Oklahoma Musicians and
The Broadcast Frontier
Chapter Four:Television Takes the Lead
At the end of World War II
technological, economic, and political phenomena came together to enable the broadcast
industry to enter a new era--the era of television. World War II spurred many
technological advances that were easily converted to broadcasting purposes after
the war, namely television. With wartime manufacturing restrictions lifted, the
government freed industry to begin mass production of television receivers. Economically,
America was ready to buy--first the television sets, then most everything that
appeared on the television sets. The end result was that television reached the
end of a 50-year struggle in the post-World War II period and, by the end of the
1950s, was a major economic and cultural force.
Engineers had been developing methods of transmitting sound and pictures simultaneously
through the airwaves from the beginning of the development of radio technology.
In 1884, Paul Nipkow, a German engineer, had patented a scanning disk method of
wireless picture transmission. This method had proved unreliable and capable only
of low quality picture transmission over very limited distances. In 1923, Vladimir
Zworykin patented the iconoscope camera tube which, in turn, led to the invention
of the cathode ray tube in 1929--the essential technology required for television.[1]
By the early 1930s, RCA was conducting successful television transmission experiments
between New York and Washington, D.C. Profits from the boom in radio helped fund
research in television technology that RCA chairman David Sarnoff believed had
the potential to overshadow radio. By 1937, there were 17 experimental stations
operating throughout the United States. Within three years, a few experimental
stations were offering regular programs, albeit to a very limited audience.[2]
The first television broadcasts in Oklahoma occurred during November of 1939.
Always a pioneer in the broadcast industry, OPUBCO sponsored Oklahoma's first
television broadcast. This broadcast took place during a five-day experimental
television demonstration from the Municipal Auditorium in Oklahoma City. E.K.
Gaylord was interested in keeping OPUBCO on the cutting edge of broadcasting technology
and recognized that television offered even greater potential than radio. Gaylord
predicted the rise of television as early as fuckthisshit
1936 and dedicated the resources of his company to providing Oklahoma with television
service. [3]
In these early television experiments, technology limited transmission to a few
hundred yards. Cameras were set up on the stage of the auditorium, and receivers
were located at various points in and around the auditorium. The broadcast usually
centered around a network radio personality and, after the performance, audience
members would get to appear before the cameras for the amusement of their family
and friends. Despite Gaylord's 1936 prediction that television would be available
to Oklahoma in "a matter of months," World War II interrupted his plans.
The war prevented OPUBCO from sponsoring another television demonstration until
1944.[4]
As soon as World War II ended, the broadcast industry's attention returned to
the development of television. By 1946, television sets were once again available
for sale, and within a few years, they were affordable to the masses. Also in
the 1946, the FCC lifted restrictions on television broadcasts, and as a result
received an avalanche of applications for commercial television licenses. Two
of these applications were from Oklahoma.[5]
In 1948, the FCC granted WKY-TV in Oklahoma City and KOTV in Tulsa licenses to
build television stations. Soon after, the FCC stopped issuing licenses. Unresolved
problems with color transmission standards, power, and frequency allocations,
along with the boom in new stations, forced the FCC to halt all new television
licenses until such problems could be resolved. The freeze on licensing gave WKY-TV
and KOTV a three-year monopoly on television in Oklahoma.[6]
The FCC freeze also curtailed the development of network coverage. Although AT&T's
coaxial cable technology allowed many cities along the East Coast to be linked
to the live network broadcasts from New York City as early as 1949, the rest of
the country did not receive live network links until after the freeze ended. WKY-TV
and KOTV, like all non-East Coast stations, were able to broadcast network shows,
but had to rely on kinescope films. The kinescope films usually arrived at Oklahoma
stations a week or more after the program's original air date and often were of
lower sound and picture quality than the live programs.[7]
Early Oklahoma Television
From the late 1940s to early 1950s, most television broadcasts nationally imitated
the patterns set by radio, with most early programs direct conversions of popular
radio shows. In 1948, "Amos 'n' Andy" were the first popular radio performers
to sign a television contract, receiving 2 million dollars from CBS. In the next
few years, the other three networks--NBC, ABC, and Dumont--bid furiously for the
services of popular radio stars like Bing Crosby and Edgar Bergen and for the
television rights to popular radio programs like "The Guiding Light."[8]
The first Oklahoma television station, WKY-TV, went on the air June 6, 1949, and
followed the pattern of the Eastern stations offering programs converted from
popular radio shows. The station located its studio in the Little Theater of the
Municipal Auditorium. The first broadcast day began with a speech from station
owner E.K. Gaylord, followed by brief statements from a variety of civic and religious
leaders. The rest of the broadcast day was filled with the television debuts of
popular WKY radio programs like "The Gizmo Goodkins Show," a children's
program; "Smoking Room," a talk show hosted by R.G. Miller; and musical
entertainers Wiley and Gene, the Serenaders, Ken Wright, Conley Graves, and the
Al Good Orchestra. The programs WKY-TV ran during its first broadcast day were
typical of the types of programs it produced for the next several years.[9]
Despite the emphasis on big-name performers for the network programs, the late
1940s and early 1950s also represented a time of enormous creativity for local
stations. "Sooner Shindig" was a popular early WKY-TV program that featured
many local musicians. Unlike radio, where live music programs most often were
sponsored by feed and seed companies, appliance and furniture stores generally
were the sponsors of these types of shows on television. "Sooner Shindig"
ran from 1949 to 1954 on WKY-TV every Monday through Friday at 12:15 p.m. and
featured the Serenaders as its primary musical act, emcee Wakefield Holly, and
a variety of local performers like Joe Webster, Alan Webb, and Wylie and Gene.[10]
Although most individuals involved with WKY-TV remember the 1950s as a time of
great creativity, necessity required television stations to produce their own
shows in order to attract advertisers. Before the advent of nationwide live network
programming, local television relied heavily on newsreels, old movies, and cartoons
to fill its broadcast days. Because local sponsors were hesitant to spend any
of their advertising budgets on television during its earliest days, stations
had to develop interesting and original programming to lure sponsors from radio.
Big sponsors frequently demanded programs created around their own specifications,
and local advertising agencies carefully crafted programs designed to appeal to
the sponsors' image and desires. The Lew Runkle Advertising Agency completely
scripted "Sooner Shindig" in an effort to create a family-oriented show
for sponsors like Dulaney's Department Store and the Big Red Warehouse.[11]
There were many other types of local programs that television stations produced.
During the early days of Oklahoma television, stations kept actors and announcers
on staff to fulfill various functions. Danny Williams, in his tenure at WKY-TV
filled many duties. His debut was on the "Gizmo Goodkins Show" where
he told children's stories under the name "Spavinaw Spoofkin, Chief Spoof
Spinner of Gizmo Goodkins Land." Soon after, Williams appeared on other children's
shows like "The Adventures of 3D Danny" and "The Foreman Scotty
Show," hosted a talk show and a teen dance show, and acted as announcer for
WKY-TV's professional wrestling program.[12]
Television was a risky proposition for all who invested in it during its early
days. Unlike the early days of radio, where beginning and operating a station
required more technical skill than capital, early television stations required
vast amounts of money to get established. WKY-TV, for example, was a losing proposition
for OPUBCO during its first 18 months, and afterward took years to recoup the
initial investment in equipment and studio construction costs. However, as was
true with his investment in radio, Gaylord was willing to make the size of investment
television required because it fit his idea of what type of place Oklahoma City
should be.[13]
Local advertisers liked sponsoring shows that featured local personalities because
it gave them a variety of effective promotional tools to use. Supermarkets, car
dealers, rural electric co-ops, and many other businesses used the local television
performers to make public appearances at sales, openings, or other events. Some
of the bigger advertisers used the musical performers as entertainment for rodeos
and fairs they co-sponsored. All local television performers were able to use
their programs to promote personal appearances and, as a result, the 1950s were
a time of great prosperity for many of the musicians and other performers who
were fortunate enough to be a featured on a regular television program. The Serenaders,
who appeared on WKY-TV's first broadcast, enjoyed a career that spanned four decades.
[14]
The Serenaders
The Serenaders, Louise and Harold "Stubby" Daniels and Kenny and Lucille
Driver, were a musical group that began on Oklahoma radio, but they enjoyed their
longest period of success as television performers. Unlike many performers who
began broadcasting careers by chance, The Serenaders began their group specifically
with the intent to be radio performers and later made an easy transition to television.
The Serenaders' career on radio and television spanned almost three decades. Like
many other television performers, The Serenaders used their experience as staff
musicians on WKY radio and television to branch out successfully into other fields.[15]
The Serenaders evolved in the mid-1930s from several Springfield, Illinois, duos
and trios supervised by vocal teacher Lois Hardin. Hardin helped the group, originally
known as "The Noveliers," refine their performance style and arranged
for an audition with Chicago booking agent Bill Ellsworth, known for his prowess
in booking radio appearances. He agreed to represent The Noveliers and arranged
for their first job in 1939, three weeks as staff musicians for radio station
WDOD in Chattanooga, Tennessee. At WDOD the group performed a 15-minute show twice
each weekday and appeared in the station's big Saturday night barn dance, for
which the group received a salary of $80 per week.[16]
Throughout 1939, Ellsworth kept the group busy with four-to six-week jobs at various
Midwestern radio stations. Despite the hectic schedule of traveling to various
Midwest radio station, Louise and Stubby managed to find the time to get married
during 1939, as did Lucille and Kenny. In early 1940, Ellsworth procured for the
group a 13-week contract with WKY radio that changed the group's name to the Merit
Feed Serenaders. While the sponsor's name changed many times over the years, the
group was forever known as The Serenaders. The group's style and sound was immediately
successful in Oklahoma City, and WKY radio and television extended The Serenaders'
contract for the next 15 years. The Serenaders was a family-style act, similar
to the Carter Family, and featured Lucille on guitar, Louise on accordion, Kenny
on string bass, and Stubby on clarinet, all sharing lead and harmony vocals. Although
this lineup remained constant, The Serenaders also performed regularly with WKY
staff vocalists such as Scotty Harold and Joe Webster.[17]
World War II interrupted The Serenaders' tenure on WKY when Stubby served in the
Army from 1943 to 1946. Louise followed Stubby to San Diego, California, where
he was stationed, and Lucille and Kenny stayed at WKY as staff performers. After
Stubby was released from his wartime duties, the pair returned to Oklahoma City
and The Serenaders reunited. The post-war years were very lucrative for the Serenaders.
With wartime restrictions on travel lifted, the group was free to use its radio
fame to make numerous personal appearances, and when WKY-TV began broadcasting,
the opportunities multiplied.[18]
The Serenaders appeared on WKY-TV's first broadcast and performed a 15-minute
program every weekday at 12:15 for the next five years. The group arrived at the
studio at 10 a.m. each day for rehearsal, then performed the show live. Wakefield
Holly was The Serenaders' regular announcer, and the show was completely scripted
by the Lew Runkle Advertising Agency. The Serenaders also appeared on the big
weekend variety show, "The Sooner Shindig."[19]
The Serenaders lost their jobs as staff performers with WKY-TV in 1954 but were
immediately hired in Lubbock, Texas, where they performed for three years on both
radio and television. Thereafter, George Streets, owner of KOCO-TV in Enid, Oklahoma,
hired them as staff performers for his station, but The Serenaders' stay at KOCO
was short. Technology paved the way for their next lucrative undertaking.[20]
By 1958, video tape technology was advanced enough to allow performers to prerecord
their shows. Stubby hit upon the idea to video tape their programs so the group
could appear on stations in more than one city at a time, and he began searching
for a sponsor to support his idea. Soon, The Serenaders became the producers of
their own program, sponsored by the Rural Electrical Coop (REC). The program proved
to be so popular that the group, now known as the Willy Wirehand Serenaders (after
REC's mascot), eventually appeared on eight stations in Oklahoma, Kansas, Missouri,
and Arkansas.[21]
The Serenaders enjoyed a very successful 26-year career appearing on radio and
television and making thousands of personal appearances at rodeos, state fairs,
and in other venues. However, by 1964 rock and roll became the most popular style
of music, and the group, feeling it was becoming old fashioned, decided that it
was time to find more stable professions. Fortunately, the couples were able to
use the experience and popularity they acquired during their performing careers
to create successful new businesses. The Drivers used the credibility they had
with the families of Oklahoma City to begin a successful music store, which, in
spite of a fire in 1992, is still in business. While Louise settled into the role
of housewife and mother, Stubby used the sales skills he had developed hustling
jobs for The Serenaders and the fame he had earned as a performer to forge a successful
second career selling insurance for the Businessmen's Insurance Company.[22]
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Copyright (c) Kelly Raines
1995 turn to index
Notes: Chapter 4.1
[1] Broadcasting and Cable
Marketplace 1992, xvii.
[2] Ibid; Erik Barnouw, Tube of Plenty: The Evolution of American Television,
(New York: Oxford University Press, 1975), 472.
[3] Outline History of WKY: AM, FM, TV, WKY Archives, Unknown Author, 1990;
Rodger Harris and Bob L. Blackburn, "Whatever Happened to 3D Danny: The
Golden Age of Oklahoma Television, 1949-1974" in Chronicles of Oklahoma,
vol. lxix, no. 3, Fall 1991, 229.
[4] The low resolution of early television technology required performers to
wear green and purple makeup. Daily Oklahoman, November 16, 1939, 8; Daily Oklahoman,
November 10, 1944,18; Daily Oklahoman, November 12, 1944, A-5; Daily Oklahoman,
November 26, 1944, 20.
[5] Daily Oklahoman, June 3, 1948, 20; Broadcasting Yearbook, 1961-62, A-27.
[6] Oklahoma was unusual for having two stations during a time when many major
cities and entire states had none. Barnouw, Tube of Plenty, 101-115.
[7] Ibid,111; Gene Allen, Speech to Oklahoma Heritage Seminar, unspecified date,
1976.
[8] Melvin Patrick Ely, The Adventures of Amos 'n' Andy: A Social History of
an American Phenomenon, (New York: The Free Press, 1991), 203-205. Amos 'n'
Andy's creators, Freeman Gosdin and Charles Correll, were white and had become
successful translating vaudeville's black face humor to the radio. Because black
face was no longer considered a respectable performance style by 1949, black
performers were hired to play Amos 'n' Andy on the television version of the
popular program.
[9] Harris and Blackburn, "Whatever Happened to 3D Danny," 229-231.
[10] Lucille Driver, interview by Rodger Harris, November 2, 1990, Tape recording
transcription, Living Legends Series, Oral History Collection, Oklahoma Historical
Society.
[11] Ibid; Harris and Blackburn, "Whatever Happened to 3D Danny,"
231-232.
[12] WKY-TV's wrestling program, "Live From the Stockyards Colosseum,"
was syndicated throughout the South and Southwest United States until the early
1970s. The program included Williams' trademark sign-off, "Watch out for
those flying chairs." Ibid, 232-233; Danny Williams interview.
[13] Proctor A. "Buddy" Sugg, interview by Ed Dunham, November 30,
1965, Tampa, Florida, tape recording transcription, Oral History Collection,
Oklahoma Historical Society.
[14] Louise Daniels interview; Jude Northcutt, interview by Author, July 6,
1991, Oklahoma City, Oklahoma, tape recording; Red Zellner, interview by Author,
June 23, 1991, Oklahoma City, Oklahoma, tape recording.
[15] Louise Daniels interview; Lucille Driver interview.
[16] Ibid.
[17] Ibid, Joe Webster interview.
[18] Louise Daniels interview; Lucille Driver interview.
[19] Ibid.
[20] Ibid.
[21] Ibid.
[22] Ibid.
ÿÿÿ