51, 52, 524, 57, 485, 1697
What do those numbers mean to you? Perhaps if I put a "W" in place of the commas, would that help? Sure it would! Those are some of the numbers of your life, if you were a New York CBS employee.  52 W52nd St, 524 W 57th St, 485 Madison, and last but not least 1697 Broadway.

Radio playhouse #3, Studio 53, and now the Ed Sullivan Theatre. I know Fred Schutz has some history about the theatre, but I feel I am probably closest to that house than any of you.  I was an office boy for Major Edward Bowes, from 1941-1943 when I went into the navy at the age of sixteen (but that's another story for another time) Our office was on the 14th floor of 1697 Broadway. Looking at the front door of the theatre on the left is a small door leading to the lobby of the building. At that time they had elevator operators. I remember one man with thick eyeglasses named Eddie. The elevator had no number 13; it went from the 12th to the 14th floor. Major Bowes had them change the signs because of his fear of the number thirteen, (triskaidekaphobia). On the floors 10 through 12 were the offices of Fred Waring. He was a bandleader, and an inventor (the Waring Blender), He also wrote music and had his own publishing company (Words and Music). On the 10th floor he had two large rooms set aside as a canteen that GI's could visit and have a libation and dance to an ensemble of musicians led by his brother Tom (the piano player and real musical genius of the family).

I feel lucky to have landed that job as an office boy after school. I used to help with the auditions which were held on the 2nd floor where a small rehearsal room was set up to try the talent waiting to get on the radio 'Amateur Hour Show. The lady that ran the auditions was named Bessie  Mack, no relations to Ted Mack, who assumed the mantle of emcee for the television version. There was a piano player to accompany the talent, his name, Nicholas Kopeckan (the spelling is phonetic, sorry). The audio man was several different people, Dick Stewart, (my idol), Fred Hendriksen, later to become a Producer/Director, and latter George Keck. These men along with Bessie played gin rummy all day long while listening to the talent tryouts.  One of my assignments every Wednesday was to setup the theatre for the Major to pick the talent for the show. It was a special arrangement. He had a desk set about twenty rows back in the center of the theatre. It was mounted over the seats. I had to put a glass of tepid orange juice over a napkin on the left of the desk, (not too close to the lamp) and place four pencils besides his script. These were typed in a double size fonts that was typed on his specially built typewriters. The women typists were backstage, waiting for his revision and changes. My job was to get it to him. I sat directly behind him. He never spoke to me, he would just put his left hand out straight and I would take the papers and race down the aisle and leap up to the stage and bring it back to the ladies. One day the office manager told me I upset him by running, so from that point on I walked.  Now, this is what I feel not too many people knew about "That" theatre. As you entered from Broadway, and turned right into the theatre there was staircase that rose to the balcony. Along the wall about half way up, the stairs turned to the right, but on the left was a velour curtain, and behind that curtain was a door. It led into the office of the stage managers. (Mr. Jack Wallum, and Mr. Whalen) Through that office you could exit out onto the second floor where our audition room was.  The Major would enter from that room, for rehearsals, but for "air" he would be driven from his suite at the Waldorf Towers on Park Avenue and come in the stage door, on 53rd St.. I opened his Rolls Royce door, and he would have small pieces of paper in his pocket with his autograph already written for autograph seekers. A technician, Jimmy Dwan, was always there to greet him. The Major would give him a dime (ten cents) tip. I heard the Major helped him secure his job at CBS as a technician. The Major would then enter through the stage door and perform his show.  I felt like the "Phantom of the Opera". I had a key to the second floor office. I would enter the darkened studio and roam through the entire theatre. I used to go backstage by going down to the men's room and by going through the equipment lockers until you exited out behind the stage door stairway.  I used to sit in the audio control room and play with the 'pots' and pretend to be like Dick Stewart. He was a very kind man. I learned a lot just observing him work. He possessed and exemplified so many fine traits in life.  He had a home, I never knew anyone at that time that owned his own house. I always lived in tenements in south Brooklyn (Red Hook). After I returned from service he would let me come into the control room and observe his work, and offer some advice to me to get a job at CBS.  But, back to the theatre, Fred, here is what I thought was the story of the theatre. This is from Mr. Wallum: none other than PT Barnum built the house for Sarah Burnhardt.  Later, Mr. Paley, and his partner Mr. Levy of the 'Philadelphia Cigar Company, (that their parents owned), had it converted to a radio studio for his "Blue Network". It later was change to accommodate the television business.  I loved that theatre. I was on a destroyer, in the Pacific Ocean when news came that Major Bowes died. I was in the will for $6000; I never received a penny of that money for it stated that you had to be in his employ at least six months prior to his death. A goniff in the company managed his money before his death and absconded with most of the inheritance for everyone. A good portion of his money though went to the placement of the trees that surround St. Patrick's Cathedral.  Well, that's a little of the history of the radio days of yore. Now if Fred Schutz. Joe DiGiovanna, and others that worked there can fill us in one some of the television era it would be appreciated...at least by me. Thank you.
Tony C.

From Harold Deppe  December 10, 2000

    I watched a PBS show, "Combat Photographers". It was a fine history about the men that recorded the events of World War 2. Their courage under fire was on par with any other unit anywhere in the world. And CBS was represented by quite a group of men.
    Consider these names, Chico Claudio, Bob Dailey, John Lincoln, Sig Meyers, George Moses, Herb Schwartz. Combat Photographers ...all. I am sure there are many others; I just don't know their names.      CBS was duly represented in all phases of all the wars. I know we had a young man, quite talented in Telecine, Bob Thomas. He died from 'Agent Orange, suffered from the Vietnam War. Bernie Sweeney, Neil Mc Caffery, multi decorated vets from Vietnam.
    The contributions made by these young men are not as heralded as those of the other conflicts are. They have to endure the slings and arrows of the drug generation. It is attached to their mystique, not by choice I assure you.
    But it was nice to see that the 'Combat Cameramen were honored for their contribution to the etching of the history for all to remember.
Tony C

From Phyl Cippola  12/12/2000

TO: Tony, Fred, Doris, and other retirees
FROM: Phyl Cipolla (wife of Tony Cipolla)
DATE: Dec. 11, 2000
SUBJECT: Medical Insurance Input=20

You've asked for input re the next medical insurance, i.e. goals, etc.

Here is mine in one sentence: STAY WITH BLUE CROSS.

Our current status: Retiree has Medicare Primary, United Healthcare Secondary.

Spouse has Blue Cross, Blue Shield only (Being a child bride, she not eligible for Medicare yet).

Effective 1/1/01: Retiree keeps Medicare Primary, United Healthcare Secondary.

Spouse contract goes to United Healthcare.

Why choose Blue Cross when retirees must come up with their own contract?

Tony and I have had access to excellent care here in Arizona and have availed ourselves to it.

Providers have included Mayo Clinic (Scottsdale) and Barrows Neurological Institute (we served as door openers for Jimmy Breslin).

Imagine my surprise when I had my hip checked at the local orthopedist in my area only to be told, "We don't take United Healthcare."

So, the doctor is squeezing in a hip replacement on Dec. 26, so that we can squeak in on Blue Cross - for the hospital and the bulk of the surgical bills.

And that follow up care in January will NOT be picked up by Blue Cross... so that means payment in advance.

Why this doctor? Because he comes highly recommended and is local.

All these years Blue Cross cards have been tickets of entry to all providers. The Tiffany card for the Tiffany retirees of the Tiffany network.

Please provide a BLUE CROSS option when you go contract shopping.

It won't be cheap, but it should be worth it.

Thanks, Phyl Cipolla

PS

Blessed Holiday Greetings to one and all with our very best wishes for the coming year.

Thanks, Tony, Fred and all of you for putting so much effort into this on behalf of all of us.

Tony & Phyl

From Tony Landry via Tony Cucurullo

December 14, 2000

I have a twenty page story mailed to me from an "Old Timer" (94 years young that is!) We have seen some of his work already. They are grand stories about the 'Radio Days of Yore'.  His name is Tony Landry. Or W4MJG, as those radio hams, likes to be
referred to.  I thought about putting the entire twenty pages on the WEB... but it seems a-bit too long. So what I will do is select some of the more identifiable stories form this text and print those.  If anyone would like the complete text, (and I hope you do). I have stored the entire text on my computer. If you care to send me your e-mail address I will down load the piece to you that way.  He starts with a brief history of his entrance into the radio field. Now remember this gent was born in 1906. So his reminiscences are amazing that he has such clarity about those events.  So I will use an old business technique, and offer a daily tease, as an inducement to you too continue too read this essay on the unfurling events as he saw them through his keen and perceptive imagination.  By the way I have no way of knowing if you are reading any of these stories on the WEB page. I have tried misspelling words, deliberately altering events, in hopes of getting a response from you.  Come on folks this isn't my daily assignment. Please help continue this page.  I need your stories.
Tony C.

Here is the first installment:

Thirty Years of Radio Broadcasting Network Operations at CBS

Broadcasting, especially network broadcasting, is a very complex operation.  Some say it is an organized madhouse.
It is very different from the average radio station. For instance, the average radio station is concerned with, and limited to, coverage within its small area of the country. Basically, they produce A program that feeds A transmitter--one thing at a time. And if one of their one-half hour program runs to 35 minutes, more or less, who cares.  In network broadcasting, there could be as many as three or four programs going on at one time, plus as many program rehearsals, plus the taping of some shows for future broadcast. By supplying feeds to their affiliate stations, they cover, the entire country.  Network Operations requires a Master Control room, which is very critical and is a busy place. Its function is to distribute the proper feeds at precisely the exact time. All clocks must be correctly synchronized.  Incoming audio feeds (remote origination's) as well as out-going audio feeds to affiliate stations, as well as their own transmitters, are switched by Master Control to leased telephone lines for distribution around the country.

I will try to give you an idea of some of the things that happened behind the scenes. Some scheduled, and some not scheduled.

Radio broadcasting really "took off" and became of age when the advertising people realized that it was "made to order" for big business advertising, and, like Topsy, it just grew, and grew.

In 1933 I decided to try and get a ham license. The previous year (1932), I had obtained a First Class Radiotelephone License, so I thought that a ham license should not present any problems. But it did! The first time I went to the FCC office in New York City, I got as far as the door--got cold feet and returned home. Several weeks later I repeated this performance. Again after several weeks I boldly walked in and took the exam, and about seven weeks later I received my ham license with the call letters W2IRT.

My broadcast career started in 1942 when I became one of the hired hands in the Technical Operations group of the CBS Network in New York City, and was welcomed into the group with the following comment: In radio, "you don't have to be crazy--but it helps."

In those days of radio broadcasting at CBS, in addition to the First Class Radiophone License and a few years of field experience of some kind, one had to have a ham license as well. So radio hams were a dime a dozen around CBS, especially in the Technical Operation Department. 3 This department consisted of more than 400 people and had a little of everything. Electrical, Mechanical, Chemical and Civil Engineers--you name it, they were in this group. We also had one person who, although not a good radio man, was indeed a good script writer--more about that later.  The first thing that comes to mind when talking about broadcasting is advertising. One cannot get away from it. However it does pay the freight. How many times have you complained about those disgustingly raucous, screaming commercials, those loud tuneless singing commercials? Honestly now, --can anyone say they were never exasperated? Does anyone know how and why those obnoxious commercials came into being? It all started with George Washington Hill, who was in charge of advertising for Lucky Strike cigarettes. His idea was to ram the commercials down your throat. When people objected, saying that he would antagonize everyone, his reply was, "They will get peeved- -BUT THEY WILL REMEMBER THE COMMERCIAL!"  That style of delivery of commercials continues to this day. Here is another one about advertising people and how they "set the pace." Many people kept asking me, "why are all those summer shows repeats--and why are they such stinkers?" I decided to find out. I could call up one of the VP's--but who to call? The CBS phone directory listed 125 VP's. I soon found out that there were only two or three important VP's. Jim Seward, Executive VP in charge of business affairs, and Larry Loman, VP Administration--both nice guys.  Larry Loman answered my questions this way. "Our advertisers tell us that if we offer too good a program, people will get so engrossed with the show that the impact of the commercial is lost." How about that! I guess it all boils down to--"He who pays the fiddler calls the tune." 
Assigned to a studio to do a 30-second commercial recording was an experience. It was generally an all day affair. It was a first class A-#l example of redundancy: hearing that commercial endlessly repeated 30, 40 or more times was exasperating, when you knew that the actor or actress hit a winner on the third or fourth try. Perhaps Victor Kiam doing his own commercials for Remington Shaver had it all figured out. He once said that his first commercial cost $80,000, while doing his own commercials cost $30,000. Incidentally, his commercials are very well done, and are always in good taste.  Why did it take so long and cost so much to do a taped commercial? Was it because the ad agencies worked on a 15% commission of the total cost? I often wondered.

THE NEXT INSTALLMENT IS ABOUT ...........:
Equipment, (for those queer-for-gear-types) and a story how a group of young
black men saved the day for CBS...stay tuned.
Tony C

Part 2: Tony Landry's essay

Every new man's first assignment at CBS was Maintenance Operations for six months or more. This was considered the quickest way to become acquainted with the various pieces of equipment: how and where they were located, and how they were used; recurring problems; and acquiring experience on how to repair etc.  Maintenance Operations did not present any problems--but lugging those amplifiers for necessary or routine maintenance from studio to shop and back to studio was exasperating. All one needed was a strong back and a weak mind.  At times some tube replacement was necessary. Almost invariably too, the filter condensers had to be replaced and that was a major operation. I griped out loud--"Why," I asked, "couldn't those condensers and in fact the whole amplifier be designed to be plug-in units?" Some years later when I was in
the General Engineering Department, the problem was handed to me to do just that.  Studio operations was the next step. Riding levels on the PA system that was used in all live studio broadcasts, spinning records of some pre-recorded programs, operating control room consoles, etc. I learned very quickly not to like studio operations. The control room though small was always jammed with account executives (Madison Avenue's grandiose title for advertising people). The air was always blue with smoke, as of course everyone had to smoke. During the commercials those advertising people insisted on seeing the VU
meter bouncing at the top of the scale, while the sound level had to be loud enough to wake up the dead or drive everyone crazy.  I quietly decided to do something about this situation.  In those days we did not have peak-limiting amplifiers. If a studio
operator let the VU meter peak to the top of the scale for more than a few seconds, there was a possibility that the transmitter could be knocked off the air.
Underneath the studio control console at knee level was a small door that opened easily. There were two controls (L pads) to set arbitrary levels for the VU meter and the control room monitor. I set the two controls so that the VU meter was indicating upwards about 12 DB from normal. I also set the audio monitor level 12 DB higher than normal. I could then ride the controls so
that what went out over the air was a nice consistent level.  Sometime later when the reference recordings were played back, the ad people were unhappy with the results and after a few more of those shows were reviewed, they were very unhappy. Thereafter, I was assigned to Studio Operations only as a "pinch hitter." The ad people were happy. I was delighted.  Remember Murphy's Law #1? "Sooner or later if something can get fouled up, it will."  Somebody goofed. Five minutes to air I was told to dash up to the 23rd floor and put a show on the air that had been scheduled.  The program was to be music by Stephen Foster. A very good group of young black men singing while one played the piano. One of the men filled in between numbers with comments about Stephen Foster. He read from a previously prepared script.  What was on the script and what actually went out over the air was not quite the same.  The script ending read, "And Stephen Foster will be remembered as being
as 'immortal' as any of the other great composers."

      NEXT EPISODE: "DOES ANYONE REMEMBER THE JACK BENNY SHOW? READ THE NEXT INSTALLMENT.
TONY C.

Photo #201 (the truth will out) is Art Shine in all his glory in Miami, not Canaveral as indicated. I can't remember the event. In any event that's the partial solution to the riddle.

From Tony Cucurullo  December 16, 2000

Here is Part three: enjoy!

Does anyone remember Jack Benny's program that opened up with "Well! Jello Again"  That was probably the shortest commercial on record, and one time, wouldn't you know, that got loused up. Again, Murphy's Law, I suppose.  Our "hero" in this instance was Robert Robb W2QZM. He was assigned to Studio Operations for this show.  Rob was quite a character. Middle-aged, short, portly build, gray hair, carefully trimmed moustache, meticulously dressed. He was a distinguished
looking person and was sometimes referred to as "The Senator from New Jersey" (I would rather not explain why at this time)

Shortly before he retired, he suffered a heart attack and was told by his doctor not to drive his car. He bought a motorcycle and rode around on that.  He died several years ago.

This show of Jack Benny's originated on the West Coast and arrived in New York City via a leased telephone line. It was standard practice on all remote originations to feed this phone line through a standby studio that had an announcer and a pianist or organist standing by in case of line failure, which sometimes happened. If there was a line failure, after a few seconds
you would hear the announcer.

"Due to circumstances beyond our control, we will continue the program with some organ or piano music."

On the studio console on the top right front was a line key. Turned to the left allowed one to monitor the program that was presently on the air. In front of the console, overhead, was a good-sized clock with a large red sweep second hand. At the proper moment when the sweep second hand pointed straight up, the line key was thrown to the right and the' output of the console went to Master Control for proper distribution, with the program that was being fed through the console from MC.

Just at the proper moment Rob was distracted and he threw the line key three seconds late. He lost the opening commercial.

After the show he was told to go and see the Chief. He did.

The Chief said, "Rob, what was the trouble on the Jack Benny Show?" Rob replied, "I can't explain it. I'm sorry it happened. I goofed. If they want to make a fuss about it tell them to dock me for it."  The Chief replied, "Those three seconds cost the company about three thousand dollars."   Rob: "Three thousand bucks for three seconds! In that case that would make me a very important guy, wouldn't you say?"  The Chief's answer--"You'd better believe it."  Rob: "Well, if I'm that important, don't you think that I ought to have a substantial raise in salary?"

STAY TUNED FOR "THE INNER SANCTUM.....OOOOOOOO..." NEXT:
TONY C

Tony Landry Letter Continuation

Uncle Don

Here is one that did not happen at CBS, but it did cause great consternation for a lot of people in broadcasting. Even years later, the memory lingered on, and because of this incident, I became directly involved with the problem years later when I was in the General Engineering Group.

How many remember a kids' program that aired over WOR on Sunday afternoon at about 5 PM? It was simply called, "Uncle Don."

I was told that on this particular occasion "Uncle Don" was more juiced up than usual.

As soon as he had finished his program, and being in an exuberant mood, he turned to someone and said, "That'll hold the little bastards for a while."

The studio man was slow in cutting off the mike and "Uncle Don's" closing statement went out over the air. The phones started ringing from coast to coast. 

Here's another one--Murphy's Law again. "You can't win for losing."

Bill Gage was assigned to do a program that originated somewhere in the Midwest. It was to go through a studio located on the 17th floor of the CBS Building on Madison Avenue at 52nd Street. His back-up team was an announcer
and a pianist. The team was in the studio at the proper time before the show. Bill had checked in to Master Control for continuity and level checks, and everything was ready to go.  

The show started on time and everyone breathed a sigh of relief. They could now sit back and relax with nothing to do for one-half hour.

After a few minutes of listening, all three people lost interest in the program as it was very dull. Bill casually looked at the routing sheet and was surprised that such a dull program was being fed to seventeen stations.

The announcer and the pianist notified Bill that they were going down to Colby's Coffee Shop which was located on the ground floor. They had gone about two minutes when it happened. The monitor went dead.

Bill carefully noted the time and started watching the clock as he called Master Control to see if they had the feed. They did not, and Master Control told Bill to go ahead with his stand-by program. What would you have done? Naturally Bill was upset. There were seventeen stations out there with dead air. He had to do something fast. He decided he would try to cover for the announcer and the pianist. He knew there would be repercussions especially if he played the piano. The company had a firm contract with Local Union 802 of the Musicians' Union which specified that only 802 musicians
would be employed, and there would be severe penalties for any violations.

There was also another contract with ASCAP (American Society of Composers and Publishers) which stated that any music played over the air would have previous clearance--or else--penalties.  Bill set the proper knobs in the control room, turned down the monitor speaker and entered the studio. He stepped up to the mike and made like an announcer.
"Due to conditions beyond our control there has been a break in the program. We will continue with an interlude of piano music." He then went to the piano, sat down and started to play.

Bill's mother had been a concert pianist. In between concert engagements she taught classical piano music and Bill being her only child was her star pupil. He was very good.  Bill played for twenty-two minutes from memory, as he had no music. He  then signed off the program. When he entered the control room the phone was ringing. He answered, "Gage here." He recognized the voice of Mr. G's secretary.

She said, "Mr. G. says come to the office right away."  Bill acknowledged, "I'm on the way."

When he arrived in Mr. G's office he observed that Mr. G was trying to answer two phones at the same time. As Bill entered he said, "He just walked in. I'll call you back when I get the story."

Mr. G asked, "What happened, Bill? The phones have been ringing madly for the last twenty minutes."  When Bill explained what had happened, Mr. G said, "Bill, on behalf of the company I want to thank you for your performance. You got us out of an embarrassing spot. But--you also put us into another. None of what you played had music clearance, so between ASCAP and 802 musicians it's going to cost the company about $10,000 dollars.
      
NEXT FROM TONY LANDRY: HOW RECORDINGS WERE MADE, AND THEN A LITTLE ABOUT
HIMSELF

From Harold Deppe

Hi Tony.
Please send me all you have on Tony Landry. I worked with him at C.B.S. .He is quite a Man. Its just a shame a man like him that sends in all this good stuff has no Computer and the rest of the C.B.S. of then and now that have Computers send in very little or none at all I say again if it were not for you the C.B.S. Webb Site could be shut down
Best Regards
Harold Deppe.
P.S.  Alka Seltzer works great Toilets are clean Thanks again .

While I'm talking, nothing to do with Tony, but I'm reminded of one of the worse riddles of the century which used to go around back in the old radio days. "Why do radio announcers have small hands?" --- "Wee paws for station identification."

From  Les Burkhardt  December 18, 2000

Its that time of year when we can all sit back and think of our friends and family.   Some of us may send some type of Seasonal Greeting Card, but I am sure that there is always someone that you just plain forgot or you may use the list of the greeting cards that you received the previous year.   If you did not receive a greeting card from me this year, please accept my apology and consider this as  a replacement. For those who have a religious belief and those who do not  have a believe I sincerely wish you and yours the best of health and happiness in this season whether you celebrate Christmas or Chanukah or not.  For those of you that are traveling to be with someone please drive carefully.  We need you to read our pages and also to submit stories and/or pictures so that we may post them for others enjoyment.  

More Tony Landry Stories

"On the bright side, however, there were many calls from people all over wanting to know who the pianist was, and if they could have more of that kindof program. Can you imagine, Bill, a fan club for someone in Technical Operations? How about that!"

Back in Radio Broadcasting we had to use records. That was it. The early records were crude by today's standards. They were made of some material with a rough grain structure that under the microscope looked like pressed mud, and these were played at 78 RPM.

Because of the speed and the texture of the material, they had a very high noise level, and these were the records that were used for many years.

To improve record performance, two things were necessary. The speed of the record had to be reduced, and some smooth fine grained plastic material had to be used in making the records.

The LP (long-playing) record made its appearance and that put the record industry back in business.

Those electrical transcriptions were the first records available with a low noise level until Western Electric came out with a record made of fine-grained vinyl material at 33 1/3 RPM-and here is a story in which I was the "hero."

Some time back the FCC had said that there could not be any simultaneous AM/FM broadcasts. FM had to be a separate origination on a regular basis.

CBS had set up a small studio (#3) on the third floor to handle those separate FM broadcasts. Almost all of those programs consisted of good hi-fidelity classic music.

Again, somebody in scheduling goofed. Nobody was assigned to "spin" records for the FM program.

Five minutes to air, I was notified to dash down to the Studio 3 and put the FM program on the air.

I turned on the equipment and looked into the studio. There sat two men, one of whom was to be my announcer. He was K4L1B. He was still a staff announcer at that time.  Western Electric had just come out with their new vinyl hi-f i records.
They were wonderful and that was what we were using for this program.  I started the first record and got completely entranced:
good classical music with practically no noise level. I got carried away and when the first record ended, there I was in a dream world until I casually looked into the studio. There was Arthur Godfrey waving his arms trying to get my attention. Started, I woke up and started the second record. At that time these records were unbelievable.

From Joe Janovsky

Announcers

Some words about announcers.

In network operations, an announcer is a very important person. In addition to his announcing, he is responsible for timing out a show, and timing is very critical.

The first one that comes to mind was a great announcer and one of the nicest persons I ever had the pleasure of working with or knowing. Now retired and living in Seminole, Florida, is Stu Metz W4EWC.

Here is a story of Harry Clark, another announcer.

I was assigned to a studio that was designated for split feed operation. Although it was one studio, it had two control rooms, and here is how it worked.

My control room with Harry Clark as my announcer was doing a commercial for American Express while the other control room with its announcer was doing some other commercial. On a word cue we switched to the studio where a
commentator was talking about something. When it was time for another commercial we both cut away on cue, did our commercial, and then back to the commentator. We were each feeding separate networks using the same studio.

Between commercials, I was sketching a few modifications on a schematic diagram of the latest 40-watt AM transmitter that Temco was making for the FBI. This modification with a few parts would make possible a 25-watt P.A. system. Something new at that time.

When I finished Harry looked over the print and asked what was I attempting to do. I tried to explain without getting too
technical. Harry, sensing my problem, said, "Go ahead, I can follow you."

I then explained fully what my modifications would do. When I finished he said, "Good, that will work."

My curiosity aroused, I asked, "How do you know, Harry?"

Then he told me--he was an EE from MIT.

I then asked, "How come you are an announcer?"

He replied, "Why should I knock my brains out for $20,000 a year when I can read a piece of paper and make $40, 000 a year."

So you see announcers are smart people.

One more about announcers.

About 1944 or thereabout, at my request I was assigned an early morning schedule in the studio designated for short wave operation. I was teaching Army Signal Corps men at night and an early morning schedule fitted in nicely for me.

I opened up the studio and signed on three of CBS's 50KW stations and one 10K station at 6 AM. Then my announcer, Ed Stokes, read fifteen minutes of news and that was how we started our day.

One weekend Ed said to me, "I have a big party scheduled for the weekend and know I will have trouble getting in from Long Island. Could you cover for me? That early in the morning nobody is around." I agreed to cover for him. So after that, every Monday I read news for fifteen minutes to our four stations as well as to the O.W.I. (Office of War Information) at 57th Street for world wide short wave radio coverage. So unofficially I was an announcer every Monday, and sometimes on Tuesday or Wednesday and occasionally on Thursday.

Until . . . one morning Ed Stoke's boss appeared in the studio at about 7:15 AM and asked where Ed was. I replied that he could probably find him down at Colby's having coffee. He started for the door--hesitated--then stepped back in and said, "I was out real late last night and got home too late to go to bed and too early to come to work so I listened to the
sign-on." I didn't say a word.

Ed Stokes was fired. The following week he went to WOR where he started with a $50 dollar a week increase in salary.

More Tony Landry

The Bright Side

So far I have portrayed a gloomy picture of studio operations, and now will close on a brighter side.

Remember back in radio when they had those hour and hour-and a-half programs Sunday afternoon and evening? Camel Hour, Longines Whittnauer Hour, Lucky Strike?

CBS has a program that was really worthwhile, and everyone who was anybody in the music world listened to this program.

Once a week they offered full network coverage to some aspiring musical artist. The person was carefully chosen. Generally someone who had a few years at some prestigious music school such as Eastman School of Music, Julliard in New York City, or Brevard in North Carolina.

There was a scheduled one hour rehearsal on Saturday and on Sunday morning 10:30 to 11:30 it aired on the full network of CBS. They had a good string ensemble to accompany them. What an opportunity for an unknown!

On the other side of the coin, however, because of its airing on Sunday morning, the company could not sell that time to anyone, so it was carried as a sustainer and charged off to public service.

The person assigned to do this show was involved in an accident and landed in a hospital for two weeks. I was assigned to cover for him.

The first young lady was really good. I discovered during rehearsal, however, that she had a problem. Her voice was resonant and peaked when she hit an F.

I inquired whether anyone at Julliard had observed this condition. She said no. I explained to her how important it was to use a mike to her advantage, and during rehearsal I would coach her.

After the first number when I explained the problem to Brown, the director of the string ensemble, he would not believe me. He said he had never heard of any such thing. I invited him to come into the control room and see for himself. He brought along his sheet music. We again repeated the first number. His remarks were, "If I hadn't seen it and heard it, I would not believe it."

I stayed in the studio during the rest of the rehearsal coaching her.  Sunday morning when the program ended the phone in the control room rang and she was then and there offered a thirteen week engagement with the Camel Hour program.
The following week we had another young lady, also from Julliard. She also had a problem. She had a very soft voice that was lacking in volume, and that plus no mike experience would, I knew, create problems.  During rehearsal I stayed in the studio and coached her as I did the first one.  Sunday morning when the program ended, the phone in the control room rang and she too was offered a thirteen week engagement with--I do not remember who.

I felt that I was amply rewarded for my efforts when I saw the expression on the faces of those two unknowns. They had made the big time.

From Tony Cucurullo:
I spent Christmas at my daughter's house in Teaneck, New Jersey. Because I have three kids, I have to walk a tight line and visit all three.
       My son lives in Washington Township. On the way to visit him I had to pass Powell Street in Emerson, NJ. That is the street that Doris Reardon lives with her husband Big Ed.

I couldn't just drive by without stopping. "What!" My wife Paula, screamed.  "You just don't pop into someone's home." "You should call first and then we should pick up some candy or flowers...."  That's too formal for me. Most women or wives adhere to the rules of propriety.

This is Doris, a sweetheart. A fun person. I must admit though I was a little apprehensive. Paula stayed in the car, while I knocked and Ed let me in. I explained Paula is still carrying a virus around, and I don't want her passing anything to Doris.

Doris was sitting on a couch, smiling as usual. She was passing information along to her visiting nurse. I got my hugs and kiss in and we talked a moment.

She said to the nurse, "this is Tony a member of my CBS family." She is proud of her association with the company, as are most of us. But to hear her say it is, 'pride and possession at it's highest.

She knows she is dying, and shortly at that. But to see her and listen to the lightness of her voice, and the twinkle in her eye, as she proudly proclaimed that she voted for Bush, as she put she is a," Bushy."

We talked about her trying to get out one more "Retirees Newsletter." But, as she stated she doesn't have the inclination anymore to climb the stairs and go to her computer.

She is looking forward to a visit from Fred Schutz, Ted Perzsezty, and the Alto-cocker himself Dwight Temple. "If he can stay awake," she intoned, with that sly smile of hers.

I tried to cut my visit short, knowing her stamina limitations, but she reached for my hand and held it weakly, yet gently, and imploring me to stay a while longer. "I miss you guys, and gals, I wish I could make the luncheon one more time."

I feel she was asking for more contact with all of her friends at CBS. Maybe not an actual visit, but at least a card or letter, encouraging her to fight on.

I am asking on her behalf, "would you please take a moment and send a greeting to this lovely deeply religious person."

She has meant so much to getting the Retirees Organization off the ground and helped make it viable, and successful.

Here is her address: if you care to send a note, or perhaps a card.

Mrs. Doris Reardon
50 Powell Road
Emerson, NJ 07630

We have have others carrying a heavy cross, Al Kozak, Mike Poulas of the United Nations. They too, deserve your support. If you know these people, get off a holiday cheer to them.

Tony C

From Sig Meyers:
Dear Tony:

Photo #205 in the latest gallery is not Hans Singer....... Looks like Herman Lang to me.

Sig Meyers
***From Adrian: Thanks, Sig. I changed it per your info, but ... since Sig doesn't seem quite sure, can anyone else confirm???

Thursday Dec 28 12:08
Les,
I have been gone for a few days. I went up north to visit for Christmas.  I returned last night. I will now up date my mail to you. So here it comes...................Tony

    Subj: Re: A gift from Pierce Evans

From Bob Vernum

To: Tonycucu
don't see a message or a download now window!---Tony, have happy holidays, I will be gone till Mid-January, keep us all informed; I always look foward to reading the retiree messages.  BOB

From Dave Minott

Hi Tony;

The "Gift from Pierce Evans" message was totally blank!
Is that like lumps of coal in your stocking???
P.S. I will be going in for a total knee replacement on Jan. 31st. so I may be out of touch for a while............. Dave

Subj: CBS Story

From Jay Chichon

Hi Tony:
Am enjoying the "Radio Days" stories of Tony Landry. I worked in Radio (Not CBS) during the 1940's and all of his tales ring a bell.  I am attaching a .TXT file of an interesting CBS-TV story.  Keep up the good work....best wishes for the Holidays.....Jay.

Subj: Tis the season

From Romeo Quantra

Hi Tony and Pauline:

It's that time of the year to say HI to all very old an very good friends.

Must say you can not believe how much I enjoy the stuff you put out on the net. PLEASE keep it coming.  After the new year I will be sharing with you some the war stories of the years gone by at  CBS during the
50's & 60's. Some of the ones that happen on the road.

Just a short note to say HI  and  BUON NATALE  to you both.      Romeo and Marie

From Jorge Moran

Hi Tony, I finally saw a picture of you with grey hair, but I have to say, you still look great. Looking thru the photos, there are two notes I would like to add:
   Archive #1, Photo #37. The person on the left is NOT Paul Buda, I'm certain of that. It may possibly be Tony Castrogiovani, a former draftman in Engineering.
   Archive #2, Photo #65. Seating with Charlie Carambelas and his wife Terri is Charlie Herget and his wife Eileen. Charlie H used to work in Studio 50 Maintenance.
   Hadn't seen Harry Peterson in about 20 years. He looks very good, I still remember him. It is good to see all my old coworkers, it brings good memories. Please remind everyone to add the date of the picture whenever possible. Even a rough guess on their part would be more accurate than a guess of ours.
   Wish you and your family a Merry Christmas and a Happy New Year....................   Jorge Moran

From Bob Dailey

Hi Tony:

Just read your email about your trip north, and stopping for moment to see Doris. Very thoughtful of you. Glad you mentioned  Al Kozak,  must drop him a note and tell him to " SHUT UP AND DEAL" as he used to scream a me in the lounge. 

In one of the stories that Tony Landry tells about staff announcers. Back in1964 when  I first starting to do audio (I was a late bloomer), we had a announcer by the name Peter Thomas in Grand Central and he had to do a fast recap of the news.
At the end  instead of saying this is Peter Thomas reporting he said "THIS IS YOUR REPEATER PORTER  THOMAS SAYING GOOD NIGHT"  We had to pick up George Keck off the floor from laughing so hard.

As the late  James Durante used to say "I got a million of them." 

After the New Year, I'll feed a few more to you. Both of you have a great NEW YEAR..........Romeo 

From Dave Paine    

Dave Paine made his usual Christmas call, and it was delightful to talk to him. He told about his very talented daughters. Both are accredited actresses and director/producers.  I was fortunate to be involved with their production of "Gypsy" that was performed two years ago, using the 'Pennington Players, at Washington's Crossing, in Pennsylvania.
We reminisced about our days at CBS. Dave told about an incident that took place on  "The Sullivan Show". It seems Dave was doing camera #1 that day.  It was during the time we had turret lens plate on the cameras. Well, Dave's shot was a two shot, with Ed and an actor who were at center stage. Dave was
stage left. Ed decides to walk over to Dave camera, but Dave is on a 90mm(millimeter) lens, which is a pretty tight close up.  In those days of live television, you had to be released from your shot to physically turn the turret around to get a wide shot (or pull back...if you could). Well Dave pulled back as far as he could...and as there wasn't any apron (as there is now) he went flying into the audience, (and backwards) hanging by his head set.  People in the first row reached out to catch him and push him back up.  John Wray was having a fit in the control room. Sullivan just went along oblivious to what he had caused.  Ed Brinkman tried to wave him off.  By some miracle, Dave was righted on the stage and the television audience wasn't wise to what had just happened.
Just another day in the life of a cameraman. And it happened, "RIGHT HERE..ON THIS STAGE."
Tony C
PS: THIS REMINDS ME WHEN SOL TABACHNIK FELL OFF THE BOOM INTO THE AUDIENCE ON
ARTHUR GODFREY WEDNESDAY NIGHT SHOW

From Tony Cucurullo

Character and characters:
The union, Local 1212 of, The Radio and Television Broadcast Union, IBEW (I.E.: International Brotherhood of Electrical Workers).  While it is only one of the many unions affiliated with CBS Corporation; it is certainly the focal point for the technical operations. It is the largest operations group in the company, certainly not the most important. For the business of broadcasting is a mosaic of talents each important to the finished product. My interest is the technicians; I will leave it to others to colorize their function.
The "union" carries a lot of baggage filled with misconceptions about it.  All unions are lumped together with the sobriquet, "crooked." Our Local 1212 is far from a gangster type operation. "The Sopranos have "no hold" on the men and women that have and still serve it.  They are and will always be elected technicians from within the rank and file of the companies that are covered by the contracts the union services.  Local 1212, has contract agreements with the, UN, Madison Square Garden, WPIX, just to mention a few.
In the early days of the union it was an association of radio broadcasters. They were the radio engineers that formed the union. They joined ranks mainly to represent them as a group in negotiation for salaries.  Later with the advent of television the need to cover working conditions and safety regulations made it necessary for the association to be affiliated with an international union that could represent everyone from coast to coast. The technical fit was to join with 'The Electrical Workers. Hence, The
I.B.E.W
It is a necessary evil to have "reps" speak for those people that are not forward enough to ask for their "just-deserved rights."
When you have people that are the cream of the technical society as CBS is loaded with, they need to have someone go to bat for them. Most engineers look down at the connotation of being called "union men." In the "fifties" the Technical Directors (Td's) for the most part served on the union executive board. And those that weren't Td's soon became managerial material. Almost all the men that moved into management were former board members.  They served well, but as the expansion of television came along the Td's, became non-available, mostly because of work schedules. And too, the loss of a day's pay was a lot for a TD to sacrifice. The union later corrected this and everyone received his pay while serving. So the company at times was more
than fair. And the relationship between the two was tolerable.  There existed a certain amount of snobbism, among the elite maintenance staff, and some cameramen, and too audio types. When the live era was prominent, those that did the prime time shows felt superiority over their fellow technicians. They felt that they should get above the scale wages. If the union allowed that to happen then a fire-storm would have taken place throughout the company.  This brought about the need for, "Assistant Technicians". This then became the back-door for a lot of very good people to be hired at a reduced salary.  The union had very decent men (seldom had any women on the board, not until the "70's early 80's) as the board members. Their credentials were
impeccable. Serving as president, were Tiny Servoss, Milton Greenwald, then Pat Finn. The rest of the board was comprised of member's form the other companies.
When I joined the board, as the Recording Secretary there was a TD named Charlie Lyons. He had a crew at CBS that was euphemistically known as "Charlie Lyons and his Irish Mau-Maus". Charlie was a red faced Irish looking Jew. But he was a wise man, and gave excellent council to the union when he served. He was a no-nonsense guy.  Pat Finn who was one of the cameramen on Charlie's crew, he was to become the most popular president in the union's history to this point in time. I once wrote of Pat, "he was the moral conscience of the union." Pat was totally fair to the company he loved, and the men he served.
I served the union for twenty-eight years in every capacity there was.  The people I met and worked with could pass a test of character that I am sure not many bosses could match up to.  We had some leaders that were more ego-oriented than they were talented, but they were basically honest men. The union also brought out some outstanding men and more recently one or two women.
The Executive Board I am proud of was the last one I was associated with; Jane Marino-Gordon, Charles Rini, both of the UN, Philip DiPisa, HBO, Rand Joseph, WNET, Jerry Sullivan, George Naeder, Frank Viscup, George Selinger, Keith Morris, Paul Saccone all CBS. I add two more outstanding men, Frank Marth, CBS, and Richard Ross WADO. I hope this man accedes to the Presidency some day.
I mention these names to show you that they are just the working men and women of our industry. And anyone of them has OUTSTANDING CHARACTER.  Certainly not in the mold of the stereo type 'Sopranos union garbage.  There aren't any, Huff's, in the Television Unions...........Tony C

I AM LOST
I HAVE GONE TO LOOK FOR MY SELF
IF I SHOULD RETURN
BEFORE I GET BACK
PLEASE ASK ME TO WAIT

THANK YOU
TONY C.

The other day, I happened by chance,
As I passed a mirror, to give it a glance.
And I wondered who that old man could be,
Who, with his mouth wide open, was looking at me,
His bald head was sprinkled with a little gray fuzz,
And he wasn't at all handsome (like I always was).
He looked like a sack of mis-matched parts,
Put together without aid of instruction or charts.
And while I know my shoulders don't slump,
This person's were misshapen in one ugly lump!
Now if that was my image, I only can say,
They don't make mirrors like they did in my day.