1997 Radio Hall of Fame Awards Broadcast Script

Curator's Note: This is the final typed version of the script for the Radio Hall of Fame Awards Broadcast that aired 8-9 PM CDT on 10/19/97 over a network of roughly 40 stations coast-to-coast. The "Doc Herrold" segment placed below in Segment III was moved to Segment V shortly before air time. A somewhat longer version of the credits was broadcast.

1997 Radio Hall of Fame

Master Script

PARKER=Al Parker

GFO=Georgia Frances Orchestra

KASEM=Casey Kasem

LOCKHART=June Lockhart

CONRAD=Tippy Conrad

BURY=Chris Bury

HINKLEY=Gordon Hinkley

CALLAHAN-Bob Callahan

HARVEY=Lynne "Angel" Harvey

KENT=Herb Kent

ALTSCHULER=Peter Altschuler

GALWAY=James Galway

HAAS=Karl Haas



GFO: [Plays Fanfare #1]

PARKER:Live! From Chicago! It's the 1997 Radio Hall of Fame induction ceremony! Radio's biggest stars on radio's biggest night!

GFO: ["Of Thee I Sing" up full/Under at measure 5---playing first ending and repeat, if necessary]

PARKER:Tonight the Radio Hall of Fame inducts actor William Conrad...

Classical music host Karl Haas...

Producer Lynne "Angel" Harvey...

WTMJ-Milwaukee's Gordon Hinkley...

And disk-jockey Murray "the K" Kaufman.

Presenting our awards tonight are radio, screen and television star June Lockhart...

Chris Bury and Bob Callahan from ABC...

Renowned concert flutist James Galway...

And Herb Kent, the "Cool Gent"...

GFO: [stops playing "Of Thee I Sing"...immediate segue to tympani roll under announce]

And now---our host for the evening! From Westwood One, the "King of the Countdowns"---Ladies and Gentlemen, Casey Kasem!


GFO: [Plays "Of Thee I Sing" coda]



KASEM: Thank you Al Parker. And good evening, ladies and gentlemen.

Over the next hour, we'll induct five new members into the Radio Hall of Fame. This is the nation's only radio hall of fame---and each year it honors broadcasters on both sides of the mike who've made significant contributions to radio's past and present.

We'll also take you back to radio's earliest days---as we do right now. See if you can guess whose voice this is...

AUDIOCART:["COOLIDGE": Voice of Calvin Coolidge: "My fellow conntrymen, no one can contemplate current conditions"/UNDER]

KASEM: That's the voice of President Calvin Coolidge...giving his second inaugural address on March 4th, 1925, 1925. The president's voice was broadcast as far west as the Rockies that day. It was radio's greatest technical feat to date.

But President Coolidge was already well aware of radio's power. For the previous year, the presidential household, rent asunder by the call of nature, had been made whole...thanks to radio!

GFO: [Plays "March of Time Bridge"]

President Coolidge had a cat named Tiger. Tiger was a tomcat. He was large, orange--- with black vertical stripes.

When the president would call, "Here, Tige!" Tiger would run to his commander-in-chief, more in the manner of a dog than a cat. President Coolidge was very fond of Tiger, who had begun his life on the president's farm in Vermont.

One day, specifically on March 20th, 1924, Tiger decided he needed something that he couldn't find in the White House, no matter how hard he looked. And so that night, in the midst of a spring ice storm, Tiger scooted out a White House door somebody had left ajar---and wandered off, guided only by his instincts.

GFO: [Plays "Alley Cat UP FULL two measures, then UNDER narration. Stops after measure 8]

As Tiger prowled, the President slept. And when the President awoke in the morning, he called out "Here Tige!" as he had on many mornings for many years.

When there was no response, the President called again. And when there was still no response, the President alerted his staff.

A thorough search of the White House and the White House grounds followed. But there was no sign of Tiger.

The District of Columbia Police were placed on alert. But on the streets of the District there were no signs of Tiger.

And for three days there were no signs of Tiger. And this worried the President. For though Tiger was large and well-put together, he was not a city cat.

And then one of the President's staff came up with a brilliant idea. Maybe Tiger could be found---by radio!

GFO: [Plays first two bars of "Someday I'll Find You" UP FULL then UNDER narration---playing second ending, if it gets that far]

KASEM: [Continuing over music] Since the nation's infatuation with radio began three years earlier, this new communications medium had successfully found criminals in flight from the law---and spouses in flight from unhappy marriages. Could it now locate a large tomcat? It was worth a try.

So Secret Service agent James Hanley was dispatched to the studio of WCAP radio. And on the night of March 24th, he stepped before WCAP's microphone.

"The President's cat is missing," he told the radio audience. He described the cat, told how the cat answered to the call of "Tiger", and gave the White House phone number.

Moments later, the White House phone began to ring off the hook. A few callers claimed to have seen Tiger. But many more, apparently with excess cats of their own, offered the President a replacement. Indeed, the President could have had more than a hundred new cats by morning, had he wanted them.

One of those who heard the WCAP broadcast that night was a Navy captain named Edward Bryant. The following morning he entered the Navy Building---which happened to be about a quarter-mile from the White House---and he went to the office of a Captain Edward Sullivan with whom he had some business to conduct. On the floor next to Captain Bryant's desk, he noticed a large cat. The cat was asleep and purring. It seemed to have a smile on its face.

"Where'd the cat come from?" Captain Bryant asked Captain Sullivan. Captain Sullivan replied that the cat had just wandered in a few days before.

"Let me try something," said Captain Bryant. "Here, Tige," he called.

The sleeping cat awoke---and ran to Captain Bryant's side.

"This is the President's cat!" cried Captain Bryant. He scooped up Tiger, hailed the first cab he could find and told the driver to take him to the White House.

President Coolidge was overjoyed to see Tiger. He immediately ordered a cat collar that said, "My Name is tiger. I live at 1600 Pennsylvania Avenue."

Then he met briefly with the press. Calvin Coolidge was normally a man of few words. But that day he gave one of his longest off-the-cuff remarks. "Tige is back," said the President. Thank to radio!"

GFO: [plays "Some Day I'll Find you" coda]

KASEM: Now its time to induct our first new member into the Radio Hall of Fame---the late William Conrad. Here to tell you about his contributions to our medium is someone whose own contributions over the decades have been substantial. Presently she's the Chairperson of the Advisory Board for the National Association of Radio Talk Show Hosts. But when she was still a teenager, she stepped before the microphones of the "Chase and Sandborn Hour" in the role of Charlie McCarthy's girlfriend. You'll no doubt remember her well from her television roles in the "Lassie" and "Lost in Space" series. Ladies and gentlemen, please welcome June Lockhart!

GFO: [plays "Lassie" theme]

LOCKHART: How many of you remember the time when you could turn on your radio at night and hear drama?

If you can recall that age, then certainly you remember the voice of William Conrad and his marvelous characterization of Marshal Matt Dillion on radio's "Gunsmoke". It was the last of the great network radio dramas. And "Gunsmoke", and William Conrad, and CBS, the network that carried the show for nine years, closed out, in a very graceful way, radio's 'golden age'.

When "Gunsmoke" went on the air in 1952, the number of prime-time radio listeners was still greater than the number of prime-time television viewers. When "Gunsmoke" went off the air in 1961, a new day had long since dawned---and there would be no turning back the clock. On radio, "Gunsmoke" would have no sequel.

Because "Gunsmoke" ran as long as it did, and because it came at the end of an era, William Conrad will be remembered best for his portrayal of Matt Dillon. But from the end of World War II until the end of radio drama, William Conrad took on countless other roles in some of radio's most memorable dramatic programs---programs like "Suspense", "Escape","Screen Director's Playhouse" and the "Lux Radio Theater".

Someone once asked William Conrad how many parts he had played on radio over the years. His estimate was seventy-five-hundred.

William Conrad was a big man with a big voice, and a dramatic talent that was bigger still---and so big that radio alone couldn't contain it.

His film credits include"The Killers", "Body and Soul", "Arch of Triumph",and "Any Number Can Play".

On television he was heard---but not seen---as the narrator of shows that included "The Fugitive", "The Wild World of Animals", "The Bullwinkle Show" and "Buck Rogers".

William Conrad directed and produced as well. When the ratings of television's "77 Sunset Strip" began to sag in 1963, he rode to the rescue and kept the series alive another season. He likewise brought his production talents to "Naked City:, "Bat Masterson" and the television version of "Gunsmoke".

William Conrad was seventy-three when he died of a heart attack. Fortunately, hundreds of his performances have been preserved---and they remain a monument to what radio drama was at its best. Listen...


Lockhart:The Radio Hall of Fame is proud to induct the late William Conrad.

Parker:Accepting the award for William Conrad is his wife Tippy....

GFO: [Plays "Memories of You"]


GFO: [Plays bumper music]

PARKER:The Radio Hall of Fame returns to honor WTMJ-Milwaukee's Gordon Hinkley after these messages....






GFO: [Bumper]



GFO [Bumper continues. OUT at cue]

KASEM: This is Casey Kasem back at the Radio Hall of Fame in Chicago's Cultural Center where we honor now one of the nation's great regional broadcasters who, for almost half a century, has been broadcasting on one of the nation's great regional stations. The broadcaster is Gordon Hinkley. His station is WTMJ. Here to introduce Gordon and to tell you about his work is a former colleague---a veteran of WTMJ and now a correspondent for ABC News. Ladies and gentlemen, let's welcome Chris Bury!

GFO: [Fanfare #2]

BURY: If you live almost anywhere in Wisconsin, if you live in northern Illinois or Western Michigan, you probably already know Gordon Hinkley---because you've heard his voice for years on 620 AM, WTMJ Milwaukee. In fact, unless you're a senior citizen or approaching that status, you've probably been listening to Gordon since you were a kid. Gordon, you see, has been at WTMJ forty-seven years. He's been a broadcaster fifty- five years.

The loyalty of Gordon's listeners is approached only by the dedication of his sponsors---some of whom have been buying time on his shows for more than four decades. Gordon is one of the reasons why, over the years, WTMJ has remained one of the nation's great regional stations.

It's hard to miss Gordon Hinkley on WTMJ. He's on the air seven days a week.

Weekdays his 'Gotta Minute' segments offer experts whose fields range from health to fitness to business to entertainment.

On Saturdays, 'Gordon Hinkley's Wisconsin Weekend' fills a three hour block with practical advice for the handy-man and gardener.

And on Sunday mornings Gordon hosts 'Invitation to Beauty', a show of light classics and popular music now in its fifth decade on WTMJ.

It was as a live musician that Gordon made his radio debut back in 1941---a high-school sophomore playing the piano Saturday afternoon on WFHR, the voice of Wisconsin Rapids. Gordon's patter between numbers proved more engaging than his work on the keyboard---and thus a career was born.

Gordon went to work full-time for WFHR after high school, served three years in the Army, and---at the end of World War II---signed on at WSAU in Wausau.

In 1950 Gordon joined the announcing staff at WTMJ. Over the years, he's worked every shift and just about every show.

Listenersprobably remember Gordon best as the host of "Ask your Neighbor", the show where, for thirty-three years, Gordon brought listeners with questions and experts with answers together---through the medium of radio.

WTMJ management probably remembers Gordon best as the drive-time host of 'Top O' the Morning'. With Gordon at the helm for twenty-three years, that show posted ratings that, these days, couldn't be matched.

How do you explain Gordon longevity in a medium that's changed so much over the years? Listen for a few moments to Gordon Hinkley. And you'll hear why.


BURY: Ladies and gentlemen, the Radio Hall of Fame is proud to induct Gordon Hinkley!

GFO: [Plays Hinkley walkon music]

HINKLEY: [Remarks]

GFO: [Plays bumper music]

PARKER:You're listening to the "Radio Hall of Fame" induction ceremony---live from Chicago!. We'll tell you how you can join the Radio Hall of Fame and vote for next year's inductees later in this broadcast. Stay tuned!






GFO: [Bumper]



GFO: [Bumper continues/OUT at cue]

KASEM: This is Casey Kasem back at the Radio Hall of Fame in Chicago where our broadcast continues---and where we now pay a brief tribute to a broadcaster from radio's remotest past.

GFO: [Plays "March of Time Bridge"]

KASEM: Listen to this voice---and to the words of a broadcast pioneer whose name has been all but forgotten...

AUDIOCART: ["HERROLD I---voice of Charles Herrold: "I am particularly proud that the dream we had for radio as an entertainment medium has been realized"]

KASEM: That's the voice of Charles Herrold---recorded in 1945 when he was 70 years old. Thirty-seven years earlier, Charles Herrold---better known as "Doc"---became the first man to broadcast on a regular basis---and to broadcast music on a regular basis. And here's how it happened.

GFO: [Solo keyboard plays Scott Joplin's "PINEAPPLE RAG". Intro UP FULL then UNDER narration"

KASEM: The time was 1912. And the Place was San Jose, California---where "Doc" Herrold ran the "Herrold College of Wireless and Engineering". Doc taught young how to send dots and dashes with a telegraph key so they could become wireless operators.

Doc also tinkered with new and better ways of sending voice and music over the air.

He built what he called an "ARC-PHONE"---a bunch of sputtering carbon arcs that created a current so intense that he had cool his microphone with water.

When Doc was convinced that this contraption could reliably transmit voice and music---and that these transmissions could be listened to on receivers at some distance from the transmitter---he was struck by a revolutionary idea. What if he were to schedule his transmissions at a regular time? And what if he were to direct these transmissions specifically to people who had installed these receiving devices in their homes?

Well, in 1912, that's exactly what Doc Herrold started to do. Every Wednesday at 9 PM, he fired up his ARC-PHONE and transmitted what he called a RADIO PROGRAM. Doc's listeners? At first, mostly his students. But, as word of the weekly broadcasts spread, more and more folks in San Jose acquired receivers---and before long listening to Doc's "programs" became a Wednesday night habit.

And Doc's programs? Well, he'd start out by reading some items he's clipped from the local paper. Then his wife Sybil would announce and play records on their wind-up Victrola. Sybil borrowed the records from the Sherman-Clay music store down the street. In exchange for the use of the records, Doc and Sybil would tell their listeners that if they liked the records they had just heard, they could go to the Sherman-Clay store and buy copies of their own.

Incidentally, the folks at Sherman-Clay began to notice an increase in record sales following Doc's programs.

And another thing. Doc's listeners began to call in and ask that specific records be played.

GFO: [Keyboard rendition of "Pineapple Rag" stops]

KASEM: [continues without stopping] Does this sound familiar? Just remember that Doc and Sybil did it first. And they might have gone on to become the world's first commercial broadcasters---had it not been for the course of world events...and some personal tragedies.

GFO: [Keyboard arpeggio followed by strings playing "Hungarian Waltz". UP full for first two measures, then UNDER narration]

KASEM: In 1914, World War I broke out. And in the spring of 1917, the government ordered all but military stations off the air for the duration of the conflict.

And so those weekly "Doc and Sybil" shows faded into the static, never more to return.

Radio, of course, returned after the war---but with new and improved technologies. Radio, after the war, was a new game. And Doc Herrold couldn't quite figure out the rules.

Docs efforts to run station KQW in San Jose ended when he couldn't meet the payroll.

And in the midst of that failure, his beloved Sybil left him, married another man---and took custody of their only child.

Doc Herrold spent his last days working as a security guard in the Oakland Shipyards and operating audio-visual equipment in the Oakland Public Schools. His contributions to our medium were forgotten---until 1945, when KQW was preparing a station history, and when Doc's voice was recorded on an acetate disk.

Only recently have broadcast historians rediscovered Doc Herrold---and acknowledged his innovations.

So, as we end this tribute, listen one final time to the voice of Charles "Doc" Herrold--- broadcast pioneer.

GFO: ["Hungarian Waltz" should be ending at this point. If narration ends first, FERMATA on last note. Otherwise, UP FULL for payoff]

AUDIO CART: [HERROLD II: Herrold: I am happy to have been the first man to have broadcast radio entertainment on a regular schedule" ]

GFO: [plays "March of Time Bridge"]

KASEM: Each year, the Radio Hall of Fame inducts an individual who, though not an on- air personality, has nevertheless made an extraordinary contribution to the medium.

This year, for the first time, the Radio Hall of Fame welcomes a producer---a producer who happens to be the guiding force behind two of radio's most listened-to programs, "Paul Harvey News" and "The Rest of the Story." And here to introduce Lynne "Angel" Harvey is Bob Callahan, President of ABC Radio.

GFO: [Fanfare]

CALLAHAN:Let me say first that I've listened to Paul Harvey virtually all of my life--- which means that Angel has been a part of my life, too. This is the reason it's a real personal honor for me to be part of the program tonight.

Most of you know that the Harveys' success story has been a partnership from the beginning. But you might not know that it was an accident of scheduling that led to what became one of the most significant relationships of radio---both on-air and off.

Picture this...A beautiful, young staff announcer...brilliant in school...cum laude, Phi Beta Kappa...Determined to make it in radio, she lands a job at KXOK in Saint Louis, where she's an announcer...A DJ...and a sportscaster.

One day, she's on the air when she's forced to accept a substitute for one of her interviews. Yes, a charming young news director happens into her life and...well...she can tell you the rest of the story.

Paul and Angel were soon partners---in life and in radio. With Angel as his editor, producer and writer, Paul made radio history with new and innovative programs---with concepts unheard of at the time.

And when Paul was forced to leave for cadet training, Angel continued to blaze ahead. She was soon on the air again from 4 PM to midnight each day on CBS radio.

We have always thanked Paul for returning and taking Angel with him to Chicago, removing the competitive threat. With two Harvey's in Chicago, the teamwork really paid off. Paul Harvey News earned the top news slot their very first year on the air. And for those of you who think the business is a male bastion today---I want you to think of what Angel put up with in those years.

There may be engineers here tonight who still remember the intense young woman in the control room! Angel also jumped into television, producing a panel show that became a prototype for its genre---as well as a television version of Paul Harvey Comments---which was syndicated for twenty years. Angel developed The Rest of the Story for both radio and television---and she edited the stories for books and videos.

Now, airing 17 broadcasts for ABC each week, I think I'm justified in introducing Paul and Angel Harvey as radio's most successful husband and wife team.

It's with great pleasure that I can help unite Paul and Angel once again---this time in the Radio Hall of Fame.

Please welcome Angel Harvey!

GFO: [Plays "I Hear Music When I Look at You"]


GFO: [Plays into commercial]

PARKER:If you's like to find out more about the Radio Hall of Fame and learn how you can vote for next year's inductees, please call XXX-XXX-XXX. That number again---XXX-XXX-XXXX. The Radio Hall of Fame broadcast continues after these messages.






GFO: [Bumper Music]



GFO: [Bumper ends]

KASEM: Back at the Radio Hall of Fame in Chicago, we induct now the late Murray "The K" Kaufman---one of the great and most influential disk jockeys of the past. Here to tell you about him is a 1995 inductee into the Radio Hall of Fame. Let's welcome one of the original WVON 'Good Guys"---the "Cool Gent"---Herb Kent!

GFO: [Plays Kent walkon]

KENT: The "Swinging Soirees" of Murray the K---as he was known---and Murray Kaufman---as he was born---provided some of broadcasting's most memorable moments in the 'fifties and 'sixties. During that period Murray traveled up and down Manhattan's radio dial---from WMCA to WMGM to WINS to WOR-FM to WNBC.

The 'fifties and 'sixties were a time when radio was changing, when radio's audience was changing, when the music played on radio was changing. Murray understood the medium, the audience and the music---often better than the managers the stations he worked for. And with that understanding, Murray the K stood out as an innovator.

The music and the audiences were getting younger. Even as he was growing older, Murray knew how to pick the best of the new music---and how to relate to the new generation of performers who made it, and the young people who listened to it.

Murray knew that the best music on an artist's new release was not always what the record producer's designated the "A"-side. If Murray thought it was the right thing to do, he'd flip the platter and play the "B"-side. And, often as not, make it a hit.

Murray also knew that the best performers were not always the white artists who recorded for the major labels and who enjoyed the biggest promotion budgets. Murray the K gave the recordings of black and Hispanic artists a fifty-thousand watt outlet to a greater extent than any other disk jockey of his day.

Performers were well aware of Murray's impeccable musical judgement and of his unequaled power in the business. That's why the Beatles sought Murray out when they made their first American tour---and why Murray thereafter was known nationally as the 'fifth Beatle.'

Murray was the son of a vaudeville pianist. In his early years he put together shows in the Borscht Belt and plugged songs. He entered radio producing shows for others. Fortunately, it was not long before he found his way to the microphone.

A long bout with cancer cut Murray's career short. When he died in 1982, he was only sixty. But the high energy and creativity of his shows still resounds. So let's turn down the lights, crank up the volume and---for a few moments---head off to the submarine races!


KASEM: The Radio Hall of Fame is proud to induct the late Murray "The K" Kaufman!

PARKER:Accepting the award is the son of Murray "The K", Peter Altschuler...

GFO: [Plays "Murray the K Theme". Last four bars is sung by band AND audience ("It's Murray, Murray "The K" and his swingin' soiree!" )]


GFO: [Plays "Murray "The K" Theme" into break]

PARKER:Coming up next at the Radio Hall of Fame in Chicago---flutist James Galway and the legendary Karl Haas. Don't touch that dial!






GFO: [Bumper music]



GFO: [Ends bumper]

KASEM: Finally tonight we honor a man who has made sure that the music of the ages is heard by millions on the radio, even in an age where radio often thinks it's found more profitable ways to fill the airwaves. To introduce Karl Haas, we are most fortunate in having with us tonight one of the most beloved performers of our era. Ladies and gentlemen, concert flautist James Galway...

GFO: [Plays "Galway Theme"]

GALWAY: The medium of radio is not treating classical music kindly these days.

Early in September, Philadelphia's WFLN radio ended a forty-eight year tradition of fine-arts programing and switched to an 'adult-contemporary' format.

Oregon Public Radio has announced the elimination of all musical programing.

Over the past fifteen years, the number of commercial stations broadcasting classical music has dropped from roughly sixty to forty.

All the more reason to be thankful for Karl Haas and his "Adventures in Good Music." Karl Hass, in his seventies, and his program, at the age of thirty-eight, are bucking a trend with a degree of success that's probably without parallel in radio's history.

In the United States, 'Adventures in Good Music' is heard in two hundred cities, coast to coast. More than four-hundred stations of the Armed Forces network Relay it on all continents. In Australia, the Australian Broadcasting Corporation feeds it to thirty-seven station. The Suddeutscher Rundfunk transmits it---in German, via shortwave---throughout all of Europe.

The musical talents of Karl Haas were discovered his native Germany---when his mother gave him his first piano lesson. The broadcasting talents of Karl Haas were discovered in Detroit when, in 1950, when WWJ asked him to host a weekly preview of concerts by the Detroit Symphony Orchestra.

It was not long before the Canadian Broadcasting Corporation asked Karl to conduct weekly chamber concerts and to perform piano recitals from its Windsor, Ontario studio. The CBC asked Karl to comment on the music---which he did, in both English and French.

Then, in 1959, Detroit's WJR offered Karl an hour a day, five days a week for his music and commentary. Karl accepted the offer---and thus was born "Adventures in Good Music".

Karl's program today remains very much like it was when it first aired. Except today, syndicated by the Seaway Productions subsidiary of WCLV, Cleveland, Karl's words---and the music he loves and his words describe---reach an audience infinitely more vast than even the fifty-thousand watt clear-channel signal of WJR could reach thirty eight years ago.

At the end of the twentieth century, fine music's future on the radio is uncertain. But during the twentieth century, it's absolutely certain that nobody has done more for classical music on radio---than Karl Haas. Listen...


GALWAY:Ladies and gentlemen, the Radio Hall of Fame is proud to induct Karl Haas!

GFO: [Plays "Beethoven"]

HAAS: [Remarks]

GFO: [Plays Beethoven]



KASEM: Ladies and gentlemen, that concludes our business here tonight at the Radio Hall of Fame where we've just inducted five new members---William Conrad, Gordon Hinkley, Angel Harvey, Murray Kaufman and Karl Haas. Our congratulations to all of them and are thanks to all of you for joining us tonight.

And remember---when you're in Chicago, stop by the Radio Hall of Fame in the Cultural Center and visit us.

I'm Casey Kasem saying good night from Chicago!

GFO: [Plays "Of Thee I Sing" into oblivion]

PARKER:[CREDITS] The Radio Hall of Fame Broadcast was produced by Chris Broyles, written by Rich Samuels, with music performed by the Georgia Frances Orchestra. Dick Carter directed with the assistance of Michelle McKenzie-Voigt and Danny Rozkuszka. Jim Guthrie was our audio engineer. The Radio Hall of Fame Broadcast is a production of the Museum of Broadcast Communications, Bruce DuMont, President. Al Parker speaking. This program has come to you from Chicago!

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