News from Our Archives

​Back in the days of radio’s infancy, every station used live musicians on the air. Technology changed all that, but the average listener isn’t aware of what happened during the transition. Here in St. Louis, all the stations had to make some changes in hiring, thanks to a man named Petrillo.

James Caesar Petrillo was elected president in 1922 of the American Musicians’ Union and then became president of the American Federation of Musicians in 1940. Within months of this second election, the nation went to war, but that didn’t stop him

His battle with broadcasters had begun in the mid-1920s. In an effort to discourage the frequent use of records by radio stations (a practice that meant no money for the musicians who recorded them), Petrillo pressured the stations to hire in-house musical groups. He later took a challenge to court saying the playing of recorded music on the radio violated copyrights, but that was thrown out by judge Learned Hand in 1940.

Cost cutting became a way of life for everyone during the war, and radio stations cut back on the use of their live musicians, occasionally bringing in amateur groups to perform. Petrillo put pressure on the stations and a new national contract was negotiated requiring the stations to keep a minimum number of hired musicians and pay the professional musicians even when amateurs were used.

This practice caught the eye of the federal government, and the F.C.C. passed the Lea Act, making it illegal “to threaten or compel a broadcaster to employ more persons than it needed…and pay for services not performed.” But as the war wound down, stations began introducing disc jockeys into their program mix, and that meant there was less need for musicians.

Here in St. Louis, a couple well-known singer/musicians made the transition with ease. Skeets Yaney and Roy Queen both got their own disc jockey shows. But most of the radio musicians were relative unknowns, especially those who didn’t sing. Petrillo had already laid the groundwork for their futures by pressuring stations to hire their former musicians to handle the technical end of record playing, making them platter spinners.

For many years, union radio stations had separate staffers, usually former studio musicians, who did nothing but set records on turntables, put the needle on the record, cue the record to the proper musical starting point, and activate the turntable when the announcer signaled.

As disc jockeys flourished, stations began to tout not only their personalities but also the depth of their record libraries. An article in the June 16, 1949 issue of the Globe-Democrat described KWK’s record library as “one of the most complete in the nation,” containing “11,000 single records and 700 albums.” Five people worked in the station’s music library, previewing every new record received to check “for any lyrics that might be offensive to listeners.” And since recording tape was not widely used at that time, commercials were also recorded on acetate discs. These were also filed and maintained by the record library staff.

The lower expense of a disc jockey playing records soon meant there was no need for live musicians on station payrolls, but a few stayed in various jobs at St. Louis stations well into the 1970s.

(Reprinted with permission of the St. Louis Journalism Review. Originally published 3/05)

By Catherine Snodgrass

This is certainly a funny old world – you can think you know “all about a person,” and then suddenly you discover that he or she possesses a hidden talent which you never even dreamed of.

Now take Russ Walker, for instance. He’s been on WIL for a long time. We knew Russ had gone to college – had a flare for dramatics – been salesman, announcer, continuity writer, and what have you. We even knew his favorite melody, type of feminine beauty, and that he preferred grey suits and blue ties. Well, in fact, we thought we had that “six foot, two” young “he” man thoroughly catalogued.

Then one day a friend of mine remarked that she had read a poem by a Mr. Russell Walker of WIL. I immediately rushed for the station and accused Russ of holding out valuable information.

At first Russ denied the accusation then blushing like a bad little boy, very modestly owned up that he had endeavored to write a few verses, but that he didn’t know how to write good poetry.

Upon insistence he finally fished out of the bottom drawer of his desk a little brown leather book in which was stored some of his typed verses. Naturally, I borrowed that book, much to Russ’ disquietude.

The verses and poems are a credit to the young author, they reveal a love of the beauties of nature.

(Originally published in Radio & Entertainment 10/28/1933.)

The new $250,000 studios of Radio Station KMOX, the Voice of St. Louis, which are now being constructed in the New Mart Building, are rapidly nearing completion. When finished these studios will be the most modern in the country and will be equipped with every new device that will afford better mechanical operation as well as the latest in studio construction and acoustical treatment. The construction of these new studios was made necessary thru (sic) the increased number of programs originated by KMOX, it is reported, and to afford studio facilities comparable to the new 50,000 watt transmitter completed last year at a cost of approximately $450,000.

The increased facilities will enable KMOX to originate many chain features of national importance for the Columbia Chain of which it is a member because of its central location and tremendous power. The equipment and studios have been so arranged and so constructed that it will be possible for KMOX to broadcast a local program, send another program to Eastern cities and at the same time send still another to the Pacific coast. The layout has been designed and constructed so that with the advent of television it will not be necessary to alter the studios or the mechanical control arrangements.

Five Separate Studios

The facilities which occupy two floors of the Mart Building will be the finest of any radio station in the country. There are five large studios, four of which extend two floors in height. Studio “A” which is the largest is 42 feet long and 22 feet wide and directly faces an auditorium which seats over 600 people.

The studio has been designed and constructed so that it will be used for the television productions of the future. Studio “C” is also enormous in size, being 41 feet long by 25 feet wide. This studio is of sufficient size to permit broadcast of the largest of symphony orchestras. The other three studios are approximately 28 x 25 feet, all facing a long corridor that extends from the entrance the complete length of the five studios. The studio fronts are large plate glass windows, permitting the guests of the station to watch the radio performers in action. The corridor will be elaborately furnished for the comfort of visitors.

A unique construction feature of the studios is its special acoustical treatment. The walls are nine inches thick with over four inches of a new scientific sound proofing material in the center. Over all this is a layer of special material which completely prevents tone distortion and unwanted sound reflection. The floors are also treated in a like manner. Underneath the top flooring is a thick layer of special padding which deadens sounds and prevents vibrations of the building from being transferred into the studios. The ceilings are similarly treated, with the exception that there is a space of nine inches between the ceiling of the building and ceilings of the studios which is filled with a special limestone preparation for acoustical perfection.

Finest Electrical Equipment

The third floor arrangement is similar to the second. There will be a large reception room which extends the full length of the five studios. From this reception corridor one may look down into the studios and watch the artists broadcasting. This corridor will also be furnished with lounges, chairs and other home-like furniture for the use of guests. On the third floor will be a large audition room where programs which are being rehearsed may be heard. This room will also be used so that clients of the station may hear programs which they are considering using for advertising purposes. This audition room will be used, too, for business conferences and meetings of the executives of the “Voice of St. Louis.”

The electrical equipment will be the finest of any studio in the country. Each of the studios has its own individual control room which is octagonal in shape, covered with glass and raised two feet above the studio floor level to afford a better view to the radio engineer who is operating the mechanical end of the broadcast. Each of the control rooms is equipped so that in an emergency it can be used as the master control.

The business offices of KMOX will be located on the third floor. They are large and spacious and equipped with a speaking system that will enable the hearing of any program which is being broadcast or rehearsed in any of the studios.

(Originally published in Radio and Entertainment 10/3/1931.)