Gerald Mohr (June 11, 1914 – November 9, 1968) lived a very short but full life as a radio, movie, and television actor. He was born in New York City and was raised fluent in English, French and German. He enrolled in Columbia University to become a doctor, but was struck with an appendicitis which put him in the hospital during school. It was there that another patient who also happened to be a radio broadcaster, heard Mohr’s voice and suggested he would be ideal for radio. Mohr got his start in radio as a junior reporter and thanks to a wonderful baritone voice, the rest was history. By the mid-1930′s Mohr had joined Orson Welles Mercury Theatre and was appearing in broadway plays and dramatic roles on radio.

In the 17 years before he took on his most famous role in “The Adventures of Phillip Marlowe”, Mohr played everything on radio from a psychotic killer to a figment of a young woman’s imagination. He also played such varied roles as an opera star
a floor walker, an assortment of murderers, gangsters, cops and private detec
tives, a soldier, teacher, mad scientist, newspaperman, doctor, lawyer, prose
cuting attorney, psychiatrist, fast-talking salesman, pirate, pitchman, barke
actor and musician.

Mohr played a variety of nationalities, mostly Latin, including Italian,
Russian, German, Spaniard, Mexican and French. His Italian roles included
portrayals of Rudolph Valentino and Pasquale Amato. He played a Russian
opposite Bette Davis in a memorable dramatic performance, and just as ably
in comedy as a Russian character with Bob Hope. La Fitte, the pirate, the
French teacher on “Our Miss Brooks,” and the French salesman on the “Beulah”
show are some of his many French characterizations that led Hedda Hopper to
suggest that “Charles Boyer could take lessons from Gerald Mohr.”

In Mohr’s radio life, he was equally at home on either side of the law. He played a prosecutor and a defendant, a cop and a criminal, both a French thief and a member of the Surete, a crooked private detective and of course Raymond Chandler’s detective character Phillip Marlowe. In 119 CBS episodes of Phillip Marlowe (1948-1951), he excelled as the hardboiled detective. As John Dunning wrote it in his book “On The Air”, “this was not a cute series. It was blood, guts and thunder and Mohr’s bassy voice carried it”.

In film, Mohr played Michael Lanyard in three “Lone Wolf” films and on television he appeared as a guest star in western programs like “Maverick”, “Bonanza” and “Rawhide”. He also could appear in comedies such as “The Jack Benny Program”, “The Smothers Brothers Show”, “The Lucy Show”, or in dramas such as “Perry Mason”, “77 Sunset Strip” and “Lost In Space”. And because his powerful voice was his greatest asset, he appeared in cartoons as Reed Richards (Mister Fantastic) in the Fantastic Four series in 1967 and as The Green Lantern in the “Aquaman” series in 1968.

In 1968, Mohr had a supporting role in the film “Funny Girl”, and also filmed a pilot television episode called “Private Entrance”. He died November 9th, 1968 at the age of 54 of a heart attack in Stockholm, Sweden shortly after filming the television pilot.

When Frank Galen created the CBS Radio show “Meet Millie”, based on the adventures of a blonde New York secretary with an unlimited talent for doing the wrong thing at the right time and vice versa, he had Audrey Totter in mind. He went to her with several scripts, prepared to prove to her that the part was “right,” even though it contrasted sharply with the dramatic roles she played in the movies.

Miss Totter met Millie, and liked her right off the bat. She started through the first script, and by the second page was reading out loud. Before the last page was read she had decided she would be Millie.

Meet Millie was light, frivolous comedy and lots of fun for Audrey Totter to do. She had occasionally played roles in comedy films, but her motion picture fame was largely based on dramatic parts in such films as “The Postman Always Rings Twice,” “Lady in the Lake,” “The Beginning or the End,” “The Set-Up,” “Tension,” “The Blue Veil,” “The High Wall” and “FBI Girl.”

Totter was quoted as saying “Millie is a nice, pretty, screwball sort of girl, and I can be too when I’m playing her. Being a murderess, or a female psychiatrist, or the poverty-ridden wife of a punchy fighter is interesting and exciting acting. But once a week I can be this blonde kid and live her goofy involvements with boy friends, relatives and fellow employees.”

The New York accent Totter used for Millie was a cinch and at the time she was one of the most accomplished dialecticians in show business.

Audrey Totter was born in Joliet, IL, the eldest of five children, and at an age when most children are learning to talk she was imitating the nuances of accents among the people closest to her. Of Swedish ancestry on her mother’s side, she imitated the accent of her maternal grandmother. From her father, John Michael Totter, she acquired a Viennese accent. In school, she concentrated on voices, accents and dialects, which she practiced in school plays. Later she joined a Joliet stock company and picked up an Oxford accent from its English manager. Traveling around the 48 states with other stock companies and road shows augmented her collection of regional dialects, and by the time she entered radio, in 1940, she was an expert in dozens of speech patterns. After four years in radio, she was offered a New York stage role and an MGM screen test. She accepted the Hollywood offer and the test showed that the radio actress “with a thousand voices” had a face and figure, all adding up to star material.

However, by July 10, 1951 Audrey Totter would come full circle and become the star of Meet Millie, a radio program similar in tone to other “dumb blonde” programs like “The Joan Davis Show”, “My Friend Irma”, and “Maisie”. Meet Millie lasted over the CBS Radio Network until September 23, 1954.

The quality of Audrey Totter’s films declined during the late 1950′s, while during the 1960′s through 1980′s she played supporting roles on television. Her last role of any kind was in 1987 on television in “Murder She Wrote”. Today, Audrey Totter lives in retirement at the age of 93.

By Todd Nebel

Amos and Andy was the most popular radio program of all time during the Golden Age of Radio. White radio actors, Freeman Gosden and Charles Correll performed black dialect throughout the entire run, from 1928 to 1960. Oddly enough it was accident, not design, that gave Freeman Gosden and Charles Correll their start in radio. Back in 1920, the pair worked for the same home talent productions firm. They were in New Orleans and were invited to appear on a broadcast on one of the city’s first experimental stations. Later, they got a job as a singing team with WEHR in Chicago that lasted for seven months – without pay. Then in 1924, they went to work for WGN – for cash. On January 12, 1926, they started a nightly black dialect act as “Sam ‘n’ Henry” that lasted for two years. When Gosden and Correll accepted another job with WMAQ they needed another name. That was in 1928 – and going up in the elevator for their first broadcast the operator was talkative and had a greeting for everyone who got on the elevator. When a carpenter got on, he said, “Hello there, Handy Andy,” and on another floor he greeted someone else with, “Well, well, Famous Amos.” And the comedians had the new names for their new radio show.

On August 19, 1929, Amos and Andy decided they would change their script locale to New York’s Harlem, and the two comedians became national sensations – 7:00 pm. across the country was Amos and Andy time. Office workers rushed home for the broadcasts; theater screens went blank; hotel room service was suspended.

On October 8,1943, they gave up their traditional five-times-a-week, fifteen-minute series and started in a once-a-week, half-hour format. Both Gosden and Correll were from the South. It was Correll’s ability to play the piano which led to his job with the home talent productions firm. He visited towns and cities all over the country, organizing, training and drilling a home town cast for a show in a week’s time. At about the same time, Gosden joined the same firm and was sent to Durham, North Carolina, to meet Correll and learn stage direction and technique. This meeting led to what would become the most famous partnership of the Golden Age of Radio.

The golden age of radio usually is understood as encompassing the years 1930 - 1950. For myself as well as others, the period is extended until 1955 under the informal heading, “radio’s courageous but losing battle against tele­vision.” It is unfair to call these extra five years “ungolden” because it was still entertaining radio entertainment, but with fewer listeners. The music of that 25 year period and radio programming were interchangeably interconnected and woven into an enter­taining fabric. Some of this music was Christmas music.  And so it happens that Christmas and the golden age of radio at that time had combined to produce by far, the most American “popular” Christmas music than at any other time in our country’s history.

Many times during the golden age of radio, “popular” (nor liturgical) Christmas music was introduced by ”popular” recording artists and radio personalities. The music would be written for the artist to be introduced in a radio show, on a record, in a film and sometimes all at once. In the case of radio, millions of listeners would he exposed to a new song, creating an ideal place for immediate exposure and hopefully, later com­mercial success.

Bing Crosby. Perry Como, Gene Autry, the Andrews Sisters, Frank Sinatra, Dennis Day and Eddie Cantor are a few of the artists who had great success exposing new Christmas compositions on radio. Radio was and still is, an ideal medium for music. The music of the golden age of radio was a perfect compli­ment to the swinging and joyous melodies written for Christmas at that time. Hence, a wealth of popular Christmas songs were produced during the period. Composers since the mid-fifties have had some limited successes (notably with songs like “Jingle Bell Rock” and “The Chipmunk Song”) but mostly the changed musical styles have produced dismal attempts at writing Christmas music. The whining electrified guitars and flabby basses of the sixties and seventies and the com­puterized synthesized music of the eighties up to today, lacks the warmth and heart­felt tones so closely associated with the holiday.

The “golden Age” of popular Christmas songs began in 1932 when the song “Santa Claus is Comin’ to Town” was written by Haven Gillespie and J. Fred Coots. They tried for two years to get someone to take a chance on their song, but even Eddie Cantor (who employed Coots as a staffwriter) was not interested. It was not until Ida Cantor, Eddie’s wife, persuaded Eddie to give the song a chance. Cantor used the song on his radio show one week before Thanksgiving in 1934. The song was an instant success and has since become the third best selling Christmas song of all time (mostly due to the Bing Crosby — Andrews Sisters Recording).

“Rudolph the Red Nosed Reindeer” was created in 1939, the invention of Robert L. May, an advertising copywriter for Montgomery Ward Stores and a brother-in-law to composer Johnny Marks. May had thought up Rudolph as an advertising promotion gimmick for Wards. In 1949, Johnny Marks put words and music to the already successful published story book of “Rudolph the Red Nosed Reindeer.” Marks then had the song published and went on a search to find the right singer for his song. After Perry Como rejected it, Gene Autry was ap­proached, but he thought the song too childish lor his image. Marks had a demonstration record made up and sent to Autry, who liked what he heard. With strong approval and an added push by Autry’s wife, Autry agreed to record it. The song has since outdistanced all of Autry’s hits by far and only one song has surpassed Rudolph’s popularity and that is ‘”White Christmas.”

“White Christmas” is by far the best-selling of the “popular” Christmas songs. It has sold well over 50 million records. Bing Crosby’s recording of the song is the best selling single in history. When Irving Berlin composed the score for the film, “Holiday Inn”, (of which “White Christmas” was just one of the tunes), everyone on the set of the picture agreed, “Be Careful. It’s My Heart,” the Valentine song, was the the real hit. Everyone except Bing Crosby, who realized that his favorite “White Christ­mas” was the real winner. The Oscar for the best song of 1942 went to ”White Christmas” and today polls indicate its Christmas popularity is exceeded only by “Silent Night” among all Christmas music.

Here are some other holiday songs that were popularized during the “golden age of Christmas radio”:

“Winter Wonderland” – written in 1934 by Felix Bernard and Dick Smith. The best selling version was recorded in 1950 by The Andrews Sisters. 

“I’ll Be Home For Christmas” — written in 1943 by Walter Kent, Ken Cannon and Buck Ram. First recording was by Bing Crosby.

“Have Yourself A Merry Little Christmas” -  introduced in 1944 by Judy Garland in the film “Meet Me In St. Louis.” Written by Hugh Martin ami Ralph Blaine.

“Let It Snow! Let It Snow! Let It Snow!” - written by Sammy Cahn & Julie Styne in 1945.

“Here Comes Santa Claus Right Down Santa Claus Lane” - written in 1946 by Gene Autry and Oakey Hakieman. Autry made the first successful recording.

“The Christmas Song” – written in 1946 by Met Torme and Robert Wells. The best known version is done by Nat King Cole.

“All I Want for Christmas is My Two Front Teeth” – written in 1946 by Don Gardner.  The song found true fame in 1948 when recorded by Spike Jones and his City Slickers.

“Christmas Dreaming” – written by Lester Loc and Irving Gordon in 1947. Sung by Frank Sinatra.

“You’re All I Want For Christmas” – written for Bing Crosby in 1948 by Glen Moore and Seger Ellis.

“Sleigh Ride” – music written by Leroy Anderson in 1948. Mitchell Parish added words in 1950 and it became a success.

“Christmas in Killarney” – an Irish song by John Redmond,  James Cavanaugh and Frank Weldon. Versions recorded by both Dennis Day and Bing Crosby.

“Melle Kalikamaka” – recorded in 1950 by The Andrews Sisters and Bing Crosby. Written by R. Alex Anderson; Hawaiian expression for “Merry Christmas.”

“Frosty the Snowman” – written by Steve Nelson and Jack Rollins in 1950. Best selling Christmas record of 1951, sung by Gene Autry.

“It’s Beginning to Look Alot Like Christmas” – written by Meredith Wilson in 1951. Song about Christmas decorations, recorded by Bing Crosby.

“Silver Bells” – introduced in the 1951 movie “The Lemon Drop kid” which starred Bob Hope. Written by Jay Livingston with music by Ray Evans.

“That Christmas Feeling” – written by Jimmy van Heusen-Johnny Burke in 1951. Recorded by Bing Crosby.

“Sing A Song of Santa Claus” – written by Mann Curtis in 1952. Recorded by Ames Brothers.

“I Saw Mommy Kissing Santa Claus” – written by Tommie Connor and recorded by Jimmy Boyd in 1952.

“Santa Baby” – Recorded in 1953 by Eartha Kitt. Written by Joan Javits, Phil Springer and Tony Springer.

Following the end of World War II, the major radio networks in the United States enjoyed three or four very good years before the onset of television. In fact, radio’s 1949-1950 season bore a remarkable resemblance to radio schedules of the 1930′s in all aspects except the cost of preparing and presenting programs to listeners. Topping the ratings during the 1949-1950 season, as well as the decade of the 1930′s, were comedians from vaudeville and musical comedy. Most of these comedians were now big name film and radio stars with plenty of name recognition and large loyal audiences. With their continued success they were now considered high priced stars, with high weekly production expenses of guests, orchestra, writers, directors and travel expenses. Topping the ratings, as well as having the highest weekly production expenses during the 1949-1950 season, was Jack Benny, an eighteen-year network radio veteran whose programs cost $30,000 each week. Of like vintage and close behind Benny in ratings were The Edgar Bergen-Charlie McCarthy show and The Bob Hope Show, each costing $22,000, and popular favorites like Red Skelton and Fibber McGee and Molly whose shows each cost $17,000 a week to produce and present.  

Bing Crosby, a nineteen-year radio veteran led the variety programs in ratings and production cost at $30,000 a week. Leading the dramas in highest ratings and production costs in the 1949-1950 season was the Lux Radio Theater at $20,000 a week. Amos and Andy, the granddaddy of all serials with twenty-one network years, had become a once-a-week comedy series with a weekly cost of $20,000 and remained among the top rating getters. 

The Romance of Helen Trent, with sixteen years, and Ma Perkins, with eighteen years, were rivals for the daytime ratings lead and each had an average weekly budget of close to $3,000. 

There was, as you can see, a direct correlation between the highest rated programs and highest production costs (which included salaries) for many of the top headlining comedy, drama and variety programs. 

Also in 1949, detective and western shows like Sam Spade, Dragnet and The Lone Ranger were popular and usually ranged from between $4,000 and $7,000 in weekly production costs. This type of programming seldom entered the higher echelons of radio ratings, but they were less expensive to produce and often delivered more listeners per sponsor dollars than did the highest ranking comedy and variety series. 

With all the appearance of performance and financial stability which radio had, it somehow seemed strange that radio would reach its twilight at this time. In fact, radio’s demise would have happened even more quickly if the FCC had not called a sudden halt to the issuance of new television licenses in late 1948. Its reason was that TV transmission interference problems needed to be studied further. Later, the Korean War became another cause for maintaining the television license freeze for another three and a half years. 

Subsequently, television coverage during these years became spotty across entire country. In cities like New York and Los Angeles there were seven TV stations which reached the air while other cities like Houston, Kansas Milwaukee, Pittsburgh and St Louis had only one station each. Cities without any television at all included Austin, Denver, Little Rock, Portland, Maine and Portland, Oregon. The immediate result was that radio listening was dropping sharply in all TV cities. 

Even cities with only one station saw other signs of economic upheaval and drastic changes of habit. By 1951, almost all television cities reported a 20 to 40 percent drop in movie attendance. But, in non-television cities, movie attendance held firm or was rising. Areas well saturated with television also experienced a wave of movie theater closings as well as drastic declines in attendance at sporting events. Restaurants and nightclubs felt the impact and taxicab and jukebox receipts were down. Some public libraries reported. a drop in book circulation and many book stores reported a sales drop. 

Fortunately, from the standpoint of network radio, sponsors wanting national television coverage could not find it due to TV’s erratic geographic coverage during these years. The national sponsors’ tendency in the meantime was to hold on to a coast to coast radio network program while getting a foothold in television. During this straddling time many sponsors were making plans to make the big jump to TV once the freeze was over. 

Radio programming continued a valiant fight, but while sponsors fled to television, listenership too was dropping as antennas popped up on rooftops from coast-to-coast. For many radio stars that would not make the transition to TV, and for their loyal fans, the only thing to do was to hope that radio weather the television storm. But that proved to be wishful thinking. 

 Radio, as we knew it through what is now called “the golden years,” would soon be gone.

Once upon a time, within the golden age of radio era, there was a silver lining called the soap opera. Its existence spanned over twenty-five years. And while today’s televised soap operas continue many of its predecessor’s traditions, never were the soaps as loved or as vast in number as during the golden age of radio.

Remarkably, the soap opera form of entertainment is only seventy years old. At the beginning, daytime radio programming was a vast wasteland as it had been since regular radio programming began in 1920. However, the scheduling of the first soap opera or episodic serial, “Amos ‘n’ Andy,” to the evening radio schedule, would soon change all that. The “Amos ‘n’ Andy” storyline followed the life of two Harlem blacks who owned the Fresh Air Taxi Cab Company. Freeman Gosden, who portrayed Amos Jones, and Charles Correll, as Andrew H. Brown, were both white actors. Their program began broadcasting from Chicago in 1929. In a daring move, NBC and the program’s sponsor, Pepsodent, decided to air the program fifteen minutes each day, six days a week. And this was contrary to the common belief that all units of air time must be in hour and-half-hour increments. However, the amazing success of the “Amos ‘n’ Andy” format only left the chance for imitation programs to follow. And although “Amos ‘n’ Andy” was not a true soap opera, it did contain many of the ingredients for a soap opera program: curiosity, interest and suspense in the  eventual fate of its characters. All these ingredients are still a part of today’ s televised soap operas.

With the success of the night time broadcast of “Amos ‘n’ Andy,” several other serial programs joined the evening line-up. Soon afterward, several of these programs would move over to daytime programming slots. One of the most famous of these was “Just Plain Bill,” which began on the evening schedule in 1932 and moved to a daytime slot in 1933. “Just Plain Bill” remained on the air until 1955. The year 1933 proved to be the real growth year for daytime serials as their numbers grew from two to nine. By 1940 their total weekly hours had climbed to 59 hours a week for the combined networks. This serial exposure translated to nine out of every ten sponsored daytime hours. Happily, from the network’s point of view, the sponsorship of these daytime serials accounted for nearly $26.7 million in revenue by 1940. And hoping to appeal to the serials’ proven success with house- wives, soap manufacturers had now become the prime sponsors enabling the term “soap opera” to be coined. Throughout the golden age of radio, soap operas were typically fifteen minute programs which were scheduled for the same time slot each weekday. Their listening audience consisted of one half of all of the women who were home during daytime hours. To many of these women, the soaps provided companionship which would continue on for years. Furthermore, soap operas provided to many housewives in the listening audience, a means of escape from their everyday chores. Audience loyalties were mostly to the veteran soap opera programs like “Backstage Wife,” which began in 1935, and dramatized what it meant to be the wife of a famous Broadway star; “The Guiding Light” which was the story of a kindly cleric; and “Lorenzo Jones” which told us about an inventor of useless gadgets. “The Romance of Helen Trent” and “Ma Perkins” had leading women who managed the challenges of their time, and each aired for twenty-seven years.

All in all, the soap opera listeners devotion to these programs and others were well proven since most of the soap operas aired for fifteen or more seasons. At the peak of popularity in 1940, sixty- four serials were broadcast each day. Soon, it was not surprising that some people began to complain that there was nothing else to listen to during the day. And in fact, choices were severely limtted in many areas of the country where CBS and NBC afflliates were all carrying them. As a result the number of soap opera broadcasts began to decrease as some listeners began tuning out. By 1943, the number of soap opera broadcasts had declined to a total of forty sponsored programs a day. Because the listening audience had been overwhelmed by the typical soap opera format, quiz programs and other variety programs like Breakfast in Hollywood, The Arthur Godfrey Show and Queen For a Day, began to replace many of the soap opera broadcast slots.

By 1950, the number of soaps on radio had dropped to twenty-seven. Over the next five years, the number remained constant, even with the drastic changes taking place in radio’s evening programming. The soap opera, therefore, had become one of the last outlets for network radio advertising at a time when most evening network shows had gone sustaining (carried without advertising support by the network). This reprieve occurred because many soaps were owned and produced by their sponsors and also because it took until the mid-50′s for daytime television to get off the ground. During this somewhat stable period for the soaps, none of the favorite veteran soaps were cancelled but only one new program, “Woman in My House,” lasted more than one season.

The radio era of the soap opera began to crumble by 1955. By 1956, the number of soaps had diminished to sixteen (ten of which were on CBS and the remainder were equally divided between NBC and’ ABC). Four years later, ABC discontinued all of its soaps. NBC had only “True Story” and CBS had seven remaining programs on its schedule. By the end of the 1959-1960 season, CBS was the only network broadcasting soaps, six in total since they dropped “The Romance of Helen Trent” on June 24, 1960.

The 1960-61 radio season was the soap operas’ last season. In mid-August of 1960, CBS, which began the season with six programs, decided to cease its soap opera broadcasts on the last Friday of November.

CBS gave each of the remaining programs three months and the opportunity to conclude their plots as best as they could. Realistically, though, none of the programs could successfully bring an end to all of the overlapping and intermingling problems since the soaps were all plotted to the end of infinity. Heroic efforts were made, however, by the shows’ producers to bring some sort of conclusion to their major conflicts. And, possibly hoping for clemency, none of the programs were brought to such finality that the plot could not be resumed at a moment’s notice.

November 25, 1960, marked the end of “Ma Perkins,” “Young Dr. Malone,” “The Right to Happiness” and “The Second Mrs. Burton’” as well as the soap opera era on radio.

The pivotal year in the struggle for the affection of the American mass audience was 1948, and the lines were drawn between what was the Golden Age of Radio and what would become the Golden Age of Television. By 1955, this struggle would be won hands down by television as America’s primary entertainment source. By 1960, a total metamorphosis had taken place in radio, which was now inhabited by disc jockeys and newscasters, a situation which continues to this day. What were the circumstances in this climate of change which saw Americans so willing to jump on the television bandwagon? And, how far and high would Americans jump for this new “post war baby” in 1948?

At the start of 1948, radio was the undisputed king in bringing entertainment into millions of American homes. Network radio programs of comedy, drama, music, mystery and news supplied Americans with their primary source of entertainment and contact with the outside world. Radio was the one constant which had always stayed the same – its celebrities and its programs were always there, like the old easy chair in your parent’s parlor. Perhaps this was one of the reasons which would precipitate the winds of change that were in the air in 1948.  Radio had not changed noticeably in years: its stars and programs were the same as they had always been. Perhaps the time had come to not only hear radio stars like Burns and Allen, Jack Benny, Eddie Cantor and Amos and Andy but to see them as well.  Television wasn’t the only change which Americans were experiencing in 1948, change came in the form of the Cold War, the Berlin Airlift, the Red Scare, Inflation, a housing crisis, a postwar baby boom and a tight Presidential race between a Democrat (Truman) and a Republican (Dewey). Television, along with other technological improvements which came in a flurry following the war, was but one aspect of the increasing pace of change in the lives of Americans.

Television had been introduced before World War II with anticipated wide spread use expected in the early 1940′s. Of course, the war ground to a stop all progress which television had achieved and only began picking up where it had left off by 1948. Production, technological development and interests by the entertainment industry, advertising sector, and American public reached a rousing crescendo in 1948, thereby creating a veritable force which radio now had to reckon with. At the outset of 1948, the network radio hierarchy which was confident and undisputed king, would, at best, by year’s end, be wishing for a peaceful coexistence with network television. How quickly did Americans respond to the television boom of 1948? All polls and surveys told the same thing: television was no longer around the corner, it was here. New stations were constantly going on the air and applications for still more were descending in an avalanche on the Federal Communications Commission. And, as the television audience began to grow by leaps and bounds, more advertisers looked to television to sell their goods. New blood was now pumping economic prosperity into the television industry, as well as the rest of the country’s economic future.

In addition to the economic effect, television was also having an evolutionary effect on the social life of the nation. Early surveys found that people with television tended to stay home more. This cut down on their attendance at movie theatres and reduced the number of hours they spent listening to the radio. Television was found to be more exacting than radio in its requirements, thus demanding an individual’s undivided attention. And, not so surprising, families who were found to gather around their television sets consequently forgot about their household duties! It was noted, however, that reading books and playing games were activities that didn’t have to be ruled out if people were listening to their radios, as concluded by the Television Broadcasters Association (TBA).  Moreover, the TBA also found that the average American household in 1948 enjoyed its television on the average of three hours a day, which further eroded time for radio and other family recreation. Video families, when polled, said 99% of them were happy with the purchase of their televisions and 35 % said they were considering acquiring a second set.

In regards to supply and demand, the TBA found that despite increased production of televisions, total demand far outpaced the actual supply of sets in 1948. Production levels of 62,000 sets a month were achieved nationally by September 1948; up from the previous level of 35,000 sets just six months before. As for the total numbers of sets in use throughout America, 515,000 were in use by September, 1948 which was more than double the figure of 200,000 just six months earlier! The TBA therefore predicted that by the end of 1949 an estimated five persons viewing each of the 800,000 sets would register a total possible audience of at least four million viewers!

For an example of the new-found power which television was now wielding over radio, the advertising firm of Lennen and Mitchell produced another survey in 1948. It found that in homes having radio but no television, Bing Crosby attracted a 16.3% share of the available audience. However, in homes having both television and radio at their disposal Bing’s audience had dropped to only a 4% share. The most surprising fact of all (or maybe the most disturbing!) was that Bing’s competition opposite him on the television had been a wrestling match!

Not all, however, were convinced that network television in 1948 was posing a threat to the health and welfare of network radio. Edgar Kobak, President of the Mutual Broadcasting System, said, “From the standpoint of one who has been a pioneer in radio and television, I cannot visualize in the latter a threat to the former. If anything, television serves only to offer a challenge to radio for its further improvement, a challenge healthful to both of these mediums of artistic expression. Radio will continue to attract and serve the interest of those of us not able through time limitations to isolate our interest on one focal point such as the video screen,” he said. .’Television, like moving pictures, demands undiverted attention, and there are relatively few who will find themselves able, in these busy days, to afford themselves the luxury of such undivided attention over protracted periods of time.”

Mrs. George Levison of Evanston, IL probably would have disagreed when she reported her views (and the views of thousands of others) on the subject of television to the Chicago Tribune, saying, “Our social life has centered largely around television in the past year. We’re happy to stay at home and have the children, neighbors, and friends around watching wrestling or some other show. That set has gone a long way toward paying for itself in the sitters’ fees it has saved us. We’ve gone out a lot less this past year and enjoyed staying home. It’s a great help in keeping my daughter Carol occupied, too. When Junior Jamboree is on I can just forget about her for an hour for she sits perfectly quiet, absorbed in Kukla, Fran and Ollie.”

For Mrs. Levison as well as everyone else, the fascination with television 1948, meant viewing lots of sports programs, old movies and the stations’ test patterns which, incidentally, provided enjoyment for many first-time viewers. Regardless of the entertainment offered, a poll taken of television owners said 45 % of them felt video had brought their families closer together while also providing the means of entertaining friends and neighbors as well.

With the start-up of operations by stations WBKB, WGN-TV, WENR-TV and WNBQ- TV, television began its humble but significant beginnings in Chicago. Commercial advertisers jumped on board and nationally their sponsorship went from 23 sponsors in March 1947 to 225 one year later to finally 612 sponsors by July, 1948. By the end of the year, network radio would be feeling the full effect of a dwindling number of advertisers, an ever smaller number of listeners and a shrinking pool of personnel – from producers and directors to writers and actors (like Milton Berle, Ed Wynn and Ed Sullivan).

By the time the smoke had cleared, Matthew J. Culligan, Vice President of NBC told Variety in 1958, “Radio didn’t die, it wasn’t even sick. It just had to be psychoanalyzed. The public didn’t stop loving radio despite TV. It just started liking it in a different way – and radio went to the beach, to the park, the patio and the automobile. Radio has become a companion to the individual instead of remaining a focal point of all family entertainment. An intimacy has developed between radio and the individual. It has become as personal as a pack of cigarettes.”

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