World War Ii: the Radio War: Radio Reflections of the Usa Home Front

By R. Leroy Bannerman

World War II: the Radio War relates concerns and conditions facing American homes during The War and the role that radio played in maintaining morale, providing information and incentive to achieve patriotic responsibility.

This human account of public sacrifice and national involvement is relevant to current attitudes and concerns facing our country today in spite of the events occurring some seventy years ago. Although the subject is American-based, the narrative of this book applies to other peoples and has appeal in their countries, especially England.

• Language: English
• Publisher: AuthorHouse
• Release date: Sep 18, 2013
• ISBN: 9781481779494

R. Leroy Bannerman

Former journalist and radio writer, the author has a forty-year career in communications, both commercial and public broadcasting, and served 29 years on the telecommunications faculty as an instructor of writing and production at Indiana University. He holds degrees in journalism and mass communications from the University of North Carolina and the University of Alabama. In addition to many articles regarding radio and television, he has published two books--a well-regarded biography of radio's creative genius, Norman Corwin and the Golden Age of Radio, and a civil rights novel, Where Blood Runs Black and White. The current study is of radio and the WW II home front. He is an active member of The Society of Midland Authors, Chicago. He is a lifetime member of the VFW and served in World War II in the U.S. Air Force stationed in England.

Book preview

AuthorHouse™

1663 Liberty Drive

Bloomington, IN 47403

www.authorhouse.com

Phone: [phone]

© 2013 R. LeRoy Bannerman. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

Published by AuthorHouse 9/17/2013

ISBN: 978-1-4817-7950-0 (sc)

ISBN: 978-1-4817-7949-4 (e)

Library of Congress Control Number: 2013912901

Any people depicted in stock imagery provided by Thinkstock are models,

and such images are being used for illustrative purposes only.

Certain stock imagery © Thinkstock.

Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

TABLE OF CONTENTS

FOREWARD AND DEDICATION

ACKNOWLEDGMENTS

INTRODUCTION

CHAPTER ONE—Day of Infamy

CHAPTER TWO—Prelude to Pearl Harbor

CHAPTER THREE—Depression, Diversion, and Fear

CHAPTER FOUR—A Call to Arms

CHAPTER FIVE—Citizen Sacrifices of the Home Front

CHAPTER SIX—Bonds of Freedom: Paying the Bills

CHAPTER SEVEN—Voice of the People

CHAPTER EIGHT—The Motivational Medium

CHAPTER NINE—Day of Decision

CHAPTER TEN—Advance to Victory

CHAPTER ELEVEN—Victory!

CHAPTER TWELVE—The Final Conquest

EPILOGUE

BIBLIOGRAPHY

ABOUT THE AUTHOR

ENDNOTES

FOREWARD AND DEDICATION

The beginning and development of the radio medium in the early twenties offered interesting challenges for both broadcaster and listener as each struggled with problems of transmission. Being new, simply to be heard was a gratifying achievement. Families gathered around a living room receiver, to enjoy the novelty of making out often unclear dialogue or tinny music originating from long distances, heard on earphones or through crude speakers.

By the thirties, technical advancements had brought the medium to a remarkable level of cultural communication. Audio artists and engineers discovered the medium’s full promise by unveiling its aesthetic potential which offered depth and dimensional perspectives, and with improved microphones, sensitivity and emotional strength. Its eloquence and influence enticed leading writer- producers as William N. Robson, Carl Sandburg, Arch Oboler, Archibald MacLeish, and Norman Corwin to establish radio as an art form heralding an era of innovation known as The Golden Age of Radio. Uniquely, this period paralleled World War II. There is little doubt that the most creative of this group of radio artisans was Norman Corwin, who for the home front and the forces provided award-winning shows of morale and incentive.

Corwin died in 2011 at the age of 101, acclaimed an icon in broadcasting. This book is respectfully dedicated to the memory of Norman Corwin.

ACKNOWLEDGMENTS

Debbie Melloan, as an accomplished writer and research advisor, assembled invaluable material and guided the development of this book.

To Karen Gunderman for her support and encouragement as well as Richard Hamlin to whom I am indebted for advice and assistance.

And to my several health aides, I appreciate their support in preparing the manuscript.

Finally, my appreciation to my son, Mark Bannerman, professional artist, for his image of Edward R. Murrow covering the London bombing.

INTRODUCTION

Of those old enough to have experienced it or those who relish the recall of their elders, radio is remembered as a vital influence in almost every American home during the years of World War II. It offered entertainment, information and the incentive to support a national need. For the medium it was an era of innovation, referred to as the Golden Age of Radio, and it paralleled this period of crisis.

It was accepted that radio is one of the most potent weapons of psychology; that it is capable of moving people to respond to challenges of any crisis. Most of all, the medium served as a companion, giving guidance and direction to the unpredictable days of the War.

Even earlier, as the nation struggled in the grips of the Great Depression, the country’s president, Franklin Delano Roosevelt, communicated with his constituency by his fireside chats on radio.

This is a study of that era and its impact on the American scene.

005_a_reigun.jpg

President Franklin D. Roosevelt broadcasting a fireside chat.

CHAPTER ONE

Day of Infamy

I t was a brisk December Sunday and families returning from church sat down for a quiet midday meal. It was a time to relax, do odd jobs about the home, perhaps take a drive in the country, or simply sit and read the Sunday paper.

Many were content to listen to the radio, to follow professional football between the Dodgers and the Giants or, with eyes closed, enjoy the classical music of a CBS Symphony concert.

But then, suddenly—a shocking announcement…!

We interrupt this broadcast to bring you a special bulletin. The Japanese have attacked Pearl Harbor, Hawaii by air, President Roosevelt has just announced the attack was made on our naval and military activities on the principal island of Oahu.

It is doubtful many citizens were able to grasp the full significance of that brief bulletin. Few knew the whereabouts of Pearl Harbor. And yet, it was clear that any overt foreign aggression against our country was to be taken quite seriously.

American citizens were naturally hungry for news. They wanted facts then of what exactly was happening, what it all meant… Radio, therefore, became indispensable as an urgent medium of immediacy.

No newspaper—not even an extra—could possibly serve the public’s desperate need to know.

In the hours following this startling revelation, an audience of concerned countrymen anxiously tuned in to every available commentator or analyst to decipher the dimensions of the crisis.

CBS introduced Elmer Davis who, in his nasal-voiced observation, solemnly intoned the critical situation.

He was followed by John Charles Daly, who reported:

We have been on the telephone with our station KMBG which is in Honolulu, and they report that the attacking planes number between fifty and one hundred, that the air raid is still on, and that the anti-aircraft fire can be heard in a steady drone as the attacking planes come in…

It was not until early evening that American radio, after exhausting its coverage of all pertinent details, returned to normal programming. Still, listeners uneasily awaited the inevitable outcome.

Did this mean war? In an existing aura of isolationism, many hoped not.

On Monday, following that fateful Sunday, a joint session of Congress convened to hear the President proclaim:

Yesterday, December 7, 1941—a day which will live in infamy—the United States of America was attacked by the Empire of Japan…

President Franklin D. Roosevelt maintained that hostilities did now exist and that…..

no matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.

With this clear declaration of war, he concluded:

With confidence in our armed forces— with the unbounded determination of our people—we will gain the inevitable triumph, so help us God.

Though brief, it was an impressive speech , generating feelings of hope, determination, defiance, and national unity. FDR’s assertiveness brought forth an overwhelming acclamation of applause and cheers from Congress. There was little doubt, ready or not, the nation faced an indefinite future.

The following day was Tuesday, the weekly scheduled time for the comedy of Fibber McGee and Molly.

And on this night, radio introduced citizens to a new lifestyle. The program was first delayed by an impromptu newscast presented by NBC with the explanation that the network would be on the air at the beginning of each program with the latest war news, day and night.

Then, switching to a studio for the show, the program began with its announcer, Harlow Wilcox, heralding

The Johnson Wax program with Fibber McGee and Molly!

A lively musical theme followed, which faded under for this billboard announcement:

The makers of Johnson self polishing Glo-coat present Fibber McGee and Molly

The music, once established, soon faded under for this unique announcement.

We