worn out devices at a moment’s notice.  WJAY’s engineers knew that clarity, tone and quality reception were key drawing cards for repeat listeners.  With that in mind, they approved a series of intricate technical tests inaugurated in January ‘30.^[60]  Its engineers were relieved to learn that their outlet passed all of them.  However, they knew they could not rest on their past laurels.  Staying ahead of the game meant regularly adding top-of-the-line, new equipment such as condenser mikes, speech input equipment and volt generators.  That spring, officials seriously talked about erecting a new suburban transmitter and increasing night power to 250 watts.  In September, they filed an appeal with the FCC to increase WJAY’s power to 1,000 watts and to relocate from 610 to 590 on the AM dial.  Both applications were rejected.  In May ’34, its board again requested an increase to 1,000 watts; an extension of its broadcasting day to 11:00 p.m. as well as a shift to 640.^[61]  The feds denied all three requests although they permitted it to add 45 more minutes per day.^[62]  It also allowed the outlet to rely temporarily on a portable 100-watt transmitter until an appropriate site for its new antenna could be found.

Finally in September ’36, WJAY got authorization to erect a new aerial on the previous site of WHK’s antenna.^[63]  This new 300 ft. wagon wheel antenna sent out its first signal the following year.  Its shrewd engineers wasted little time before developing their own unique short wave broadcasts.  However, any future additions or changes had to be approved by their owners Cleveland Radio Broadcasting Corporation.  Had WCLE remained an independent broadcaster, then in all likelihood. it would have upgraded its operations regularly.  But fast-paced changes and mounting expenses prevented that from occurring.

Prior to the Great Depression, plans were in the works to establish another Cleveland station.  However, more pertinent matters during the first months of ’29 prevented the FCC from approving it until September 29, 1930.  Although the local press wholeheartedly welcomed the all-new WGAR, the same cannot be said for its sister stations WHK and WJAY.  Both asserted that WGAR’s Detroit-based ownership, led by G.A. Richards, Leo Fitzpatrick and E.M. Thomas, knew absolutely nothing about the needs and wants of Clevelanders.^[64]  Of course, they were dead wrong.  From the beginning, it aired some of the best programs around.  With its studios in the Hotel Statler, that station’s original broadcasting day ran from 6:00 p.m. to 12 midnight.  With 1,000 watts daytime and 500 watts nighttime, this hottest addition to NBC Blue proudly debuted on December 14, 1930.  Like its sister outlets, WGAR did its best to face up to the grim prospects of the Great Depression.  It understood that its initial broadcasts would not only set the stage for future growth; but also define its character for many years to come.  That led its General Manager John Pratt to pull out all the stops to show that WGAR meant business.

Producing worthwhile daily programs always poses a challenge but most especially when new stations are attempting to gain inroads within a tightly held market.  In this case, WGAR began with a survey asking potential listeners what they wanted to hear.  Those surveyed made it very clear that they desired a wide range of top-quality programs.  In 1930-31, WGAR focused on some sure winners such as “Amos’n’Andy,” “Ginger Rogers & Brusiloff’s Band,” and “Westinghouse’s Musical Salute to Cleveland.”^[65]  Educational shows that same year included “Carroll Burke Fine Music,” the “Rochester Symphony with Harpist Lucille Johnson Bigelow” and “Canadian Parliament Sessions.”^[66]  The number of good offerings expanded quickly with the addition of the “Latest Song Hits; the “Newlyweds” and the “John Ruskin Variety Show.”  WGAR experienced a profitable year in ‘32 due in part to a successful Saturday afternoon show that spotlighted high school talent.  Columnists also praised its coverage of the opening ceremonies for the new East 9th Street Greyhound Bus Terminal as well as its interview of a bootlegger.^[67]

As the Frank Sinatra hit of the mid-‘50s Love & Marriage so amply put it “you can’t have one without the other.”  Two decades earlier, WGAR thought it had come up with a perfect remedy for Cleveland’s lovelorn.  Its new daytime drama “Matrimony” brought lonely couples together with the hope that they might fall in love and get married.  Many housewives loved Higbee’s “Jean Abby, Women’s Home Companion and Radio Shopper” beginning in December ‘32.^[68]  A&P grocery welcomed in 1933 with Booth Tarkington’s “Adventures of Maud & Cousin Bill” while “Gold Rush” showcased popular Canadian yarns.  In ’34, its growing lineup included the Drama League’s programs; “Halle’s Table Setting Contest,” “The Indianapolis 500 Race” and “Fun and Firecrackers.”

Over the next two years, WGAR broadcasted the “Goodrich Circus Night,” “The Romance of Life Insurance,” “Sing Before Breakfast, The Bailey Company’s Musical Clock,” “May Company’s Morning Matinee,” and “How Cleveland Serves You.”  A new series “Stars in the Making’ debuted on January 3, 1937 followed in February by “Taking Democracy Seriously.”^[69]  “Marshall’s Morning Express” starring Dave, Shirley and Bob was a rousing success as was the all-new “Parade of Champs.”  “Listen to Your Unseen Friend” gained a loyal following along with Sidney Andorn’s “Christmas Party.”  “Bachelor’s Children” sponsored by Old Dutch Cleansers highlighted ‘38 while it also offered a kid’s baseball camp courtesy of B.F. Goodrich and Marshall Drug Store’s fun packed show the “Sundae Naming Contest.”  The New Year brought thrilling news.  CBS revealed that four of WGAR’s most popular shows were going national.  The Cultural Institute’s Nationalities Christmas Greeting ended the ‘39 season on an upbeat note.  Popular shows like that were appreciated especially as the 2nd World War approached.^[70]

Unreliable advertisers and diminishing markets hampered local operations throughout the ‘30s.  The Great Depression certainly was not an ideal time to sink hard earned cash into new outlets.  However, it is important to note that some national indicators as late as ‘31 suggested just the opposite.  They argued that this unexpected economic downturn was not going to last too much longer and that the public’s never-ending need for radio would offset any financial losses investors might have incurred to this point.  That was what G.A. Richards, Leo Fitzgerald and E.M. Thomas were banking on when they established WGAR.  Those optimistic forecasts in ’30 and ’31 might have been off the mark.  However, the willingness on the part of WGAR’s savvy Detroit ownership to stay the course even if initial profit returns were marginal, proved in the long run to be a very effective strategy.  Yes, Cleveland needed another radio station and WGAR was it.  Following its grand opening on December 14, 1930, it settled down to business.  Its earliest backers invested $150,000 and hired a young go-getter John F. Pratt as its GM.  He was a driving force at that outlet for many years.^[71]

WGAR soon recognized that one way to appreciably expand its listening base was to provide special offers and it did just that.  In June ’33, it promoted a Great Lakes cruise package for only $54.50 per person.^[72]  Its publicity department also arranged with the A&P grocery chain to sponsor a five-week series that climaxed with 100 Northeast Ohio boys going to the ’33 Chicago Exposition.  The January 6, 1934 Cleveland Plain Dealer announced that its latest studio refurbishing effort would include a special TV monitor.^[73] Known as the “Friendly Station,” WGAR’s tradition of program excellence carried over into ’36-’37.  Part of its success rested on top quality records courtesy of Associated Recorded Program Services.^[74]  Adding a talented pianist such as Henry Pildner along with a smooth sounding announcer like Wayne Mack also helped.^[75]  Financially speaking, it entered the ‘40s in good shape.  That was important with the war looming on the horizon.

As we discussed earlier, staying ahead of its rivals meant continually updating its equipment.  In this case, it began as early as 1930 with a more powerful antenna.  Unfortunately, complaints of program interference by WHK led to federal intervention.  WGAR was forced to move its tower to another spot.  Moving to 1000 Harvard Avenue, the architectural firm of Dickerson & Rhoads in May ’31 designed a modern $50,000 brick building with adjacent towers.^[76]  Wanting to improve its sound even further, WGAR unsuccessfully petitioned in April ’34 to move from 1450 AM to 1180 AM.^[77]  A second appeal eight months later to increase its night power to 1,000 watts was also rejected as was a third request to move to 890.^[78]  Apparently, it lacked the business clout needed to ensure rapid changes.  However, it didn’t stop it from moving forward.  In June ’36 it purchased a new 100 watts motorized vehicle with a special top that could be raised or lowered any time.  The installation of Hi-Fi monitoring devices and a chain in ‘37 permitted it to carry up to 18 hours of Mutual programming.^[79]

The next year Dickerson & Barrett designed an addition to its Harvard Avenue facility plus an adjoining 170-foot tower.^[80]  Finally in April ‘38, WGAR got permission to increase its power to 5,000 watts daytime and 1,000 watts nighttime.^[81]  The big news for ’39 was that this outlet had linked the Cleveland Board of Education’s station WBOE with the acclaimed educational series “American School of the Air.”^[82]  In the meantime, equipment upgrades continued into the war years.  But not to worry, all Cleveland stations including WGAR gallantly supported our brave troops.