Station WGUC: from Sputnik to NPR Satellite

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The September 11, i960 opening of WGUC was the culmination of long planning and hard ivork by a number of civic minded individuals especially those in the Queen City Association which instigated the project. (Picture courtesy WGUC.) Station WGUC: From Sputnik to NPR Satellite

by Bruce I. Petrie

We are indeed today upon the threshold of a new means of widespread communication of intelligence that has the most profound importance from the point of view of public education and public welfare. . . . His inconceivable that we should allow so great a possibility for service to be drowned in advertising chatter.1 Herbert Hoover, Secretary of Commerce

or a city with pretensions to musical greatness, Cincinnati, in the late FJQSo's, offered meager listening opportunities for classical music fans. Citizens who could afford the price of symphony and opera tickets or an extensive record library were well served. But those who could not, and those who twirled their radio dials hoping to fill the gaps betweeen visits to Music Hall and the Zoo Opera, found little gratification in local commercial broadcasting. Magee Adams, well-known radio critic for the Cincinnati Enquirer, responded to the author's inquiry with a report that there was "little, if any" classical music broadcast before 10:00 A.M. (when radio listening was at its peak); that of the five full-time AM stations, only one, WKRC, broadcast any classical music—and only for four hours per week, including three hours of the Saturday Metropolitan Opera broadcasts. WNOP, with only a daytime operation, provided five hours of classical music per week. Two FM stations, WSAI-FM and WKRC-FM added an overlapping fifteen hours and thirty-one hours, respectively, including the Metropolitan Opera. To Dan Ransohoff, and to the author and other members of the Queen City Association, the dearth of broadcast classical musical in Hamilton County was intolerable—especially when central Ohioans enjoyed the fine musical programming of WOSU, the radio voice of Ohio State University. Broad- casting both AM and FM signals, WOSU included at least forty-eight hours of fine music, not to mention various other fine arts and education programs.2 More importantly, WOSU broadcast fine music at peak listening hours and on a regular, predictable basis. Ransohoff, with an Athenian concern for his city's excellence, was well acquainted with WOSU programs, which occasionally could be picked up on the AM band in the northern reaches of Hamilton County. But not all members of the Queen City Association shared the enthusiasm of the Association's leadership when it urged that the Association rally support for the estab- lishment of a fine arts station in Cincinnati. When the possibility was ad- vanced that WOSU could be persuaded to do for Cincinnati audiences what no commercial station had been able, or willing, to do, at least one member characterized the idea as "trivial"—perhaps being influenced by the topic for the Association's December, 1957 Meeting, "What Next in a Sputnik World." One of the speakers at the meeting was Joseph Sagmaster, then Executive Editor of the Cincinnati Times-Star, whose topic was "Sputnik and its Mean- ing to the World." Ironically, three years later, Sagmaster became the first manager of Station WGUC, the fine arts radio voice of the University of Cincinnati, and on September 20, 1980, twenty-three years after Sputnik was launched, WGUC transmitted to the nation via the orbiting National Public Radio satellite a live performance of "The Pirates of Penzance" by The Cincinnati Opera Company. A strong segment of the Association's eighty-eight members was not deterred by the suggestion that such a project was "trivial." They saw regular classical music broadcasting as essential to Cincinnati's claim of excellence in the arts. Their enthusiasm led, after several years of frustration and disappointment, to the founding of a radio station which has enriched the community and fulfilled Herbert Hoover's vision of great potential in radio broadcasting. Although heavily flavored with the civic-mindedness of the Cincinnatus Association from which it had splintered some years previously, the Queen City Association was a remarkably diverse group of male Cincinnatians. Included were the presidents of numerous Cincinnati business enterprises, a trustee of the Central Labor Council, and other active union leaders, journalists, city officials, social scientists, physicians, arts administrators, the Director of the Urban League, lawyers, bankers, educators, middle management of large enterprises. If not a microcosm, the roster was at least a potpourri of upper middle class Cincinnati leadership.3 As in most such organizations, however, projects waxed or waned with the enthusiasm of a few members who had identified themselves with the idea. Thus the "classical music broadcasting" project became the responsibility, not to say obsession, of two or three members who began an intense effort which initially attracted more practical help from Columbus and Oxford, Ohio than it did from Cincinnati. The author as Chairman, with Dan Ransohoff, President of the Queen City Association, and Addison Lanier, served as the Association's committee charged with the task of bringing WOSU or its equivalent to Cincinnati.

88 Word of the Queen City Association's determination to bring "good" music to Cincinnati radio audiences brought forth a torrent of unsolicited responses from theretofore quiescent voices. A Cincinnati businessman called to announce that he would pay for the "necessary facilities" in exchange for brief but regular over-the-air an- nouncements identifying his enterprise. In January, 1958, commercial stations WSAI and WCPO announced their plans to end the "cultural and classical music famine" in this area.4 WSAI went on to offer the use of its FM facilities to WOSU "without charge."5 The dry reaction of Charlton Wallace, TV-Radio critic of Cincinnati Times-Star^ to this burst of altruism from unexpected sources, reflected the thoughts of the Association's committee. Wallace noted, "two stations have recently offered unsaleable FM time for classical programming." When the WSAI-AM Manager said that his station might broadcast more good music depending upon "sizeable audience and critical reaction," Wallace noted, in equally arid fashion that there "can be no sizeable reaction because the number of FM sets is not sizeable." In short, the Association's committee did not have much confidence that the suddenly expressed interest of commercial stations in classical music would eliminate the need to establish public broadcasting in the Queen City. But such offers were not unappreciated. In a press release issued on Janu- ary 20, 1958, the committee acknowledged that "if it appears that the local stations will be able to satisfy the basic objective of permanent uninterrupted programming, there may be no need for looking to other sources." By that time, publicity about the Association's efforts had brought forth an astonishing response from the entire tri-state area—well over 1,500 citizens sent postcards and letters decrying the lack of classical music and fine arts broadcasting in Cincinnati and urging the Queen City Association to persist in its drive. Significantly, some of the letters demonstrated a motive much deeper than personal listening pleasure. One distinguished writer referred to the Association's objective as "responsible radio" and extolled its ability to "develop that which is constructive in the human personality."7 But with great good fortune, the Association had found enthusiastic and expert allies in Columbus, Ohio at Ohio State University. The remarkable display of public interest, essentially unsolicited, was as encouraging to these allies as it was the committee itself. Richard B. Hull, General Manager, and William H. Ewing, Program Direc- tor of WOSU, Ohio State University's Public Broadcasting Station, never hesitated in their willingness to work with the Association in finding a means of reaching Cincinnati audiences. Both Hull and Ewing were well-known in public radio circles—at a time when publicly-supported radio and TV broad-

89 casting were commonly included under the rubic of "educational" broadcasting. The AM and FM signals of WOSU each had advantages. FM offered a clearer signal, less vulnerable to interference. But it suffered from its straight-line nature, inhibiting reception behind natural barriers. Moreover, FM had a maximum range of about fifty miles. AM signals were not so limited and they had become the "standard" broadcasting signal—with most receivers then extant being limited to AM reception. Nevertheless, in the late 1950's, FM was beginning a resurgence, and FM adapters for car radios were becoming more readily available. Shortly after the idea of "another WOSU" had been launched, Ransohoff discussed the idea with Walter Langsam, President of the University of Cincinnati, and learned, to his regret, that such a project was not likely to be given very high priority in view of the many other demands taxing the University's resources. Although WOSU primarily served Central Ohio, Hull and Ewing recognized that Ohio State, as a state-supported institution, had an obligation to all Ohioans. Moreover, they were aware of the sparse musical fare being served to young citizens—whose lives were being shaped in part by electronic influences—notably the ever-more ubiquitous TV screen. The Ohio Music Education Association had already noted the diversionary effect of TV on potential musicians. The proper role of tax-supported institutions in "educational" broadcasting heavily oriented toward classical music was also of interest to politicians. The publicity about the possible introduction of WOSU to local audiences stirred a mild controversy, and some Hamilton County legislators learned that WOSU was no longer a training facility for students. From such be- ginnings it had developed into a sophisticated operation, manned by a staff of thirty-five professionals.8 Moreover, to those who viewed classical music as "highbrow" and "elitist," the lessons to be learned from the great com- posers seemed obscure. Their narrow definition of "educational" led to an equally narrow view of how public funds should be expended. As the Queen City Association's committee persisted in its efforts, it found another friend in Judge Robert N. Gorman, a distinguished Cincinnatian, then serving on the Ohio State Board of Trustees.9 Gorman soon determined that, although it was not practicable, because of distance and signal interference, to broadcast the WOSU signal directly into the Cincinnati area, the Ohio State Board was willing to spend up to $50,000 to acquire broadcasting facilities from which WOSU programs could reach Cincinnati. Despite the unwillingness of the University of Cincinnati to establish a station, some U. C. officials were not pleased with the reports that the Ohio State signal might come to Cincinnati, a situation of which Gorman soon became aware. Not only did he regard any such fear of the OSU radio pres-

90 WGUC's first studio, located in the lower level of the Tangeman University Center, had hand-operated recording equipment and was a far cry from the modern electronic control board found in its new studio on Central Parkway. (Pictures courtesy WGUC.) ence as overdrawn, he stated that if U. C. formed a station of its own, WOSU would make its programs available without charge.10 Coincidentally with a determination by WOSU engineers that the Colum- bus signal could not reach Cincinnati on a direct transmission basis, word came from Miami University's Station WMUB that it would consider a collaboration by which WOSU programs could be "boosted," or directly broadcast, from Oxford, Ohio, using WMUB's new tower and FM facilities, with WOSU programs being used during the daytime and WMUB programs in the evening. Hull was perfectly willing to work cooperatively with WMUB and Miami University, and Miami University President Millett advised the As- sociation of his willingness to give active consideration to the idea. But the Federal Communications Commission soon advised Judge Gor- man that such a "booster station" could not be licensed. The Association made a direct inquiry to the FCC as to the availability of a standard (AM) frequency for broadcasting.11 The new Chairman of the FCC, John C. Doerfer, wrote on January 17, 1958, to the effect that the crowded condition of the standard (AM) band made it increasingly difficult to avoid interference with existing stations. Robert C. Higgy, Associate Director for Engineering of WOSU, confirmed that there was no likelihood of finding an AM channel in Cincinnati. Higgy's survey, issued on February 14, 1958, introduced the Association's committee to the jargon and complexity of radio engineering. Of 107 AM channels, from 540 to 1600 kc, broadcasting from Cincinnati on any one of them would cause unacceptable interference as far away as Chicago, except broadcasts during daylight hours on two clear channels, 1140 and 1180 kc. As to those Higgy noted, pessimistically, that pending litigation had resulted in the FCC deferring action on all clear channel applications. Nevertheless, Higgy's preliminary engineering study revealed,

The construction of FM stations looks favorable and will provide full time operating comparable to that now being obtained through WOSU- FM at Columbus. With the rapidly increasing interest in FM as a high- fidelity transmission medium, the erection of FM stations should be considered.

At its meeting on January 30, 1958, the Queen City Association, strongly encouraged by the public support and following a presentation by Hull, Ewing, Judge Gorman, and its own committee, adopted a Resolution urging the Ohio State University Trustees to press their investigation of the possibility of bringing WOSU to Cincinnati via AM as well as FM, ". . . to the end that there be a permanent and uninterrupted schedule . . . without risk of cessation because of dependence on other broadcasting facilities not subject to the control of the University."

92 The next day Magee Adams, skeptical about the usual (commercial) audience surveys, noted in the Enquirer that, despite laboring under the "handicap" of airing educational programs, WOSU has become "the rallying point of the most determined listener revolt to sweep Cincinnati radio in many years" and "The leaven . . . finally has exploded as the symbol of the listener demand left unsatisfied by the meager fare dictated by commercial expediency."12 As the search for a workable solution widened, the author approached the owner of Station WSRW in Hillsboro, Ohio and discovered that the station's frequency probably could be used to "reach" Cincinnati if the tower was moved; that the station could be purchased; but that the signal's radius was thirty miles and limited to daytime operation. WSRW was added to Higgy's engineering study, although he quickly reported its unsuitability. It was to become more obvious to Ewing and Hull, and through them, to the Association's committee, that success would be confined to an FM signal, either through purchase of an existing station or creation of a new one. The prospect of FM without AM was becoming less disheartening. Ewing reported to the author that WOSU counterparts in Boston had reported large-scale conversions to FM by listeners in the Boston area, an area in many ways similar to Cincinnati. He also reported that OSU President Fawcett wanted a specific recommendation from Hull to move the project along.13 Hull, Ewing, and Higgy began to focus more sharply on the possibility of an FM relay station in Cincinnati and saw the Carew Tower as an ideal relay tower site. The Miami University proposal was still being studied, but with increased skepticism.14 The Miami facilities, then under construction, would provide a tower of 175 feet, which, in Higgy's view, would not provide a satisfactory signal in Cincinnati. In his opinion, a 500 foot tower and increased transmitting power would be desirable to provide "excellent coverage" throughout the City of Cincinnati.15 Director Hull summarized the situation in a letter to the author on Feb- ruary 24, 1958. AM chances were almost nil; Hillsboro Station WSRW did not represent a satisfactory solution; the WMUB-FM signal from Oxford would not afford adequate signal and an on-the-air pick up of the WOSU signal, possibly utilizing facilities offered by WSAI-FM, was fraught with uncertainty. Hull, perhaps to alleviate disappointment, suggested that the Queen City Association invite Hartford Gunn, General Manager of WGBH- FM in Boston, to address the Association on the FM renaissance in the Boston area. He pointed out that WGBH-FM was owned by a council led by Ralph Lowell, Chairman of the Harvard University Overseers. No one followed these disheartening trips into cul-de-sacs more alertly than Magee Adams.

93 i

Joseph Sagmaster, WGUC's first manager, had a deep love of fine music. His knowledge of music and his prestige in music circles brought attention to WGUC which it otherwise would not have attracted.

Carolyn Watts' inimitable voice and instinctive talent for explaining classical music saved the station from a stuffiness suffered by many of its counterparts. Through the years Watts became synonymous with WGUC. George Brengel, a well-known figure in commercial radio, became the station's first chief announcer. (Pictures courtesy WGUC) Meanwhile the irony of the situation will not escape listeners who cruise the dial for something worth the hearing. There is room on the AM band for stations in almost any crossroads settlement to grind out the top 40, but no room for a famed university station to serve all of its own state.16

Realizing that too many frustrations could quickly kill the tide of public enthusiasm which was a necessary for success, the Association's committee urged WOSU to explore the AM clear channel possibility. While committee member, Addison Lanier, was exploring the availability of the Carew Tower as a relay-tower site, the author inquired of Christ Hospital, favorably perched high on Mt. Auburn. Then came another complication. Apparently generated by the considerable publicity surrounding the Cincinnati effort, various inquiries and re- quests from other parts of Ohio were being directed to OSU President, Novice G. Fawcett. Richard Hull reported to the author on May 21, 1958 that "This complicates the situation to the extent that whatever steps are taken must be in terms of a general long-range policy which would apply to the whole state."17 The chagrin of the Association's committee was profound. The quality of Ransohoff's idea and the high degree of enthusiasm and support won by the committee's efforts were themselves creating another obstacle! The irony was multiplied when Ewing, preparing for a speech to the Music Teachers Association of Ohio, asked the author to supply an analysis of the effect on commercial radio of the Queen City Association's drive for classical music as regular radio fare. The author, in addition to expressing the Association's disappointment at the lack of action and reiterating its strong belief that the initial enthusiasm must not be allowed to wane, responded to Ewing's request:

. . .To my knowledge, since the interest in bringing WOSU to Cincin- nati was initiated by the Queen City Association, we have had a number of specific efforts to improve the radio fare in Cincinnati. WCPO-FM is presently broadcasting a three hour program produced by Xavier University, the College of Music and the Cincinnati Library. The University of Cincinnati was one of the original participants but has since dropped out and this program seems to be on a rather uncer- tain basis at the present time. WSAI-FM has a nightly program, on a six months trial basis, of classical and semi-classical music. WKRC-FM has announced with considerable fanfare that it plans a full day and evening of classical and semi-classical music, and seems to have set up a special department to handle this. Both WLW and WKRC presently have AM programs featuring "good" music. These developments are

95 encouraging, but, in our judgment, they do not represent either a com- plete, or a permanent solution to the problem. This mill especially be true as FM becomes a more desirable commercial medium, and these stations modify their programming to suit their sponsors.18 Disappointment grew during the summer of 1958. By the end of August, it seemed appropriate to send a mild rebuke to WOSU via Judge Gorman for Ohio State's lack of action toward the goal it had so enthusiastically em- braced in the spring.19 Dan Ransohoff warned that "as we guessed" whatever classical music the commercial stations had been moved to offer, was now The communication with Judge Gorman produced two reassurances, i.e. the currency given the fact that WOSU was run by professionals, and not by students, had produced no public pressure, and Gorman's personal support had not waned; he believed Cincinnati was entitled to the WOSU signal and the Association ought to "push it." Gorman was as good as his word. He pressed President Fawcett for a full report and reportedly told Fawcett that Cincinnati had been "let down." Before that "full report" was forthcoming, Louis John Johnen, well known in Cincinnati musical circles, wrote, on October 12,1958, to Ewing: The situation here in Cincinnati seems hopeless. It seems that WSAI has lost two of its sponsors for the Milton Cross series [a classical music program of the 1950's] on which the station had set high hopes. As a result of these hopes, the station had asked me to prepare a series of dinner music programs for its FM outlet; but I seriously doubt whether the station has made even a feeble attempt to sell such a program. I cannot afford to do such a program any longer for free (as I did for a whole year!) and WSAI will not even pay ten dollars for such a program on a sustaining basis on AM. WCPO is giving up its FM broadcasts. As a result, only WKRC is going great guns. I fear that soon WSAI will give up its weak attempt to provide good music on FM. Otherwise, there is absolutely none on AM, except that WLW does present short, light music for an hour and a half five nights a week, and WNOP one hour during the afternoon. It is most discouraging for AM listeners, anyway. The report requested by Gorman took the form of a confidential memo by Hull, dated October 23, 1958, "Proposals and Recommendations for a 'Branch' WOSU Radio Outlet in Cincinnati and Their Implication." It re- counted the events following the Queen City Association's initiative, and the Association's objectives, and then revealed that, despite earlier disappoint- ments regarding AM, a pending FCC decision might, in early 1959, free "one or more reserved AM frequencies for educational use." The memo went

96 In the fall of 1976 Albert L. Hulsen, who had been at WOSU at the time of the Cincinnati overtures, became manager of WGUC. Hulsen upgraded the public affairs portion of the station's programming and arranged a link-up on a regular basis with the Cincinnati Symphony, the Cincinnati Opera, and the LaSalle Quartet. (Picture courtesy WGUC)

In 1974 tfee station's power was boosted to 32,000 watts enough to reach potential audience of 1,600,000 people within a thirty- two mile radius of the station's tower. (Picture courtesy WGUC) on to confirm that an FM channel was then available and that FM was no longer a wallflower in radio circles. Prophetically, Hull noted that:

There is a civilized, but nonetheless definite, concern on the part of Miami University at the prospect of the Ohio State University staking out a radio claim in what the Oxford institution regards as its own sphere of influence. . . . Certainly, unofficially and ill-defined as they may he, boundaries of 'spheres of educational influence' do exist within this state.

Hull's report, while describing plans to continue exploring the Miami "connection," seemed pessimistic about such a solution. He stated,

An AM or an FM station can be constructed in Cincinnati for approximately $55,000.00 and operated on an annual basis of $25,000.00, including the cost of telephone long line rentals to connect the OSU campus with the Cincinnati outlet.

He then posed a larger question for the OSU Trustees, implicit to Hull in the Cincinnati radio issue, "What is the statewide role of the Ohio State University in the State of Ohio. . . . Will it be The Ohio State University or a Central Ohio University?" Hull concluded with a recommendation that the concept of a "branch" of WOSU station in Cincinnati be approved by the trustees and that part of the expense be placed on the Cincinnati community. To the Association's committee, Hull's speculations about the proper role of OSU were regrettable invitations to delay and, however responsible, likely only to divert the attention of the OSU Trustees from the Association's objective. But the report also included renewed hope for an AM outlet. An exchange of correspondence with Cohn and Marks, WOSU's Washington Counsel, provided more detail about the efforts of the National Association of Radio Broadcasters (NARB) to persuade the FCC, in allocating new assignments on clear channel frequencies, to set aside two clear channel frequencies for educational broadcasting, one in the east and one in the central or western part of the U. S.20 This beam of hope regarding AM was reinforced by a letter from Hull to the author on November 13,1958:

. . . recent negotiations between the United States and Mexican govern- ments have made two Mexican clear channel AM frequencies available for American use . . . 940 and 1550 kilocycles. I will pursue this matter and keep you informed. 98 Again prophetically, Hull went on to mention the interest of Uberto Neely, Manager of WCET, Cincinnati's educational television station, in cooper- ating to establish an educational FM station in Cincinnati, one of Neely's motivations being the promise of stereophonic sound using WCET and an FM station.2i Moreover, Hull mentioned, ". . . Crosley has been very generous with Neely's operation. There is at least the theoretical possibility that the WLW- FM tower and FM equipment could somehow be acquired for this purpose. ... It is important to keep this notion in confidenital reserve. . . ."22 The Association's committee now had a "Mexican solution" to consider and perhaps could be excused for wondering whether they had embarked upon an endless investigation of new "solutions" to what had initially seemed to be a simple matter of transmitting the WOSU signal from Columbus to Cincinnati. Then Judge Gorman warned that success in attaining the 940 AM channel could leave the Association with a frequency but with no funds to operate it. "As you know, the state surplus will be exhausted, and there is going to be a shortage of funds. . . . Any attempt to get funds for a station (in Cincinnati) may be resisted by those in Cleveland, Toledo and Akron. ... I wish your group would discuss the advisability of raising around $60,000.00. . . ,"23 But Miami was interested in exploring the use of the new clear channels, and wrote Hull, urging cooperation.24 Apparently unbeknown to Gorman, Higgy had already written Hull expressing considerable doubt that the Mexican clear channels could be used for Cincinnati without unacceptable interference, at least during the night- time hours.25 Hull reiterated his opinion that an FM station in Cincinnati was the solution, at least for an intermediate term while the AM possibilities were being explored. He mentioned the "growing importance" of stereophonic broadcasting, which required both an AM and an FM transmitter.26 But the winter and spring of 1959 brought so little action that the Associa- tion's Committee felt obliged to exhort Hull, expressing the fear that if WOSU now ignored Cincinnati's problem, it would do more harm than if the venture had never been started.27 This mild rebuke led, albeit with difficulty, to arrangements by the As- sociation's committee to present Hull, Ewing and Oscar Reed, well-known communications engineer from the Washington, D. C. firm of Jansky and Bailey, to a small group of influential Cincinnatians at a luncheon on September 24,1959.28 After statements by Ransohoff, the author, Hull, Oscar Reed, Jr., and Leonard Macomber (of Miami University), Roger Ferger expressed the view

99 that WOSU-type programming was of the utmost importance to Cincin- nati. Max Rudolph, Conductor of the Cincinnati Symphony Orchestra, saw long-range benefits for the Symphony, College of Music, and other cultural institutions. John R. Bullock, prominent lawyer and President of the Sym- phony Board of Trustees, opined that the costs of establishing an FM station in Cincinnati, estimated by Reed at $30,000 for a new tower and $12,000 for a transmitter, could be raised without great difficulty. Mr. Bullock believed that the University of Cincinnati and Xavier University should again be given an opportunity to express their thoughts on the subject. The meeting ended with commitments by Ransohoff and the author to consult with the local universities and to outline a plan of action to be submitted to the organizations represented by those attending.29 On September 28, 1959, Dan Ransohoff reported to John R. Bullock that, in response to his inquiry, U. C. President Langsam had "no objection to WOSU coming into this area: He wishes that the University had the money and a department for its own station but since this is out of the question for the time being and certainly many year (sic) to come, he has no objection to WOSU coming in"30 As to Xavier, Ransohoff reported that Mr. Edward VanderHaar stated that he had no objection and in addition Xavier would be very interested in the success of such a venture as having a WOSU "slave" station in this area.31 But within a few days, on October 2, 1959, Jane DeSerisy Earley, member of The University of Cincinnati Board of Trustees, called the author to alert the Association's committee that "U. C. may be interested!"32 This was promptly followed by a letter from John R. Bullock to Dan Ransohoff, indicating that Bullock, following the September 24th luncheon, had expressed to Mrs. Earley his opinion that it was "unfortunate that the University was not participating in this matter;" that Mrs. Earley had discussed the matter with the administration and other trustees and stated her belief that "they had not quite understood the situation before," that "the committee and the Queen City Association deserve tremendous thanks."33 On October 6, 1959, Richard Hull, with characteristic good grace, tele- phoned the author to acknowledge that "U. C.'s participation would be fine."3* By now the attitude of University of Cincinnati officials had quickly turned to one of intense interest. On October 6,1959, the author and Dan Ransohoff, together with John Schiff of the Queen City Association, met with Jane Earley and Renton K. Brodie, of the University of Cincinnati Board of Trus- tees; John R. Bullock, and Ralph C. Bursiek, Vice President and Dean of Administration of the University of Cincinnati. Mr. Brodie expressed U. C.'s desire to proceed to obtain an FM license and to control the station's broadcasting during certain times; that Miami University would be allowed to

100 participate "on a subordinate basis." It was arranged that Dean Bursiek would call Hull regarding U. C.'s plans.35 On October 8, 1959, the author, Frank T. Purdy, U. C. Executive Director for Development, and Dean Bursiek met with Hull and Ewing at the WOSU studios in Columbus. Hull and Ewing patiently reviewed such means of transmitting the WOSU programs as microwave relays and private telephone lines, the cost of operating a station, and affirmed that OSU would "surrender the initiative" to U. C. if the latter was then intent on satisfying the demand in Cincinnati as manifested by the Queen City Association's campaign, then almost two years old.36 During the drive home, Purdy and Bursiek acknowledged the existence of "spheres of influence" in Ohio academic circles and that U. C. officials had now recognized that OSU dominance of public broadcasting in U. C.'s hometown would be intolerable. On October 21, 1959, Ewing forwarded the promised report by Oscar Reed, Jr., offering it as a "basis for future planning,"37 and stating that WOSU would still cooperate to the fullest extent possible in establishing educational radio station service in Cincinnati, but would take no further initiative until U. C.'s participation was clarified.38 At a meeting on November 4, 1959, attended by Jane Earley, Ralph Bursiek, Ralph Purdy, Dan Ransohoff, and the author, Dr. Langsam advised that the U. C. Board had decided on the previous day to establish its own FM station, and broadcast fifteen hours a day, seven days a week, using the former WLW facilities on Mount Olympus, at 2222 Chickasaw Street; that the University was prepared to spend $100,000 annually and would in the next few days apply for a license from the F.C.C. He acknowledged that without the work of the Queen City Association and the threat of OSU and Miami broadcasting in Cincinnati, U. C. would "probably" not have moved ahead.39 Shortly thereafter, the author received from the U. C. "TV-Radio De- partment" a pro forma radio programming schedule to allay the Associa- tion's concern that the U. C. programming standards would not match the high quality of WOSU.40 In addition, Frank Purdy called to report that through the good offices of its President, James Shouse, and Clyde G. Haehnle (who is currently serving on the WGUC Community Board), WLW had been generous in making its Mount Olympus tower and transmitter available, to be used by a U. C. staff of four, operating from a studio on the U. C. campus; that the University would welcome Queen City Association help in raising capital funds for tower improvements and other equipment.41 Despite the University's well publicized assurances of its intention to finance its new radio venture entirely from private contributions and not from public funds, the Cincinnati Post and Times-Star had "grave mis- givings" about U. C.'s venture . . . that the University is going far afield from

101 education when it thrusts itself into the entertainment field.42 Happily, that narrow view of "education" was not shared by the Cincin- nati Enquirer and the U.C. student-run News Record, nor by many of their readers, who expressed strong support for the new station.43 Again with the help of Clyde Haehnle of WLW, assisted by Washington lawyer Edgar W. Holtz, the U. C. application to the FCC was successful and, on December 30, 1959, it was announced that WGUC had been granted a license to operate on 90.9 megacycles. Within two weeks, Dr. Langsam presented Joseph Sagmaster, editorial writer for the Enquirer, as director of the new station. On September 21, i960, at 4:00 P. M., almost three years after the Queen City Association launched its campaign, Radio Station WGUC went on the air. Walter Langsam's decision, strongly encouraged by RansohofT, to name Joseph Sagmaster as WGUC's first manager, was a master stroke. Sagmaster, a Rhodes Scholar, matched his erudition with a deep love of fine music. His program notes for the Cincinnati Symphony were exemplary and reflected an impeccable taste which soon was manifest in the programming offered by the new station. Moreover, Sagmaster's prestige in music circles brought attention to WGUC which it could not otherwise have attracted and also meant that other people of talent would see in WGUC a place to build a career of meaning and satisfaction. U. C.'s new radio voice, broadcasting at 90.9 megacycles with 5.3 kilo- watts of power, joined 130 other university radio stations around the nation. It was on the air from 4:00 P. M. to 11 :oo P. M. weekdays, and from 12:30 P. M. to 7:30 P. M. Sundays, with forty percent drama-discussion and sixty percent music (somewhat less of the latter than initially promised). In addition to utilizing a library of 2,000 tapes and records, new tapes of broadcasts of the Cincinnati Symphony and other musical groups were promptly undertaken. To devoted listeners, WGUC became a montage of the voices and talents of a series of personalities, whose selections and commentary enhanced the already rich musical fare, which was now available at predictable times and in generous quantities. Of these personalities, none was more notable than Carolyn Watts, who, as "Continuity Editor," helped launch WGUC and whose inimitable voice and instinctive talent for explaining classical music saved WGUC from a stuffiness suffered by many of its counterparts. For many in the audience, as Carolyn Watts progressed through many roles to Program Creator and As- sistant Manager, she became synonymous with WGUC. George Brengel, a well-known figure in commercial radio circles, was the station's first chief announcer. From the U. C. Radio-TV Department (which antedated WGUC, and furnished a limited number of shows for broadcasting by commercial

102 stations), Jean Mosier joined the initial staff which also included Anne Boyer, program coordinator; James Eberhart, engineer; Mary Lee Bertsch, record librarian; and Roberta Welesch, secretary receptionist. Within a year, Myron Bennett joined WGUC and began a career which led him through many positions into a crucial role as WGUC's Music Pro- grammer. Equally facile in dealing with jazz, classical, and contemporary music, Bennett had been attracted to WGUC by the potential for learning offered by the musical resources in Cincinnati. It was Bennett's persuasive analysis of these resources which won for WGUC a special grant from the Corporation for Public Broadcasting to develop a standard of excellence in music programming for use as a model by other public radio stations. Administration of the grant was under the leadership of George Bryant, former announcer and Program Director who succeeded Joseph Sagmaster as Manager when Sagmaster retired in 1969. It was Bryant who led the station into status as an independent arm of the University from its place as adjunct to an academic department, in a sense giving recognition to WGUC as a valuable extension of the University. Imaginative and innovative music programs were encouraged from the very beginning, and despite many limitations imposed by the available equipment and facilities, WGUC moved into the front rank of public radio stations. As the listening audience grew, the voices, personalities, and fine programming of Paul Laumann,44 Gary Barton, and Ann Santen enhanced the loyalty of thousands of listeners, whose financial support was becoming increasingly important. The CPB Special Music Grant had been made on an increasing-decreas- ing basis and itself included seed money to encourage development of local support financial and otherwise. Community financial support had been forthcoming since the Station's founding, with the active involvement of the same members of the Queen City Association who had encouraged that founding. But the contemplated phasing out of the CPB grant, and the CPB requirement of broad community involvement, called for better organized, regular fund raising efforts. On November 28, 1973, the first meeting of the WGUC Community Board was held, with welcoming remarks from Jane D. Earley, Joseph Sagmaster, and Robert M. O'Neil, Executive Vice President of the University.45 The Community Board quickly undertook three main tasks: to increase public awareness of WGUC, to encourage private donations for replacement of the declining CPB grant, and to assist the staff in understanding the community's programming tastes. The Board's efforts soon paid off in increased financial resources, a wider listening audience, and program diversity. To assist the station's development, Mr. John Magro, an enthusiastic and well known activist in cultural circles, became Development Director. In the fall of 1976, Albert L. Hulsen became manager of WGUC and

103 Built with minute attention to accoustical and fidelity standards WGUC's new facilities in the Crosley Telecommunications Center on Central Parkway across from Music Hall, have control rooms which are unmatched among public radio stations in this country. (Picture courtesy WGUC)

Under Hulsen's guidance WGUC secured one of the coveted "up- links" to the National Public Radio Satellite which orbits approximately 22,000 miles above the earth's surface. (Picture courtesy WGUC) began a new era of development and growth. Hulsen's first post in public radio had been, ironically, at WOSU-at the very time of the Cincinnati overtures. From Ohio State, Hulsen moved into increasingly important positions in public radio. As Director of Radio activities for the Corporation for Public Broadcasting, Hulsen finally was able to penetrate CPB's pre- occupation with television and to divert significant funding to radio. Later, his decision to come to Cincinnati was strongly influenced by WGUC's success with the CPB special music grant, the "high profile" being given WGUC by the Community Board, and the position accorded the station in the Uni- versity policy. In addition to many administrative improvements, Hulsen moved to upgrade the public-affairs portion of the station's programming. Long in- trigued by the potential of public radio for thorough examination of local news, Hulsen increased the station's coverage under the leadership of Bob Stevenson, as News Director. Hulsen also took full advantage of the fine talents of James Stitt, who became Chief Engineer. Stitts' imagination and expertise enabled WGUC to successfully link up on a regular basis with the Cincinnati Symphony Orchestra, the Cincinnati Opera, and the LaSalle Quartet. By using SCA (Subsidiary Communications Authorization), the station was able to broadcast on a "side band" simultaneously with its regular signal special programs for the blind and handicapped. A collaboration with WCET, Cincinnati's Public Television station, made possible, on April 4, 1979, the first of many WGUC—WCET "simulcasts"— permitting listeners to watch musical performances and hear them stereophonically via WGUC. Perhaps the most exciting development of all was the National Public Radio Satellite, shot into space by NASA and orbiting at approximately 22,000 miles above the earth's surface. The available funding was sufficient for only seventeen "up-links," which became the focus of a hotly contested competition among the major public radio stations in the nation. Under Hulsen's guidance, WGUC won one of the coveted up-links. With that, Cincinnati broadcasting went into space, making Cincinnati-orginated music available around the nation. On July 26,1980, utilizing its "up-link" for the first time, WGUC broadcast, the Cincinnati Opera production of "The Pirates of Penzance," to listeners in San Francisco, Boston, Philadelphia, and scores of other American cities. Moreover, the satellite brought to WGUC listeners the best in public broadcasting from around the nation. The first such reception was on July 16, 1980, when WGUC picked up via satellite a live broadcast from St. Paul, Minnesota. On its twentieth birthday in 1980, WGUC spoke with a strong voice of 32,000 watts, more than six times stronger than its voice from the crib in

105 i960. The station's 5,000 watts of Effective Radiated Power, which, in i960, barely covered Hamilton County, had been increased to 20,000 watts in 1968, to serve a twenty-eight mile radius. In 1974, the power was boosted to the current 32,000 watts, enough to reach a potential audience of 1,600,000 persons within a thirty-two mile radius of the tower.46 In 1981, when the station's antenna is raised to a higher point on the tower, the signal will probe, with greater fidelity, behind the hills and into the valleys of Greater Cincinnati. Equally promising are the station's new quarters in the Crosley Tele- communications Center, across from Music Hall. Built with minute attention to acoustical and fidelity standards, the studio and control room facilities are unmatched among public radio stations in the United States. During the years since 1957, when Sputnik I stunned the world and, to some, compelled single-minded attention to overcoming the perceived Soviet lead in science, the two-space-faring nations have been preoccupied with space as a battlefield. But a different spirit has also been at work, utilizing orbiting satellites for constructive pursuits of mankind. For those from the Queen City Association who were determined to bring public radio to Ham- ilton County, the NPR satellite transmissions of great music to and from Cincinnati, demonstrated, beyond their wildest dreams, that such constructive pursuits of mankind are not "trivial" and, in the fullness of time, reward the persistent.

BRUCE I. PETRIE, a partner in the law firm Graydon, Head & Ritchey, served as President of the Cincinnati Bar Association ig8o-ig8i and is active in numerous civic organizations.

(1) Address, February 27,1922, to con- project." ference of radio industry representatives. (4) Cincinnati Enquirer, January 11, Mr. Hoover noted that the number of 1958. radio receiving sets had increased ten- (5) Cincinnati Enquirer, January 18, fold in the previous year. 1958. (2) WOSU Program Bulletin, December, (6) Cincinnati Times-Star, January 15, 1957- 1958. (3) In December, 1957, the Executive (7) Letter, January 9, 1958, from Charles Committee of the Association consisted D. Aring, M.D., Professor of Neurology, of Richard H. Peake, Jr., President; David University of Cincinnati. B. Dupree, Vice President; George C. (8) Mildred Miller, Column "About Hayward, Addison Lanier, Martin W. Women." Miller, Daniel J. Ransohoff, William R. (9) Judge Gorman had served on the Su- Schott, Walter G. Seinsheimer, and Bruce preme Court of Ohio and on the Hamilton I. Petrie, Secretary-Treasurer. Ransohoff County Court of Common Pleas. succeeded Peake, and Petrie succeeded (10) Telephone conversation, January 9, Ransohoff, as President of the Associa- 1958, Robert N. Gorman and Bruce I. tion, during the period of the "radio Petrie. This, and other footnote citations

IO6 of conversations, are based on the author's Enquirer; Mr. Charles Bennett, contemporaneous notes. Cincinnati Enquirer; Mr. John R. Bullock, (11) Letter, January n, 1958, Bruce I. President, Symphony Board; Mr. Max Petrie to George C. McConnaughey. Rudolph, Conductor, Cincinnati (12) The Cincinnati Enquirer, January Symphony; Mrs. Fred Lazarus III, Symphony Board; Mrs. Harry Robinson, (13) Telephone conversation, February Junior League; Mrs. William Altemeyer, 18, 1958, Higgy and Bruce I. Petrie. President, Women's Committee, (14) Letter, February 18, 1958, W. H. Cincinnati Symphony; Mr. H. Craig Ewing to Bruce I. Petrie. Hutchinson, Manager, Cincinnati (15) Letter, February 20, 1958, Robert C. Symphony; Mr. Leonard Macomber, Higgy to Richard B. Hull. Miami University; Mr. Steve Hathaway, (16) The Cincinnati Enquirer, February Station WMUB, Miami University; 28,1958. Mr. Paul Yeazell, Station WMUB. (17) Letter, May 2,1, 1958, Richard B. (29) Minutes of Meeting, September 24, Hull to Bruce I. Petrie. 1959, prepared by Bruce I. Petrie. (18) Letter, May 26, 1958, Bruce I. Petrie (30) Letter, September 28, 1959, Daniel J. to William H. Ewing. Ransohoff to John R. Bullock. (19) Letter, August 28, 1958, Bruce I. (31) Ibid. Petrie to Judge Robert N. Gorman. (32) Notes of telephone conversation, (20) Brief, dated August 15, 1958, Bruce I. Petrie and Jane Earley, submitted by Cohn and Marks to the October 2, 1959. Federal Communications Commission, (33) Letter, October 5, 1959, John R. Docket No. 6741. Bullock to Daniel J. Ransohoff. (21) On April 4, 1979, WGUC and WCET (34) Notes of telephone conversation, collaborated on the first simulcast in October 6, 1959, Bruce I. Petrie and Cincinnati, enabling viewers to watch Richard B.Hull. the Philadelphia Symphony on WCET (35) Notes of conference, October 6, and hear it broadcast stereophonically 1959, Bruce I. Petrie. by WGUC. (36) Notes of conference, October 8, (22 ) About a year later, the generosity of 1959, Bruce I. Petrie. Station WLW provided the transmitter (37) Engineering Report on Securing a and other facilities for WGUC. Quality Sound Broadcast Service for (23) Letter, December 8, 1958, Robert N. Cincinnati, Ohio, Jansky & Bailey, Inc., Gorman to Bruce I. Petrie. dated October 8, 1959. (24) Letter, December 16, 1958, Stephen (38) Letter, October 21,1959, W. H. C. Hathaway to Richard B. Hull. Ewing to Bruce I. Petrie. (25) Letter, December 2, 1958, Robert C. (39) Notes of conference, November 4, Higgy to Richard B. Hull. 1959, Bruce I. Petrie. (26) Letter, January 23, 1959, from (40) Memo, December 3,1959, to Bruce Richard B. Hull to Bruce I. Petrie. I. Petrie. (27) Letter, May 28, 1959, Bruce I. Petrie (41) Notes of telephone conversation, to Richard Hull. December 3, 1959, Frank T. Purdy and (28) In addition to Hull, Ewing and Bruce I. Petrie. Reed, the author, Daniel RansohofF, John (42) Editorial, January 18, i960. Schiff, Alfred Moore, and John McCarthy (43) Editorial, December 8, 1959, The attended on behalf of the Queen City Cincinnati Enquirer. Editorial, February Association. Their guests were Mr. Roger 4, i960, University of Cincinnati News Ferger, Cincinnati Enquirer, Symphony Record. Board; Mr. Brady Black, Cincinnati (44) For many years, the services of

107 Paul Laumann were made available Committee were: through the generosity of Taft Bruce I. Petrie Chairman Broadcasting Company. Robert Stewart Vice- (45) The first Board Members were: Chairman William Beckett, Mrs. William A. Coffey, Mrs. Carl A. Strauss, Jr. Secretary- Mrs. J. Ralph Corbett, Sydney D. Cornell, Ralph V. Haile, Jr., Mrs. Cornelius W. Treasurer Hauck, Morse Johnson, Mrs. Edgar J. Daniel J. Ransohoff Mack, Jr., Mrs. Louis Nippert, Bruce I. Dr. Samuel F. Pogue Petrie, Samuel F. Pogue, Daniel J. Succeeding chairmen of the WGUC Ransohoff, George Rieveschl, Jr., Kenneth Community Board have been: Robert B. C. Schonberg, Mrs. John F. Steele, Robert Stewart, Mrs. Carl A. Strauss, Jr., and B. Stewart, Mrs. Carl A. Strauss, Jr., George Striker. Michael T. Thayer and Charles (46) The figures given are for a millivolt Westheimer. contour, i.e. that station's primary Officers and members of the Executive coverage area. The signal actually reaches considerably beyond that contour.

Staff members at WGUC conduct tours of the new facilities to young and old. "Friends of WGUC" have the opportunity to attend recording sessions in the present studios. (Picture courtesy WGUC)