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The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Information Series WILLIS CONOVER Interviewed by: Cliff Groce Initial interview date: August 8, 1989 Copyright 2 9 ADST TABLE OF CONTENTS Origins of — usic U.S.A.# And How Conover Got Started IN )OA Evolution Of The Program Over The Years Early Signs Indicating The Program ,as Successful Over The Years Conover )isits Several Countries To eet His Fans. First And ost Tumultous Stop- ,arsaw. 1909 Some of Conover1s E2periences On His )arious Overseas )isits Conover Discusses His Philosophy of usic. Its Programming ethodology. And His Distaste For ,hat He Considers Distasteful Productions That Pass For usic Today Generally. Conover Has Had Strong Support For His Program From 3oth Directors of )OA And USIA. Cites Particularly 4ohn Chancellor Some of Conover1s Special Programs. Particularly ,ith Du5e Ellington6 Ellington At The ,hite House And Numerous Other Times During Ni2on. 4ohnson. Carter Administrations The Story of How The Irving 3erlin Show Celebrating Composer1s 80th 3irthday. ,as Put Together And. The Update of The Program Celebrating His 1 100th 3irthday Conover1s Determination To Remain Non-Political On The Air Conover1s Assistance To Foreign usicians of erit Conover Compliments His Engineers ,ith An Occasional E2ception A Tale Of 4ealousy-Induced Low 3lows 3ac5 To Discussion Of Foreign usicians- Conover1s Help To Polish 4azz Pianist Adam a5owicz. The Outcome Of That Assistance A Chinese ,oman ,ho ,as Still in China During The Cultural Revolution. 3ecomes A Conover Fan As A Listener To )OA. Later 3ecomes rs. Conover INTERVIEW $: How did Music USA get started( CONO)ER- In 1904. when I was wor5ing in a ,ashington. DC area radio station. I just happened to overhear one announcer saying to another. —I hear the )oice of America is loo5ing for someone to do a jazz program.# $: And you were doing a jazz program. CONO)ER- In commercial radio I was doing all the stuff that had to be done @ newscasts. commercials. and commercial music. plus @ against the will of the sales department and the management @ a jazz program. too. I thought. you mean they1re loo5ing for someone to do the 5ind of thing that I want to be doing @ not because it1s jazz but because there1s more interesting music to be found in that category than in many other categories. certainly more interesting than in any so-called —top forty# group of popular music. And so I got in touch with the deputy program manager of the )oice of America. That is. I called the )oice of America. and he was the one who got the call. His name was 4ohn ,iggin. and he said. —Please come by.# ,ell. inside of the first A0 seconds of tal5 in his office. each of us was aware that the other person 5new something about jazz. In fact. 2 4ohn ,iggin was just about the only person at the )oice of America who really 5new the jazz field @ old. new. and in between. He. for e2ample. had produced a networ5 program by ,oody Herman and his orchestra. sponsored by ,ild Root. I used to hear that while I was in the army in ,orld ,ar Two. He had hired un5nown studio musicians named 3enny Goodman and 3i2 3eiderbec5e. And he had recommended to a radio station where he was wor5ing some years before that they hire a singer he had heard. with big ears and a good voice. and when they refused he left the radio station and went to another radio station. and had them hire 3ing Crosby. He said to me. —I wish I had heard from you a wee5 ago because we1ve already signed someone for 90 programs of usic USA. which is to be an hour a day of popular music preceding an hour a day of jazz. seven days a wee5.# He added that this other person was hired because his voice was in a range where the )OA director said a voice would be most li5ely to cut through the vagaries of short wave transmission and reception. —He doesn1t really li5e jazz that much.# $: That was Jac. Poppele. CONO)ER- 4ac5 Poppele was then the director. Then 4ohn added. —On the other hand. 90 programs @ they don1t have to be consecutive. ,e could put him on onday through Friday. ,ould you be willing to come in and do Saturday and SundayB He can do his 90 programs that way.# I said. —Fine.# So I had a contract for two programs a wee5. The price was cut down considerably very shortly. I too5 Cuite a cut in my income to begin doing contract wor5 at )OA. but it was the 5ind of wor5 that I wanted to do. and it was worth the loss of income. eanwhile. I was as5ed by Dan orley. who was the head of ,orldwide English at the time. —Have you ever heard Dthe other usic USA broadcasterE doing his programB I1d li5e to 5now what you thin5 of it.# Now. I had heard the announcer doing the program. and I didn1t thin5 too much of what he was doing. simply because he did not li5e jazz. He had said he li5ed Louis Armstrong and that was all. Of course. I li5ed Louis Armstrong. but that wasn1t all. The man was an e2pert in sports. y feeling was. since I am not an e2pert in sports. that I would do a sports program about as well as he would do a jazz program. since my interest was not in sports and his was not in jazz. I didn1t feel right criticizing his wor5. so @ one of the few lies I1ve told @ I said. —No. I haven1t heard him.# in response to that Cuestion. ,ell. a few months later. Dan orley came to me and said. —The other announcer says he can1t wor5 his full-time job at a networ5 station and also do this many programs in a wee5. and he1s recommended that you do the onday through Friday and he will do the Saturday and Sunday. It was either that or he said he is leaving. and so we1d li5e you to do the onday through Friday and we1ll get another announcer to come in to do the Saturday and Sunday.# At this point. after my A0th year here of doing this. I1ve 5ind of forgotten the e2act details. At which point I said. —,ell. now I can tell you. I was not going to criticize somebody else1s wor5 when you as5ed my opinion of his wor5. but he did not li5e jazz. And# @ e2actly what I said a minute ago @ —he1s an e2pert in sports and A does a jazz program about the way I would do a sports program -- not well.# So that1s the way the program got going. Originally it was aimed at the Soviet Union. because an American ambassador to the Soviet Union said there would be Cuite an audience for jazz in the Soviet Union. 3ut )OA wanted to precede that hour of jazz a day with something a little bit @ sort of a transition hour of popular music before getting into jazz. It was announced at that time that the program was aimed toward Scandinavia. which was enroute between here and the Soviet Union. 3ut then we started getting letters from listeners even further. saying. —I1m on an oil tan5er in the Persian Gulf. and why do I have to wait till two o1cloc5 in the morning to hear this program of jazzB# ,hich is what time it was when it got over there in that area. And so they decided to ma5e it worldwide. As5 a simple Cuestion li5e —How did usic USA get startedB# and you get a simple answer li5e that one. $: Did it stay an hour of pop and an hour of jazz for the ne0t several years( I remember when we put Panorama USA right ahead of Music USA so we1d have a three2hour bloc. to the Soviet Union, with a news2and2variety show and then the two music shows. CONO)ER- After a while it was decided by management that there should be news every hour on the hour. and the news-plus-commentary-plus features and so forth. and my program. instead of being two hours. would be 40 minutes and 40 minutes. I agreed with that completely. $: That was years later, wasn1t it( CONO)ER- Not too many years later. I forget how many. to tell the truth. $: Panorama began in November of 1955. CONO)ER- Anyway. my first programs got on the air in 4anuary of 1900. and later on the first part of usic USA @ the non-jazz part @ was cut down to three programs a wee5 of half an hour each. and then to only two programs a wee5. Sunday and onday. usic USA FStandards). half an hour each. and then usic USA F4azz) @ which I always announced as the )oice of America 4azz Hour @ 40 minutes onday through Saturday. $: That was the late si0ties, wasn1t it( CONO)ER- E2actly when that came about I1m not entirely sure. I should add that currently. in addition to doing that. I do a program once a wee5 for Poland. and I do seven programs a wee5 on )OA Europe to all of ,estern Europe @ 40 minutes a night. That1s called ,illis Conover1s House of Sounds @ the title borrowed from a story by . P. Shiel. $: 5ou used to do a program to the Soviet Union 6for the Russian Service8. 4 CONO)ER- Yes. I was for Cuite a while doing a program directed to the Soviet Union with arie Ciliberti.
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