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Let's clear the decks of a few recent non-election related items that merit Grits readers' attention:
CCA: End justifies means at traffic stops
Reported the Courthouse News Service, "Police can make illegal traffic stops if the driver or passengers have outstanding warrants, the divided Texas Court of Criminal Appeals ruled." Read Liberty and Justice for Y'all's take on this ignominious opinion, "Attenuating the Taint."
Congress may prohibit employers requiring social media passwords
Legislation has been filed in Congress to prevent employers from requiring employees to give up their social networking username and password, reports The Back Gate. The Texas Department of Criminal Justice allegedly had done just that, the website reported earlier.
Adios, Injustice Everywhere
The CATO Institute has taken over the National Police Misconduct Reporting Project after a brief hiatus following its founder's retirement, and has resumed the site's original mission publishing daily summaries of police-misconduct related news stories found online. The site, previously called "Injustice Everywhere," has migrated to a new URL, policemisconduct.net. Congrats to David Packman for successfully passing off the project.
'Why We Lie'
The Wall Street Journal excerpted a forthcoming book which argues, "We tend to think that people are either honest or dishonest. ... But that is not how dishonesty works. Over the past decade or so, my colleagues and I have taken a close look at why people cheat, using a variety of experiments and looking at a panoply of unique data sets—from insurance claims to employment histories to the treatment records of doctors and dentists. What we have found, in a nutshell: Everybody has the capacity to be dishonest, and almost everybody cheats—just by a little." Most people cheat right up until they think it makes them look bad, says the author. "Sadly, it is this kind of small-scale mass cheating, not the high-profile cases, that is most corrosive to society."
Stop and frisk on trial
A federal judge granted class-action certification in a civil rights lawsuit to plaintiffs alleging mass constitutional violations under New York City's famed "stop and frisk" policy. Those interested can read the judge's blistering opinion (pdf). Unless an appellate court says otherwise, the suit will put the "stop and frisk" policy itself on trial.
Could most gunfire incidents really go unreported?
Something doesn't add up here.The New York Times has a story on cities which have adopted "ShotSpotter" technology which allows them to triangulate the source of gunfire by sound. The company charges cities a yearly fee of $40-60,000 per square mile as a subscription package. Predictably, concerns have been raised about recording conversations in one incident (the system isn't supposed to). More surprising, though: the technology has "made it clear how much unreported gunfire takes place on city streets. ... In the Bayview-Hunter’s Point neighborhood of San Francisco, for example, where one square mile is covered by ShotSpotter sensors, only 10 percent of the verified incidents of gunfire detected by the system were accompanied by 911 calls, Commander Ali said. In Oakland, Sergeant Bolton said, only 22 percent of the verified gunfire the system detected over a three-month period was also reported by residents." Those are eye-popping numbers: One wonders if that much "verified" gunfire truly goes unreported or if the technology is generating false positives?
Reviewing new Florida regs on confidential informants
At the Snitching Blog, Alexandra Natapoff points to a retrospective on the death of Rachel Hoffman, a Florida drug informant whose death spawned a new state statute regulating confidential informant use. (See prior Grits coverage.) Natapoff also mentioned an interesting looking law-review article about the Florida statute that "focuses on an important provision in Rachel's Law that was eliminated [during the legislative process], that would have required police to provide potential informants with counsel."
30 Mayıs 2012 Çarşamba
To contact us Click HERE
Silhouette artist Cindi Harwood Rose is the Pied Piper of silhouette artists. Even wiggly children, are amazed at her magic scissors. “The scissors are like a magic wand to the children,” says Cindi, “they glisten and make shapes from special French silhouette paper”. A self-taught silhouette artist, Cindi, does not underplay the importance of natural art talents. “If you cannot draw a profile with a pencil, pen, or brush, then you could never draw with scissors,” C. H. Rose, explains. It is much harder, and that is why you rarely see real silhouette artist, who can do the lovely miniatures. By this, Cindi is speaking of the skilled artist who merely looks at a subject and cuts directly from the paper, without the use of a light, pencil, pen, or camera. This Mother’s Day, Cindi will do silhouettes in Houston at Fundamentally Toys, and in Dallas and Fort Worth, at Learning Express stores. Wiggly children, do not have to sit still, Harwood-Rose explains, not do the parents. www.silhouettesbycindi.com
Silhouette Artist Cindi Rose snips Ashley Judd for CAC
To contact us Click HERE
Silhouette Artist Cindi Rose snips Ashley Judd for CAC
The Children’s Assessment Center’s “Spirit of Spring” luncheon chaired by Diane Caplan and Nancy Marcus Golden was a huge success. Ken Downing and Neiman Marcus had an incredible fashion show, with colorful silhouettes streaming down the runway. Ashley Judd, Award winning actress and humanitarian gave a chat on-stage with TV personality Deborah Duncan, on how to go forward in life with trials and tragedy.
Cindi Rose says, “It was a pleasure to be part of this important group, and have the honor to cut a silhouette of Ashley Judd, who admires the art. The Children’s Assessment Center not only tries to stop sexual abuse with children, but offers support to those who have experienced a trauma such as this, to move forward in life.
Kenneth J. Downing strikes a cool silhouette
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Kenneth J. Downing strikes a cool silhouette
By Deborah J. Miller
International traveler, yet Dallas resident, Kenneth J. Downing, recently created quite a buzz with his juxtaposition of silhouettes on the runway for Neiman-Marcus in Houston. The event was The Spirit of Spring Children’s Assessment Center Luncheon, chaired by slender fashion plates Diane Caplan Brown and Nancy Marcus (where did she get that middle name?) Golden, formerly of Dallas and Beverly Hills. Ken J. (as his closest friend call him) happens not to only be a television fashion diva—think Project Runway All Stars, Oprah, E! Entertainment, Fox News, he is the senior Vice President and Fashion Director of Neiman Marcus world-wide. Yet, the gift to him, that most pleased his inner child was made by humanitarian and silhouette artist Cindi Harwood Rose—his custom silhouette portrait, as shown. Cindi in Givenchy, pulled out her famous plastic surgeon husband, Franklin’s surgical scissors (or maybe her own)and some antique, thin black paper, and without a sketch, she snipped his likeness, sans the hair-cut. His golden locks, normally seen, had been trimmed, thus, fine artist, Cindi Rose, captured that, his facial features, whimsical personality, and his slender, boyish charm. “OHHHHH!” Kenneth exclaimed, “My mother will love this, she collects silhouettes and has around 600 in her home!” Cindi Rose immediately placed it into a black wooden frame with gold leaf, and jewels she had placed on the frame herself. When asked how she managed to mix the classic, modern, traditional, and antique, with humor, she explained, “It is interpretive, I could never frame a silhouette for Kenneth J. Downing in the average, that he is not.” The NM fashion show displayed art equal to Cindi Harwood Rose’s unique silhouette talents, and in themes. First, purple, then pink, then floral, next patterns with odd combinations of patterns, yet somehow fitting and quite whimsical. “This was the best Children’s Assessment Center Event I have ever been to,” Cindi Harwood Rose explained. “The Children’s Assessment Center helps children that were raped with recovery, and support. “ To donate contact Jull Buja@cac hctx.net
Contemporary Cindi Rose Silhouettes
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Contemporary Cindi Rose Silhouettes
http://www.peggymcclard.com/aaa%20Cindi%20Rose%20Silhouettes.htm
| Contemporary Silhouettes by Cindi Peggy McClard Antiques Americana & Folk Art
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26 Mayıs 2012 Cumartesi
MARYLAND Langfords
To contact us Click HERE
Family, Kindship and Community
Page 215
"How many women found themselves in the position of Joane Langford, who sued George Harris of Charles County [Maryland] in 1668 'for begetting a Bastard Child on her Body and for Nonperformance of his promise to Marry her'."
Horn, James, Adapting to a New World: English Society in the Seventeenth-Century Chesapeake (Chapel Hill, North Carolina, University of North Carolina Press, 1994)
Page 215
"How many women found themselves in the position of Joane Langford, who sued George Harris of Charles County [Maryland] in 1668 'for begetting a Bastard Child on her Body and for Nonperformance of his promise to Marry her'."
Horn, James, Adapting to a New World: English Society in the Seventeenth-Century Chesapeake (Chapel Hill, North Carolina, University of North Carolina Press, 1994)
Jeremiah Aloysius Wallace Obit
To contact us Click HERE
Jeremiah Aloysius Wallace - 20 May 1936 - 26 December 2008
Waukegan, Lake Co., Illinos
Son of Jeremiah A. Wallace, Sr. and Sophie Tonin.
Grandson of Johan Tonin and Leopoldina Rostan.
Survived by aunt: Mary Tonin Langford.
Survived by cousins: Linda Wegrzyn, Thomas Tonin, Barbara Tonin Albert,
Poldi J. Tonin, Michael Langford, Lynne Hoseck
Survived by nephews and nieces: Wade and Dale Stanphill and Mary Frances and Linda Stanphill
=================================================================================
Obit published in Suburban Herald (edited)
Jerry A. Wallace
Jerry A. Wallace of Waukegan Visitation for Jerry A. Wallace, 72,
will be from 10 a.m. until the Mass of Christian Burial at 11 a.m.
Wednesday, Jan. 7, [2009] at Our Lady of Humility Church, 10655 W. Wadsworth
Road, Beach Park. Jerry was born May 20, 1936, in Waukegan, and
passed away Friday, Dec. 26, 2008, at the V.A. Medical Center in
North Chicago. Jerry remained a lifelong Lake County resident. He was
a veteran of the Marine Corps and a former employee of Nordic
Properties in Gurnee. Jerry was a man of great charity and humility,
and was a member of Our Lady of Humility Church in Beach Park.
Surviving are his wife, Katherine [Beck Wallace] of Waukegan; three children,
Eric Wallace of Waukegan, Michael Wallace of Winthrop Harbor and
Helen Sophie Wallace of Arlington, Texas; two brothers, Richard B. Wallace
(Deirdre Fennessy) of Chicago and [Lawrence]Larry Ellsworth, [Jr.] of
Dundas, Minn.; and many other relatives, including a large contingent living in Dubuque,Iowa. He was preceded in death by a young brother [Clarence Magden, Jr.]; and his sister, Anita [Magden Stanphill Taylor].
Memorials made to the church in Jerry's memory would be appreciated.
Arrangements were made by Burnett-Dane Funeral Home,
Libertyville, 847-362-3009.
Waukegan, Lake Co., Illinos
Son of Jeremiah A. Wallace, Sr. and Sophie Tonin.
Grandson of Johan Tonin and Leopoldina Rostan.
Survived by aunt: Mary Tonin Langford.
Survived by cousins: Linda Wegrzyn, Thomas Tonin, Barbara Tonin Albert,
Poldi J. Tonin, Michael Langford, Lynne Hoseck
Survived by nephews and nieces: Wade and Dale Stanphill and Mary Frances and Linda Stanphill
=================================================================================
Obit published in Suburban Herald (edited)
Jerry A. Wallace
Jerry A. Wallace of Waukegan Visitation for Jerry A. Wallace, 72,
will be from 10 a.m. until the Mass of Christian Burial at 11 a.m.
Wednesday, Jan. 7, [2009] at Our Lady of Humility Church, 10655 W. Wadsworth
Road, Beach Park. Jerry was born May 20, 1936, in Waukegan, and
passed away Friday, Dec. 26, 2008, at the V.A. Medical Center in
North Chicago. Jerry remained a lifelong Lake County resident. He was
a veteran of the Marine Corps and a former employee of Nordic
Properties in Gurnee. Jerry was a man of great charity and humility,
and was a member of Our Lady of Humility Church in Beach Park.
Surviving are his wife, Katherine [Beck Wallace] of Waukegan; three children,
Eric Wallace of Waukegan, Michael Wallace of Winthrop Harbor and
Helen Sophie Wallace of Arlington, Texas; two brothers, Richard B. Wallace
(Deirdre Fennessy) of Chicago and [Lawrence]Larry Ellsworth, [Jr.] of
Dundas, Minn.; and many other relatives, including a large contingent living in Dubuque,Iowa. He was preceded in death by a young brother [Clarence Magden, Jr.]; and his sister, Anita [Magden Stanphill Taylor].
Memorials made to the church in Jerry's memory would be appreciated.
Arrangements were made by Burnett-Dane Funeral Home,
Libertyville, 847-362-3009.
Rev. Philip Andrew Lankford Descendants
To contact us Click HERE
I have copied the following material from the work of David DeClue. I hope he will not mind but I feel it is important to publish his work on this site and hopefully preserve it for the future researchers. Tree Mother
John Anderson Lankford(1874-1946)
John Anderson Lankford has the distinction of being the first African-American architect in the United States with an established architectural office. He was also an attorney, blacksmith, real estate broker, professor, and author.
John Anderson Lankford was born on December 4, 1874, on his parents’ farm in Potosi, Missouri, one of eleven children of former slaves Philip Anderson Lankford and Nancy Ella Johnson Lankford. Mr. Lankford’s paternal grandfather was Rev. Philip Andrew Lankford (b. 1813, Caucasian) ; his paternal line can be traced back to the 1600s in France and to 1645 in Albemarle County, Virginia. Of John Anderson Lankford’s ten full siblings and three half-siblings, the lines of descent for six may never be known since some were slaves born prior to the end of the Civil War.
After attending public schools in Potosi, Lankford worked in Crystal City, Missouri, in a plate glass factory. Following this, from 1889 to 1896, he attended Lincoln Institute (now Lincoln University) in Jefferson City, Missouri. It is reported that in order to get enough money to travel from Crystal City to Jefferson City, he met a porter who took him to St. Louis and on to Jefferson City, where he took classes and worked as a janitor to earn money for his books. He also worked at the Plymouth Rock Pants Company in order to earn money for his clothes and at a steam laundry in order to get his laundry cleaned.
Lankford was invited by Booker T. Washington (via letters sent to numerous promising African-Americans of the day) to attend Tuskegee Institute in Alabama. First, between his time at Lincoln and Tuskegee, he worked in a blacksmith shop in St. Louis. To pay his board at Tuskegee, where he took chemistry and physics classes between 1896 and 1898, Lankford not only worked in the foundry and steam fitting department, but also as in amateur photographer.
Mr. Lankford received a B.S. from Shaw University in Raleigh, N.C. (1898), where he later taught (1900-02). Here he met his wife, Charlotte Josephine Turner Upshaw (1876-1973), who was the granddaughter of the famous religious leader and political activist Bishop Henry McNeal Turner (1834-1915). Following his time at Shaw, Lankford received several Masters Degrees, a law degree, and, later in life, numerous honorary degrees.
Professor Lankford came to Washington, D.C. in July 1902 with a commission in hand to design and supervise the construction of a new hall for the Grand United Order of the True Reformers. True Reformers Hall was a stately, five-story brick building notable for its arched, 18-foot windows and ornamental frieze. The building was considered remarkable because it was financed, designed, and built entirely by African-Americans.
(Right): True Reformers Building, 1200 “U” Street N.W., Washington, D.C. The newly renovated 1903 structure, now a state-of-art office complex and home to the Public Welfare Foundation, contains a modern, two-story auditorium appropriately called, The John Anderson Lankford Auditorium. The building housed stores as well as the offices of physicians, lawyers, and newspaper bureaus. In addition, the building served as the headquarters for the First Separate Battalion, Washington's black national guard unit, and a dance hall where Duke Ellington played his first gig for 75 cents.
(Left): The First Presbyterian Church of Potosi, Missouri (1909), which is still in active use almost 100 years later. Lankford designed and constructed numerous churches still standing today throughout the United States and as far away as Capetown, South Africa, but it is evident that he had a great fondness for this, his first church design. In his 1916 book, Lankford said, “This edifice is an English Gothic, classical structure, solid stone; the plans were procured by us, by winning a competitive context against ten white architects whose offices were located in different sections of the United States. The committee for the church awarded us for our architectural services first prize. Cost of the church thirty-five thousand dollars; committee and entire congregation are white.” (Photo credit: Esther Carroll)
During John Anderson Lankford’s lifetime, he served on numerous professional and civic organizations. In his later years, he helped establish the School of Architecture at Howard University, and during WWII, he was the supervising architect at the Washington Naval Yard. John Anderson Lankford passed away July 2, 1946.
The preceding biographical sketch was excerpted from the work of David Marshall-Rutledge de Clue, a distant cousin of John Anderson Lankford’s. Mr. de Clue has spent over 25 years researching the African-American Lankford and DeClue lines, which include many notable figures such as architect Clinton Stevens Harris (1900-1992), television pioneer Korla Pandit (John Redd) (1921-1998), and space shuttle Columbia astronaut Michael Anderson (1959-2003). Questions and comments may be directed to Mr. de Clue at sitzar@gmail.com
PB Lankford
John Anderson Lankford(1874-1946)
John Anderson Lankford has the distinction of being the first African-American architect in the United States with an established architectural office. He was also an attorney, blacksmith, real estate broker, professor, and author.
John Anderson Lankford was born on December 4, 1874, on his parents’ farm in Potosi, Missouri, one of eleven children of former slaves Philip Anderson Lankford and Nancy Ella Johnson Lankford. Mr. Lankford’s paternal grandfather was Rev. Philip Andrew Lankford (b. 1813, Caucasian) ; his paternal line can be traced back to the 1600s in France and to 1645 in Albemarle County, Virginia. Of John Anderson Lankford’s ten full siblings and three half-siblings, the lines of descent for six may never be known since some were slaves born prior to the end of the Civil War.
After attending public schools in Potosi, Lankford worked in Crystal City, Missouri, in a plate glass factory. Following this, from 1889 to 1896, he attended Lincoln Institute (now Lincoln University) in Jefferson City, Missouri. It is reported that in order to get enough money to travel from Crystal City to Jefferson City, he met a porter who took him to St. Louis and on to Jefferson City, where he took classes and worked as a janitor to earn money for his books. He also worked at the Plymouth Rock Pants Company in order to earn money for his clothes and at a steam laundry in order to get his laundry cleaned.
Lankford was invited by Booker T. Washington (via letters sent to numerous promising African-Americans of the day) to attend Tuskegee Institute in Alabama. First, between his time at Lincoln and Tuskegee, he worked in a blacksmith shop in St. Louis. To pay his board at Tuskegee, where he took chemistry and physics classes between 1896 and 1898, Lankford not only worked in the foundry and steam fitting department, but also as in amateur photographer.
Mr. Lankford received a B.S. from Shaw University in Raleigh, N.C. (1898), where he later taught (1900-02). Here he met his wife, Charlotte Josephine Turner Upshaw (1876-1973), who was the granddaughter of the famous religious leader and political activist Bishop Henry McNeal Turner (1834-1915). Following his time at Shaw, Lankford received several Masters Degrees, a law degree, and, later in life, numerous honorary degrees.
Professor Lankford came to Washington, D.C. in July 1902 with a commission in hand to design and supervise the construction of a new hall for the Grand United Order of the True Reformers. True Reformers Hall was a stately, five-story brick building notable for its arched, 18-foot windows and ornamental frieze. The building was considered remarkable because it was financed, designed, and built entirely by African-Americans.
(Right): True Reformers Building, 1200 “U” Street N.W., Washington, D.C. The newly renovated 1903 structure, now a state-of-art office complex and home to the Public Welfare Foundation, contains a modern, two-story auditorium appropriately called, The John Anderson Lankford Auditorium. The building housed stores as well as the offices of physicians, lawyers, and newspaper bureaus. In addition, the building served as the headquarters for the First Separate Battalion, Washington's black national guard unit, and a dance hall where Duke Ellington played his first gig for 75 cents.
(Left): The First Presbyterian Church of Potosi, Missouri (1909), which is still in active use almost 100 years later. Lankford designed and constructed numerous churches still standing today throughout the United States and as far away as Capetown, South Africa, but it is evident that he had a great fondness for this, his first church design. In his 1916 book, Lankford said, “This edifice is an English Gothic, classical structure, solid stone; the plans were procured by us, by winning a competitive context against ten white architects whose offices were located in different sections of the United States. The committee for the church awarded us for our architectural services first prize. Cost of the church thirty-five thousand dollars; committee and entire congregation are white.” (Photo credit: Esther Carroll)
During John Anderson Lankford’s lifetime, he served on numerous professional and civic organizations. In his later years, he helped establish the School of Architecture at Howard University, and during WWII, he was the supervising architect at the Washington Naval Yard. John Anderson Lankford passed away July 2, 1946.
The preceding biographical sketch was excerpted from the work of David Marshall-Rutledge de Clue, a distant cousin of John Anderson Lankford’s. Mr. de Clue has spent over 25 years researching the African-American Lankford and DeClue lines, which include many notable figures such as architect Clinton Stevens Harris (1900-1992), television pioneer Korla Pandit (John Redd) (1921-1998), and space shuttle Columbia astronaut Michael Anderson (1959-2003). Questions and comments may be directed to Mr. de Clue at sitzar@gmail.com
PB Lankford
John Lankford of Viginia and Iowa
To contact us Click HERE
Biographical and Historical Record of Wayne and Appanoose Counties, Iowa
Chicago: Inter-State Pub. Co., 1886.
J-P
Unless noted, biographies were submitted by Polly Eckles.
JOHN LANKFORD, undertaker and
furniture dealer, Centerville, Iowa, was born in Indianapolis, Indiana,
March 27, 1827, a son of Robert and
Sarah (Street) Lankford, the former a native of Virginia, and
the latter of Kentucky, both of English ancestry. When eighteen years
of age he began working at the carpenter's trade, and served an
apprenticeship of three years. In May, 1850, he came to Iowa and lived
at Ottumwa six months, thence removing to Centerville, where he worked
at this trade until 1865, when he became established in his present
business. Mr. Lankford is a member of the Masonic fraternity, lodge,
chapter and commandery, and also of the lodge and encampment of the
Odd Fellows order. He is in politics a Republican. He was married in
September, 1852, to Nancy J. Henderson,
of Centerville. They have eight children: William, Sarah (wife of W. G. Clark), Heber H., Beatrice, Grace, Carl, Roy and Leona.
Chicago: Inter-State Pub. Co., 1886.
J-P
Unless noted, biographies were submitted by Polly Eckles.
JOHN LANKFORD, undertaker and
furniture dealer, Centerville, Iowa, was born in Indianapolis, Indiana,
March 27, 1827, a son of Robert and
Sarah (Street) Lankford, the former a native of Virginia, and
the latter of Kentucky, both of English ancestry. When eighteen years
of age he began working at the carpenter's trade, and served an
apprenticeship of three years. In May, 1850, he came to Iowa and lived
at Ottumwa six months, thence removing to Centerville, where he worked
at this trade until 1865, when he became established in his present
business. Mr. Lankford is a member of the Masonic fraternity, lodge,
chapter and commandery, and also of the lodge and encampment of the
Odd Fellows order. He is in politics a Republican. He was married in
September, 1852, to Nancy J. Henderson,
of Centerville. They have eight children: William, Sarah (wife of W. G. Clark), Heber H., Beatrice, Grace, Carl, Roy and Leona.
QUAKER LANGFORD/LANKFORD Persons
To contact us Click HERE
WILLIAM CLAYTON b Dec 8, 1632 Chichester, Sussex, England; d 1689
Chester Count Pennsylvania; m Prudence LANKFORD/LANGFORD; sailed to America on the
"Kent", which left London and arrived in New York Aug 1677; William was
a carpenter by trade and had recently joined the Quaker faith when he
emigrated. He was selected to act as a commissioner (with several others)
for William Penn, and went to the settlement at Burlington, New Jersey to
clear any Indian titles to land that Penn had acquired. In 1681 William
moved his family to Chester County, Pennsylvania. QUAKER (Reynolds/Otwell family)
PRUDENCE LANKFORD or LANGFORD born about 1631 St Michael's, Cornhill, London,
Middlesex Co England; died 1691 Chester County, Pennsylvania;
married WILLIAM CLAYTON; lived Sussex County, England before emigrating
to America. She was the daughter of William Lankford, who died Jan 1, 1665 Rumbleswicke, Sussex County, England
and Eliza Reading. Family possibly related to
Edward Lankford who emigrated to Virginia? see Bruton section below QUAKER (Reynolds/Otwell family)
EDWARD LANKFORD or LANGFORD born
about 1615 England; died about1640 King and Queen Co VA; unsure if he
himself was Quaker, but his son Thomas Lankford/Langford Sr b abt 1640 died 1719 Nansemond Co VA married
Elizabeth Jordan, whose parents
Thomas Jordan II and Margaret Brasseur were QUAKER. Thomas Lankford Sr was known to attend the Chuckatuck
Monthly Meeting in Nansemond Co VA. In 1702 he attended the Virginia yearly
Quaker meeting. Some of Thomas Lankford's children became Quakers, but most later descendants were not. See Virginia Families page for descendancy. (Bruton family)
Chester Count Pennsylvania; m Prudence LANKFORD/LANGFORD; sailed to America on the
"Kent", which left London and arrived in New York Aug 1677; William was
a carpenter by trade and had recently joined the Quaker faith when he
emigrated. He was selected to act as a commissioner (with several others)
for William Penn, and went to the settlement at Burlington, New Jersey to
clear any Indian titles to land that Penn had acquired. In 1681 William
moved his family to Chester County, Pennsylvania. QUAKER (Reynolds/Otwell family)
PRUDENCE LANKFORD or LANGFORD born about 1631 St Michael's, Cornhill, London,
Middlesex Co England; died 1691 Chester County, Pennsylvania;
married WILLIAM CLAYTON; lived Sussex County, England before emigrating
to America. She was the daughter of William Lankford, who died Jan 1, 1665 Rumbleswicke, Sussex County, England
and Eliza Reading. Family possibly related to
Edward Lankford who emigrated to Virginia? see Bruton section below QUAKER (Reynolds/Otwell family)
EDWARD LANKFORD or LANGFORD born
about 1615 England; died about1640 King and Queen Co VA; unsure if he
himself was Quaker, but his son Thomas Lankford/Langford Sr b abt 1640 died 1719 Nansemond Co VA married
Elizabeth Jordan, whose parents
Thomas Jordan II and Margaret Brasseur were QUAKER. Thomas Lankford Sr was known to attend the Chuckatuck
Monthly Meeting in Nansemond Co VA. In 1702 he attended the Virginia yearly
Quaker meeting. Some of Thomas Lankford's children became Quakers, but most later descendants were not. See Virginia Families page for descendancy. (Bruton family)
23 Mayıs 2012 Çarşamba
Indigent Confederate Families in Texas
To contact us Click HERE
http://www.tsl.state.tx.us/arc/cif/hlname.html.
Texas State Library Home Page Archives & Manuscripts -
Texas State Library and Archives Commission
*Archives & Manuscripts > Confederate Indigent
Families Lists *
------------------------------------------------------------------------
Confederate Indigent Families Index
Surnames H - L
------------------------------------------------------------------------
*Please be aware that only an index of names appears at this site. *
Linda Mearse has transcribed the records on file in the State Archives
in her book, /Confederate Indigent Families Lists of *Texas* 1863-1865./
In order to help preserve the original records, please request the
Mearse transcription through interlibrary loan. Please contact your
local library for further details.
Name *County*
Lankferd , Wm Tarrant
Lankford , E Wood
Lankford , J W Mclennan
Lankford , James Mclennan
Lankford , John Houston
Lankford , K Wood
Lankford , Thomas Lamar
Lankford , Wm Wood
Lankford , Wm Upshur
Lankford , Mrs Dallas
Lankford , Mrs Elisha Fannin
Lankford , Mrs Elisha Fannin
Lankford , Mrs S Rusk
------------------------------------------------------------------------
This page updated 02/25/2009
Texas State Library Home Page Archives & Manuscripts -
Texas State Library and Archives Commission
*Archives & Manuscripts > Confederate Indigent
Families Lists *
------------------------------------------------------------------------
Confederate Indigent Families Index
Surnames H - L
------------------------------------------------------------------------
*Please be aware that only an index of names appears at this site. *
Linda Mearse has transcribed the records on file in the State Archives
in her book, /Confederate Indigent Families Lists of *Texas* 1863-1865./
In order to help preserve the original records, please request the
Mearse transcription through interlibrary loan. Please contact your
local library for further details.
Name *County*
Lankferd , Wm Tarrant
Lankford , E Wood
Lankford , J W Mclennan
Lankford , James Mclennan
Lankford , John Houston
Lankford , K Wood
Lankford , Thomas Lamar
Lankford , Wm Wood
Lankford , Wm Upshur
Lankford , Mrs Dallas
Lankford , Mrs Elisha Fannin
Lankford , Mrs Elisha Fannin
Lankford , Mrs S Rusk
------------------------------------------------------------------------
This page updated 02/25/2009
Joel A. Spivak, RIP
To contact us Click HERE
I'm a little late with this but just recently came across the news myself.
The Washington Post obituary.
This is not a name familiar to many today, probably, but if you were around Houston radio in the late 50s early 60s, especially if you were a teen and listened to KILT, you'll remember Joel. I remember him doing evenings on KILT; he was my favorite jock of all the voices brought to town by Gordon McLendon when he purchased KLBS. Later he did mornings before being demoted again to evenings and then leaving town. I believe he left once in the late 50s to join Eliot Field at KFWB in Los Angeles from what I've read. He was low key, funny, weird, sardonic, in an era before boss jocks. There's one anecdote in the obit about his career in Houston and I'll have a few more in an upcoming article from a former co-worker. I remember the time he joined the Salt Grass Trail Ride, broadcasting his show each evening from along the trail, one night from the studios of KWHI, Brenham, after it had signed off. I lived to hear his faux commercials, especially a running series about Polly Pelham Pizza - "look for it wrapped in old newspaper in the freezer of a grocery near me."
The Washington Post obituary.
This is not a name familiar to many today, probably, but if you were around Houston radio in the late 50s early 60s, especially if you were a teen and listened to KILT, you'll remember Joel. I remember him doing evenings on KILT; he was my favorite jock of all the voices brought to town by Gordon McLendon when he purchased KLBS. Later he did mornings before being demoted again to evenings and then leaving town. I believe he left once in the late 50s to join Eliot Field at KFWB in Los Angeles from what I've read. He was low key, funny, weird, sardonic, in an era before boss jocks. There's one anecdote in the obit about his career in Houston and I'll have a few more in an upcoming article from a former co-worker. I remember the time he joined the Salt Grass Trail Ride, broadcasting his show each evening from along the trail, one night from the studios of KWHI, Brenham, after it had signed off. I lived to hear his faux commercials, especially a running series about Polly Pelham Pizza - "look for it wrapped in old newspaper in the freezer of a grocery near me."
Hooper Ratings - December, 1961 - January, 1962
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The Ratings are in!
KNUZ was still doing quite well vs. KILT with it's 250 watts; second place ain't bad. Note only two FMs showed up.
Thanks to John B. Hill, an engineer at KILT from 1960-1964, for sharing these. John has shared some other memorabilia from that era and filled in some facts and anecdotes about the McLendon operation, both AM and FM. See the KILT Staff Directory from this era here; there more published on this blog in the near future.
KNUZ was still doing quite well vs. KILT with it's 250 watts; second place ain't bad. Note only two FMs showed up.Thanks to John B. Hill, an engineer at KILT from 1960-1964, for sharing these. John has shared some other memorabilia from that era and filled in some facts and anecdotes about the McLendon operation, both AM and FM. See the KILT Staff Directory from this era here; there more published on this blog in the near future.
KILT Staff DIrectory
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I have been corresponding with John Hill, CSRTE, an engineer at KILT from 1960 to 1964, who has been filling me in on a lot of facts and data from that era. He lost almost all his family, musical career and radio memorabilia thanks to tropical storm Claudette in 1979 and only a few pieces survive, among them a staff directory. I have organized it by department instead of alphabetically and added a few facts on some of the personalities I have from my own research.
Beverly Bales - Secretary to GM
Sabra Hall - General office
Dino Thompson - Receptionist
Bruno Leonardt - Sales Manager
Paul Fielding, Dickie Rosenfeld, Charlie Trub and Ted Van Brunt - Sales
Sue Reid - Sales Secretary
Sandra Arnold - Traffic
Barbara Van Horn - Continuity
Glenn Cook - Chief Engineer
John Hill - Recording Engineer
Tim Milton Kingston - Transmitter Engineer
Frank J Maher - Transmitter Superintendent
Rob McLeod - Program Director
Chuck Benson - Assistant to the PD
Gene Kelly, Dick Lahm, Bob Presley, Bill Slater, John Trotter - Disc Jockeys
Milton Allen (Graves) - Weekend Disc Jockey
Cecil Tuck - News Director, Program Manager
Thom Beck - News Editor
Dick Dobbin, Rick Eiser, Gary Fuller - Newsmen
Reed Robinson, Larry Thomas - Porters
Missing from the list was Bill Weaver, General Manager.
Also missing were two other transmitter engineers, Bryan Burne and Sam Warren, working at the transmitter on West Rd., west of the Dallas highway (US 75/I-45).
As John remembers it at the time of this list, the air shifts were: Gene Kelly, Midnight to 6 A. M.; Chuck Benson 6-9 AM; Rob McLeod 9-12 Noon; Bob Presley from 12 Noon-3 P. M. (with his KILT Pool & Patio show); Bill Slater 3-6 P. M.; "Honest John" Trotter 6 PM.-Midnight.
I had in my notes from the Chronicle that Trotter had been brought in to do mornings in January, 1961, replacing Joel A. Spivak, I believe, but was demoted to the 6 to Midnight shift as a way of suggesting it was time for him to leave. He did shortly thereafter for KEWB in Oakland, CA. In 1965 he was one of the original group of Western Gentlemen who brought country music radio to WJJD, Chicago and later he worked at KBOX, Dallas. He died in Abilene in 1976 and was inducted into the Country Radio Broadcasters DJ and Radio Hall of Fame in 1996.
Bob Presley went on to a long career in Houston radio at KPRC and KILT.
Bill Weaver left KILT to work for Cap Cities Broadcasting in 1966; he had married his secretary. He touched base with John in Nashville in 1982 at which time he was Executive Vice President at WWCO, a 24 hour station in Waterbury, CT. He died in retirement in San Antonio in February, 2008.
Both Bob Presley and Bill Weaver were inducted into the Texas Radio Hall of Fame in 2003.
Milton Allen (Graves) left for WNOE, New Orleans, one of McLendon's wife's stations; Chuck Benson left for WGR in Buffalo, NY, followed by Bill Slater. John left shortly thereafter, too. After WGR, Bill Slater went to KFWB, Los Angeles (64-65), KRLA (64-67), and KPPC (69-70) according to a Los Angeles radio website. He died in 2002 at age 67 and there were probably some other radio gigs. I have not had any luck finding more information about the other personalities and will appreciate hearing from anyone who can fill in the details of their careers.
See also the Hooper Ratings for the Houston market from this era, courtesy of John. There will be more posts on the blog soon based on the communications I'm having with John.
Updated 7/29/11.
Beverly Bales - Secretary to GM
Sabra Hall - General office
Dino Thompson - Receptionist
Bruno Leonardt - Sales Manager
Paul Fielding, Dickie Rosenfeld, Charlie Trub and Ted Van Brunt - Sales
Sue Reid - Sales Secretary
Sandra Arnold - Traffic
Barbara Van Horn - Continuity
Glenn Cook - Chief Engineer
John Hill - Recording Engineer
Tim Milton Kingston - Transmitter Engineer
Frank J Maher - Transmitter Superintendent
Rob McLeod - Program Director
Chuck Benson - Assistant to the PD
Gene Kelly, Dick Lahm, Bob Presley, Bill Slater, John Trotter - Disc Jockeys
Milton Allen (Graves) - Weekend Disc Jockey
Cecil Tuck - News Director, Program Manager
Thom Beck - News Editor
Dick Dobbin, Rick Eiser, Gary Fuller - Newsmen
Reed Robinson, Larry Thomas - Porters
Missing from the list was Bill Weaver, General Manager.
Also missing were two other transmitter engineers, Bryan Burne and Sam Warren, working at the transmitter on West Rd., west of the Dallas highway (US 75/I-45).
As John remembers it at the time of this list, the air shifts were: Gene Kelly, Midnight to 6 A. M.; Chuck Benson 6-9 AM; Rob McLeod 9-12 Noon; Bob Presley from 12 Noon-3 P. M. (with his KILT Pool & Patio show); Bill Slater 3-6 P. M.; "Honest John" Trotter 6 PM.-Midnight.
I had in my notes from the Chronicle that Trotter had been brought in to do mornings in January, 1961, replacing Joel A. Spivak, I believe, but was demoted to the 6 to Midnight shift as a way of suggesting it was time for him to leave. He did shortly thereafter for KEWB in Oakland, CA. In 1965 he was one of the original group of Western Gentlemen who brought country music radio to WJJD, Chicago and later he worked at KBOX, Dallas. He died in Abilene in 1976 and was inducted into the Country Radio Broadcasters DJ and Radio Hall of Fame in 1996.
Bob Presley went on to a long career in Houston radio at KPRC and KILT.
Bill Weaver left KILT to work for Cap Cities Broadcasting in 1966; he had married his secretary. He touched base with John in Nashville in 1982 at which time he was Executive Vice President at WWCO, a 24 hour station in Waterbury, CT. He died in retirement in San Antonio in February, 2008.
Both Bob Presley and Bill Weaver were inducted into the Texas Radio Hall of Fame in 2003.
Milton Allen (Graves) left for WNOE, New Orleans, one of McLendon's wife's stations; Chuck Benson left for WGR in Buffalo, NY, followed by Bill Slater. John left shortly thereafter, too. After WGR, Bill Slater went to KFWB, Los Angeles (64-65), KRLA (64-67), and KPPC (69-70) according to a Los Angeles radio website. He died in 2002 at age 67 and there were probably some other radio gigs. I have not had any luck finding more information about the other personalities and will appreciate hearing from anyone who can fill in the details of their careers.
See also the Hooper Ratings for the Houston market from this era, courtesy of John. There will be more posts on the blog soon based on the communications I'm having with John.
Updated 7/29/11.
FM Chronology - The 1960s Part IV - KNRO-FM, KIKK-FM, KGBC-FM, KFRD-FM
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KNRO-FM, Conroe, signed on in February, 1965, at 106.9 MHz. The exact date of the first broadcast is not known but Broadcasting Yearbook gives the date as February 14. A permit had been issued 2 weeks earlier for remote control operation. In early August of 1968, the station went to 24 hours a day, launching an all-night country music program hosted by a former Nashville musician, Bill Board. The midnight to 6am show was call the Tennessee Bill Board Country Music program according to Station Manager Bob Brown. (Note: I did not make this story up; it was published in Billboard). The station operated with 40,000 watts at that time.
The station was acquired by the Jimmy Swaggert Evangelical Association on March 31, 1978. In the 1979 Broadcasting Yearbook the calls are given as KMCV-FM but it is not known when those calls were adopted. The listing shows the station operating with 98,000 watts from a 530 foot tall antenna. Subsequently, Swaggert was to adopt the calls KJOJ-FM. The station was eventually sold to Regan Henry and US Radio which programmed jazz and shock talk as KKHU. It has also been known as U106.9 and ZRock.
Currently KHPT-FM, the Eagle, a Classic Hits station owned by Cox, operates on 106.9, simulcasting with KGLK-FM, Lake Jackson, on 107.5.
Billboard Magazine reported on December 25, 1965, that KHUL-FM, 95.7 MHz, had switched to a country format. Jack Hayes was Program Director. Eight months later, on August 12, 1966, Industrial Broadcasting acquired the station. Industrial was also the owner and operator of KIKK, 650 kHz which it had acquired on October 1, 1958. The two stations maintained separate facilities and staffs. Charles Temple was General Manager of KHUL and Mike McCann was Program Director; Leroy Gloger was General Manager of Industrial. A Market Profile of Houston published in Billboard Magazine, March 5, 1966, indicated KHUL-FM was already broadcasting 100% country music by that time, well before being taken over by KIKK.
A story in Broadcasting in May, 1967, said Industrial was also managing WENK in Union City, TN, doing business as KIKK, and was also going to manage stations in Paducah, KY.
On November 11, 1966, Industrial applied for permission to change the call letters of KHUL-FM to KIKK-FM. The date of the call letter flip is not known but the station was operating with the new calls by by March, 1967, when Billboard published a Houston market profile. KIKK-FM had 15.5 kilowatts of power from atop a 235 foot antenna at the site of the former KHUL studios at 1700 Holcombe Blvd. Leroy Gloger was listed as President and Art Posner was in charge of Operations. On August 10, 1968, Nortemp Broadcasting acquired KIKK-FM.
The station maintained a Country Music format until November 7, 2002, when it flipped to The Wave, KHJZ-FM, a smooth jazz format. Currently the station is known as Hot 95.7. It is owned by CBS and the calls are KKHH which were adopted on April 1, 2008.
On February 11, 1968, Harbor Broadcasting, licensee of KGBC, Galveston, signed on their new FM station on 106.1 MHz, with the call letters KGBC-FM. Harbor had acquired the AM station on December 20, 1964.
The FM station was sold to Beacon Broadcasting in 1974, moved to 106.5 MHz and re-branded as KUFO-FM. Subsequent calls on the station were KXKX and KQQK but the station ceased broadcasting and had it’s license cancelled by the FCC in March, 1989.
On August 4, 1968, a license was issued for KFRD-FM, Rosenberg, to operate on 104.9 MHz. The station does not appear to have gotten on the air immediately, however. An FCC notice in late November appears to authorize programming operations and in Billboard Magazine for November 30, General Manager Bill Sloan indicated the station would broadcast daily from 3:30 pm to 11 pm, duplicating the programming of the AM station until 5:30 pm and then airing a program to be known as the Town and Country Time Program. The music would include both pop and country. Subsequent call letters used on the station have included KMIA-FM, KMPQ-FM, KLTO-FM, KOVA-FM, and KPTY-FM. Currently the station is licensed to Missouri City, Texas, and operates as KAMA-FM, Tu Musica. It is owned by Univision.
The station was acquired by the Jimmy Swaggert Evangelical Association on March 31, 1978. In the 1979 Broadcasting Yearbook the calls are given as KMCV-FM but it is not known when those calls were adopted. The listing shows the station operating with 98,000 watts from a 530 foot tall antenna. Subsequently, Swaggert was to adopt the calls KJOJ-FM. The station was eventually sold to Regan Henry and US Radio which programmed jazz and shock talk as KKHU. It has also been known as U106.9 and ZRock.
Currently KHPT-FM, the Eagle, a Classic Hits station owned by Cox, operates on 106.9, simulcasting with KGLK-FM, Lake Jackson, on 107.5.
Billboard Magazine reported on December 25, 1965, that KHUL-FM, 95.7 MHz, had switched to a country format. Jack Hayes was Program Director. Eight months later, on August 12, 1966, Industrial Broadcasting acquired the station. Industrial was also the owner and operator of KIKK, 650 kHz which it had acquired on October 1, 1958. The two stations maintained separate facilities and staffs. Charles Temple was General Manager of KHUL and Mike McCann was Program Director; Leroy Gloger was General Manager of Industrial. A Market Profile of Houston published in Billboard Magazine, March 5, 1966, indicated KHUL-FM was already broadcasting 100% country music by that time, well before being taken over by KIKK.
A story in Broadcasting in May, 1967, said Industrial was also managing WENK in Union City, TN, doing business as KIKK, and was also going to manage stations in Paducah, KY.
On November 11, 1966, Industrial applied for permission to change the call letters of KHUL-FM to KIKK-FM. The date of the call letter flip is not known but the station was operating with the new calls by by March, 1967, when Billboard published a Houston market profile. KIKK-FM had 15.5 kilowatts of power from atop a 235 foot antenna at the site of the former KHUL studios at 1700 Holcombe Blvd. Leroy Gloger was listed as President and Art Posner was in charge of Operations. On August 10, 1968, Nortemp Broadcasting acquired KIKK-FM.
The station maintained a Country Music format until November 7, 2002, when it flipped to The Wave, KHJZ-FM, a smooth jazz format. Currently the station is known as Hot 95.7. It is owned by CBS and the calls are KKHH which were adopted on April 1, 2008.
On February 11, 1968, Harbor Broadcasting, licensee of KGBC, Galveston, signed on their new FM station on 106.1 MHz, with the call letters KGBC-FM. Harbor had acquired the AM station on December 20, 1964.
The FM station was sold to Beacon Broadcasting in 1974, moved to 106.5 MHz and re-branded as KUFO-FM. Subsequent calls on the station were KXKX and KQQK but the station ceased broadcasting and had it’s license cancelled by the FCC in March, 1989.
On August 4, 1968, a license was issued for KFRD-FM, Rosenberg, to operate on 104.9 MHz. The station does not appear to have gotten on the air immediately, however. An FCC notice in late November appears to authorize programming operations and in Billboard Magazine for November 30, General Manager Bill Sloan indicated the station would broadcast daily from 3:30 pm to 11 pm, duplicating the programming of the AM station until 5:30 pm and then airing a program to be known as the Town and Country Time Program. The music would include both pop and country. Subsequent call letters used on the station have included KMIA-FM, KMPQ-FM, KLTO-FM, KOVA-FM, and KPTY-FM. Currently the station is licensed to Missouri City, Texas, and operates as KAMA-FM, Tu Musica. It is owned by Univision.
17 Mayıs 2012 Perşembe
Larry Kane Show Clips
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I've heard from Bud Buschardt, a graduate in RTV from the University of Houston who worked at KUHF and KUHT and went on to a long career at WFAA-TV and KVIL, Dallas, and then the ABC Radio Networks. He now teaches communications classes at the University of North Texas and was inducted into the Texas Radio Hall of Fame in 2010.
Buschardt has talked to his friend and classmate Kerry Richards who was the director of the Kane show beginning in the mid-60s and who confirmed that the tapes of the show were destroyed while in storage in an un-air conditioned warehouse. The only videos known to exist are those that were traded with stations in other markets that were doing similar teen shows. One such clip was provided by Buschardt to Ovid Stevens, a member of the 1960s Dallas psychedelic rock group Southwest FOB. Stevens has posted the clip on YouTube. The song was produced by Buschardt's record company. Kane's mention of the smash hit Harper Valley PTA dates this clip to the spring of 1968.
Stevens was the guitarist and founder of the group which also included Dan Seals and John Colley. Seals was the younger brother of Jim Seals of Seals and Croft; he and Colley teamed up to form the soft rock group England Dan and John Ford Coley in the 1970s. After the group disbanded, Seals had a lengthy solo career as a country artist and died in March, 2009.
There is also an edited version of the clip which runs only 59 seconds and shows only Kane's intro to the band and his interview with members afterwards.
Since this Blogger template unfortunately does not accommodate YouTube videos, here are the links. The long version has been uploaded a couple of times; here's the original upload by Ovid Stevens with comments. And the shorter version.
There is also a 9 minute clip in black and white with KUHT leader posted by Jay Dooling, one of the dancers on the show. This was filmed while the show was still being broadcast from studios on the UH campus at the facility on Cullen Blvd. that that had been the original home of KNUZ-TV and later became the long time home of KUHT. Buschardt believes the episode dates from January, 1963. Two dancers, Dooling and his partner Mary Ann Masters, are tagged in the video, about half way through. This one shows only the dancers, however, Kane's appearances are edited out.
The dancers on the Kane show had to take dancing lessons before they could appear and their talent is clearly showcased, especially in some of the uptempo numbers near the end of the clip.
Still another 14 minute clip consists of home movies of a couple on the show; it's in color but the video is poor and there's no audio.
If anybody knows of any other clips online please let me know.
Buschardt has talked to his friend and classmate Kerry Richards who was the director of the Kane show beginning in the mid-60s and who confirmed that the tapes of the show were destroyed while in storage in an un-air conditioned warehouse. The only videos known to exist are those that were traded with stations in other markets that were doing similar teen shows. One such clip was provided by Buschardt to Ovid Stevens, a member of the 1960s Dallas psychedelic rock group Southwest FOB. Stevens has posted the clip on YouTube. The song was produced by Buschardt's record company. Kane's mention of the smash hit Harper Valley PTA dates this clip to the spring of 1968.
Stevens was the guitarist and founder of the group which also included Dan Seals and John Colley. Seals was the younger brother of Jim Seals of Seals and Croft; he and Colley teamed up to form the soft rock group England Dan and John Ford Coley in the 1970s. After the group disbanded, Seals had a lengthy solo career as a country artist and died in March, 2009.
There is also an edited version of the clip which runs only 59 seconds and shows only Kane's intro to the band and his interview with members afterwards.
Since this Blogger template unfortunately does not accommodate YouTube videos, here are the links. The long version has been uploaded a couple of times; here's the original upload by Ovid Stevens with comments. And the shorter version.
There is also a 9 minute clip in black and white with KUHT leader posted by Jay Dooling, one of the dancers on the show. This was filmed while the show was still being broadcast from studios on the UH campus at the facility on Cullen Blvd. that that had been the original home of KNUZ-TV and later became the long time home of KUHT. Buschardt believes the episode dates from January, 1963. Two dancers, Dooling and his partner Mary Ann Masters, are tagged in the video, about half way through. This one shows only the dancers, however, Kane's appearances are edited out.
The dancers on the Kane show had to take dancing lessons before they could appear and their talent is clearly showcased, especially in some of the uptempo numbers near the end of the clip.
Still another 14 minute clip consists of home movies of a couple on the show; it's in color but the video is poor and there's no audio.
If anybody knows of any other clips online please let me know.
Bob Horn/Philly Bandstand - Bob Adams/KILT
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This is a story I only recently learned of, a small part of Houston radio history, brought to my attention by John Hill. It’s the story of how the creator of Bandstand, as in American Bandstand, wound up a deejay on KILT, then an ad agency and bar owner in Houston.
The details have been spelled out, not without contradictions, in several accounts online and in a book, Bandstand: The Untold Story, by Stan Blitz.
Briefly, Bob Horn was a popular deejay on Philadelphia’s WIP in the late 40s with a late nite program called ‘C’mon And Dance.’ He was hired away by rival WFIL to create a similar show on that station which became known as Bob Horn’s Bandstand. He also got his first taste of TV, hosting a game show that bombed.
It’s not clear who’s idea it was but the late nite radio show was given a television spinoff on WFIL-TV, also called Bob Horn’s Bandstand, which featured Horn introducing film clips of artists performing their songs and occasional interviews with artists passing through Philly. It bombed, and was taken off the air after a month and the station started running movies in its stead.
Conflicting claims have been made as to whether station management or Horn himself suggested the show be moved to a larger studio and teens invited in to dance on-air, but the idea went over with management and a new version of Bob Horn’s Bandstand premiered on WFIL-TV on October 7, 1952, heavily promoted by the radio and TV outlets and their parent, the Philadelphia Inquirer. Teens were slow to respond on the first day but by the third day, it was said there were a thousand waiting to get into the studio and Bob Horn’s Bandstand was on it’s way. The first advertiser was Earl ‘Madman’ Muntz of Muntz television fame.
Over the next four years, the show garnered as much as 60% of the daytime Philly TV audience according to some accounts and caught the attention of TV executives elsewhere. There was even talk of going national. Early on, the teens danced to artists like Joni James and Frankie Laine but as the music changed during the decade, so did the show. At times it ran as long as two hours a day, five days a week, all done live.
Then in 1956, Horn’s career hit a couple of major road bumps. First, the Philly PD, the Inquirer and WFIL-TV were conducting a month-long drive against drunk driving and Bob Horn was caught driving drunk and assessed a $300 fine. Then he was involved in a minor accident driving the wrong way on a one way street, resulting in some injuries. He was adjudged intoxicated, but not enough to impair his driving, and his insurance company paid $100,000 in claims.
In addition charges of statutory rape were brought against him by a teen-aged dancer or would be dancer on the show. Horn’s family has said there was an extortion attempt that preceded the charges and the prosecutors knew of it and cooperated in amassing the money for the payoff but took the case to court anyway. A first trial resulted in a hung jury while a second trial found Horn innocent.
But he was finished in Philly radio and TV. He had been taken off Bandstand and a producer had filled in as host for a short time while the station sifted through it’s other deejays for a replacement, finally selecting a 26 year old named Dick Clark, who had to be given a crash course in rock ‘n roll. A year after taking over for Horn, Clark pitched the show to ABC which picked it up for a trial run then took it on as a permanent fixture of their afternoon schedule, renaming the show American Bandstand.
Meanwhile, Horn was out of work when an old employer, Gordon McLendon, called. He had heard of Horn’s predicament and offered him a job at his new station in Houston. Horn accepted and made the trek across country, changing his name to Bob Adams for his new career.
According to the schedule published in the Chronicle, March 14, 1957, Bob Adams was on the air from 9pm to Midnight on the first day of the new station. In an accompanying article, Bill Weaver was quoted as naming Bob Adams as one of the new announcers but also mentioned other deejays who would be joining the staff, including Bob Horn of Philadelphia. One of the online accounts of Horn’s life says he didn’t get to Houston until July of 1957. It’s not known if the Chronicle reporter misunderstood Weaver or if someone else began the use of the name Bob Adams on KILT, but it didn’t matter much, because Horn/Adams didn’t last long as an announcer on KILT. His East Coast style didn’t sit well with KILT’s audience and he was taken off the air and put in sales before long, becoming according to one account the top producer in the KILT sales staff. It was said the audience may not have liked his sound but advertisers loved hearing his stories of how he created Bandstand.
Eventually he left the station and opened his own agency, Bob Adams Associates, credited with creating Houston’s first Midnight Madness Sale. He also bought a ranch in the country and a bar in Bellaire called the Town and Country Lounge. John Hill’s contact with Adams came when he visited the recording studio that John ran at the back of the second floor of the McLendon Building at 500 Lovett Blvd. to record spots for his clients. He preferred to use Bob Presley and Rob McLeod to voice his spots.
Bob Adams life seemed to be going very well in Houston until the summer of 1966 when he suffered a heat-stroke induced heart attack while mowing his lawn and died. He is buried at Forest Park on Lawndale where his simple grave marker includes the epitaph ‘Bandstand.’
The History of Rock website has the most thorough account of Horn’s career, including photos, reproductions of newspaper clippings concerning the trials, and a shot of the grave marker. The original article is in bold while additions to the story credited to Peter Horn, Bob Horn’s son, are in un-bold typeface.
Philadelphia’s City Paper did a story on American Bandstand for the fortieth anniversary a few years back including some references to the early incarnation of Bandstand, and this article in the Tucson Sun introduced me to Stan Blitz and his book, which I have not seen.
I’m hoping some readers of this blog who were around back then, those who were just listeners or old radio pros or advertisers, can provide some more details of his career in Houston. I wonder, for instance, if any of the local TV teen dance show hosts, Larry Kane, Bob Byron, etc., knew of his role in the creation of the genre and ever conferred with him and where his bar was.
The details have been spelled out, not without contradictions, in several accounts online and in a book, Bandstand: The Untold Story, by Stan Blitz.
Briefly, Bob Horn was a popular deejay on Philadelphia’s WIP in the late 40s with a late nite program called ‘C’mon And Dance.’ He was hired away by rival WFIL to create a similar show on that station which became known as Bob Horn’s Bandstand. He also got his first taste of TV, hosting a game show that bombed.
It’s not clear who’s idea it was but the late nite radio show was given a television spinoff on WFIL-TV, also called Bob Horn’s Bandstand, which featured Horn introducing film clips of artists performing their songs and occasional interviews with artists passing through Philly. It bombed, and was taken off the air after a month and the station started running movies in its stead.
Conflicting claims have been made as to whether station management or Horn himself suggested the show be moved to a larger studio and teens invited in to dance on-air, but the idea went over with management and a new version of Bob Horn’s Bandstand premiered on WFIL-TV on October 7, 1952, heavily promoted by the radio and TV outlets and their parent, the Philadelphia Inquirer. Teens were slow to respond on the first day but by the third day, it was said there were a thousand waiting to get into the studio and Bob Horn’s Bandstand was on it’s way. The first advertiser was Earl ‘Madman’ Muntz of Muntz television fame.
Over the next four years, the show garnered as much as 60% of the daytime Philly TV audience according to some accounts and caught the attention of TV executives elsewhere. There was even talk of going national. Early on, the teens danced to artists like Joni James and Frankie Laine but as the music changed during the decade, so did the show. At times it ran as long as two hours a day, five days a week, all done live.
Then in 1956, Horn’s career hit a couple of major road bumps. First, the Philly PD, the Inquirer and WFIL-TV were conducting a month-long drive against drunk driving and Bob Horn was caught driving drunk and assessed a $300 fine. Then he was involved in a minor accident driving the wrong way on a one way street, resulting in some injuries. He was adjudged intoxicated, but not enough to impair his driving, and his insurance company paid $100,000 in claims.
In addition charges of statutory rape were brought against him by a teen-aged dancer or would be dancer on the show. Horn’s family has said there was an extortion attempt that preceded the charges and the prosecutors knew of it and cooperated in amassing the money for the payoff but took the case to court anyway. A first trial resulted in a hung jury while a second trial found Horn innocent.
But he was finished in Philly radio and TV. He had been taken off Bandstand and a producer had filled in as host for a short time while the station sifted through it’s other deejays for a replacement, finally selecting a 26 year old named Dick Clark, who had to be given a crash course in rock ‘n roll. A year after taking over for Horn, Clark pitched the show to ABC which picked it up for a trial run then took it on as a permanent fixture of their afternoon schedule, renaming the show American Bandstand.
Meanwhile, Horn was out of work when an old employer, Gordon McLendon, called. He had heard of Horn’s predicament and offered him a job at his new station in Houston. Horn accepted and made the trek across country, changing his name to Bob Adams for his new career.
According to the schedule published in the Chronicle, March 14, 1957, Bob Adams was on the air from 9pm to Midnight on the first day of the new station. In an accompanying article, Bill Weaver was quoted as naming Bob Adams as one of the new announcers but also mentioned other deejays who would be joining the staff, including Bob Horn of Philadelphia. One of the online accounts of Horn’s life says he didn’t get to Houston until July of 1957. It’s not known if the Chronicle reporter misunderstood Weaver or if someone else began the use of the name Bob Adams on KILT, but it didn’t matter much, because Horn/Adams didn’t last long as an announcer on KILT. His East Coast style didn’t sit well with KILT’s audience and he was taken off the air and put in sales before long, becoming according to one account the top producer in the KILT sales staff. It was said the audience may not have liked his sound but advertisers loved hearing his stories of how he created Bandstand.
Eventually he left the station and opened his own agency, Bob Adams Associates, credited with creating Houston’s first Midnight Madness Sale. He also bought a ranch in the country and a bar in Bellaire called the Town and Country Lounge. John Hill’s contact with Adams came when he visited the recording studio that John ran at the back of the second floor of the McLendon Building at 500 Lovett Blvd. to record spots for his clients. He preferred to use Bob Presley and Rob McLeod to voice his spots.
Bob Adams life seemed to be going very well in Houston until the summer of 1966 when he suffered a heat-stroke induced heart attack while mowing his lawn and died. He is buried at Forest Park on Lawndale where his simple grave marker includes the epitaph ‘Bandstand.’
The History of Rock website has the most thorough account of Horn’s career, including photos, reproductions of newspaper clippings concerning the trials, and a shot of the grave marker. The original article is in bold while additions to the story credited to Peter Horn, Bob Horn’s son, are in un-bold typeface.
Philadelphia’s City Paper did a story on American Bandstand for the fortieth anniversary a few years back including some references to the early incarnation of Bandstand, and this article in the Tucson Sun introduced me to Stan Blitz and his book, which I have not seen.
I’m hoping some readers of this blog who were around back then, those who were just listeners or old radio pros or advertisers, can provide some more details of his career in Houston. I wonder, for instance, if any of the local TV teen dance show hosts, Larry Kane, Bob Byron, etc., knew of his role in the creation of the genre and ever conferred with him and where his bar was.
Elvis in Houston - the Venues, the DJs
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James V. Roy is a researcher who has put together a website devoted to Scotty Moore, the legendary guitarist and first personal manager of Elvis Presley. His very comprehensive article on Elvis' early appearances in Houston, before he became a national star, is a very fascinating account of the venues Elvis played at as well as mentioning many of the DJs and radio stations that were very involved in live music back then and makes very good reading related to this blog.
Weaver Morrow - RIP
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I am very shocked and saddened to report the passing of Weaver Morrow, longtime Houston radio man. I first met Weaver in the first week of September, 1970, during the first days of KAUM. He was a Houston Radio Legend from the first moment he cracked the mic; his humor turned the market upside down and was a huge part of the success of KAUM - and we were the most successful of the ABC-FMs, at least at first. Radio people came from all over to hear what we were doing that had vaulted us from something like 27th to 7th in the ratings in one rating period. The ABC execs in NY suggested moving him to afternoons, when more of our audience would likely be awake; they listened regularly and so did the other ABC-FM PDs. Everyone loved him. I was so disappointed when he first left the market and glad when he returned. He had long stints at KRBE-FM and KODA-FM.
Chronicle obituary and services
Chronicle obituary and services
A KILT Footrace
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J.R. Gonzales' Bayou City History blog in the Chronicle has posted a story about a big promotional event staged by KILT in the Astrodome in 1969 between Roy Hofheinz, owner of the Astros, and Mayor Louie Welch, a foot race to promote physical fitness and the KILT Jog Corps.
The Great Indoor Contest
It's a great little story about an event I never had heard of with pictures of Hudson and Harrigan and probably some other KILT staffers of that day.
The Great Indoor Contest
It's a great little story about an event I never had heard of with pictures of Hudson and Harrigan and probably some other KILT staffers of that day.
13 Mayıs 2012 Pazar
Red Jones - KILT
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Another KILT Ex has checked in.
Red Jones worked for KILT from 1957 to 1962, with a stint as Program director from ‘59 to ‘62. He got out of the Army in September, 1956, and joined KXYZ doing evenings in November of that year, working with Chuck Dunaway and Larry Kane among others. About a month after KILT signed on in March, ‘57, Don Keyes hired Red to do overnights but he soon moved up to Noon to 3 pm. After Keyes left to go back to Dallas, Jack Sharp was PD; Red replaced him in 1959 and moved to 3pm-7pm for the rest of his time in Houston.
Red says when he made PD, Bill Weaver told him ‘You run the upstairs and I’ll run the downstairs’ and he never went back on his word. As far as he remembers, they never had staff meetings - everybody did their own thing and it paid off. They had great Hooper and Pulse numbers and a dominant staff including the likes of John Trotter, Rob McLeod, Bob Presley, Bill Slater, Joel A Spivak., Cecil Tuck, John Land, and Thom Beck. Glen Cook was CE and Hank Poole was production engineer. It was fun times according to Red (and fun to listen to, too).
He was invited to interview for a gig at WABC, New York, and did. He didn’t get the job but when KILT heard about it he was ‘eased out.’ News Director Cecil Tuck took over as PD for a brief spell.
Red was hired by Kent Burkhart, another KILT alumnus, as PD of WQXI, Atlanta, and spent the rest of his career in Georgia radio. He’s retired now after 63 years in radio and living in Georgia. He was inducted into the Georgia Radio Museum and Hall of Fame in 2008 and recently celebrated his 80th birthday, still going strong.
His Georgia Radio Museum and Hall of Fame page (a much more impressive site than out TRHOF) contains more biographical information about his early years in South Texas and Austin and his stint with AFN in Germany before coming to Houston, plus much more about his long career in radio in Georgia, in a collection of clippings from his career.
The picture above is from the GRHOF site.
Red Jones worked for KILT from 1957 to 1962, with a stint as Program director from ‘59 to ‘62. He got out of the Army in September, 1956, and joined KXYZ doing evenings in November of that year, working with Chuck Dunaway and Larry Kane among others. About a month after KILT signed on in March, ‘57, Don Keyes hired Red to do overnights but he soon moved up to Noon to 3 pm. After Keyes left to go back to Dallas, Jack Sharp was PD; Red replaced him in 1959 and moved to 3pm-7pm for the rest of his time in Houston.Red says when he made PD, Bill Weaver told him ‘You run the upstairs and I’ll run the downstairs’ and he never went back on his word. As far as he remembers, they never had staff meetings - everybody did their own thing and it paid off. They had great Hooper and Pulse numbers and a dominant staff including the likes of John Trotter, Rob McLeod, Bob Presley, Bill Slater, Joel A Spivak., Cecil Tuck, John Land, and Thom Beck. Glen Cook was CE and Hank Poole was production engineer. It was fun times according to Red (and fun to listen to, too).
He was invited to interview for a gig at WABC, New York, and did. He didn’t get the job but when KILT heard about it he was ‘eased out.’ News Director Cecil Tuck took over as PD for a brief spell.
Red was hired by Kent Burkhart, another KILT alumnus, as PD of WQXI, Atlanta, and spent the rest of his career in Georgia radio. He’s retired now after 63 years in radio and living in Georgia. He was inducted into the Georgia Radio Museum and Hall of Fame in 2008 and recently celebrated his 80th birthday, still going strong.
His Georgia Radio Museum and Hall of Fame page (a much more impressive site than out TRHOF) contains more biographical information about his early years in South Texas and Austin and his stint with AFN in Germany before coming to Houston, plus much more about his long career in radio in Georgia, in a collection of clippings from his career.
The picture above is from the GRHOF site.
A KILT Tour - 1961
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My correspondent, John Hill, has provided me with a wealth of information about KILT in the early 1960s, including a description of the equipment in use at this time. This is fascinating information for radio and equipment geeks and for everyone who worked in the McLendon building over the years, and so I am reproducing it here as John related it to me. Note: KILT first occupied the facility in 1957 and moved out in 1995. Although the building is still standing, there is no broadcast equipment or operation at this location now.
In 1961, the KOST-FM (now KILT-FM) transmitter, a Gates 5KW kit, was located in the engineering workshop on the 2nd floor of the McLendon Building at 500 Lovett Blvd. The antenna was a 4-bay horizontally polarized "V" array atop the tower immediately behind the building. The UHF (News COMM) antenna was also mounted on the tower.
We ran KOST-FM from 6-midnight (the minimum time to keep a license current) and John Trotter would sign it on as "This is KOST'n KILT in Houston. At the time, KOST was "costing" KILT but, Gordon McLendon had the foresight to know what a more significant role FM would play in the future of broadcasting.
There was a lot of old paperwork at the AM transmitter site that indicated it was the original site. The Collins 5V main transmitter, and the 1V back-up transmitter, were not original. Since the McLendon's were pro-Collins, I'll guess the Collins gear was installed after they purchased the station. The antenna phasing cabinet, between the two transmitters, was earlier vintage than the Collins transmitters, but had been well maintained. The board and turntables at the transmitter site were definitely 'early marriage.'
With regard to the studio layout at the McLendon building, as you looked at the building, there were two sides. KILT occupied the left side. (John believes an insurance company occupied the right half of the building). The receptionist, copy, sales and management offices were on the first floor. The stairway, near the left front lobby glass window before the atrium, went upstairs to the studios.
On the second floor, the break room faced Lovett Blvd. Following the hallway toward the back of the building, on the left, there was the newsroom, On-Air studio #1, another much larger studio that we called "Studio B," On-Air studio #2/Recording Studio/Master Control Room, Engineering Office, and Engineering Shop. The right side of that hallway was solid wall.
Between the Newsroom and Studio #1, there was a double glass window so that the on-air newsman and on-air DJ were facing each for "tighter" production. Both had their boards in front of them.
There was another double glass window between Studio 1 and Studio B, which had a table and chairs. The back wall of Studio B had a double glass window so those at the table (voice talent) were normally looking up and through the double glass to the recording engineer, who had a board in front of him. Or, when in Studio B, the on-air DJ would have eye contact with me as I operated the on-air board in #1, there again for hand signals, nods...whatever cue, for tighter production.
With all that glass, we had visibility from the Master Control Room to the Newsroom so that the on-air newsman had eye contact with whomever was at the board of the Master. (In those instances, lights were usually turned off in Studios #1 and B...otherwise field glasses helped!)
Occasionally, the on-air jock would be in Studio B and I would be operating the on-air board while the jock was (usually) doing an interview, such as the train wreck we had when Dean Martin and Jerry Lewis came in. (We finally had to break that off, get John Trotter back in the on-air #1 and tape the interview which took over an hour for a 10 minute "clean" interview...not to mention the tape edit time). All our interviews were...uh, interesting.?!!
Equipment-wise, the Newsroom had 5-Model 19 teletypes, 4 on line and a back-up, a Collins board, several rack mounted recorders, patch panels, a Collins cartridge playback machine and our UHF transmitter/receiver for mobile news unit COMM.
On-Air #1 had a Collins board, 4 Gates turntables, 4 Collins cartridge playback machines, a rack/cabinet mounted Schaffer remote control system (AM transmitter remote controls), an FM transmitter control panel, and a rotating cartridge bin. It was pretty much a full house.
Studio B was for voice work only; it had a table with several phased mics, two wall mounted play-back speakers and about a dozen chairs. It was more like a small conference room.
On-Air #2/Recording Studio/Master Control had a Collins board, 2 Gates turntables, 2 Ampex 361 recorders on wheels, 2 Collins ATC record/playback machines, two racks with patch panels, McIntosh audio amplifiers and two rack mounted receivers for on-air monitoring. (The DJ was listening to the AM receiver, rather than his console output, so we would have another indicator if we went off the air.) On the back wall we had a cabinet with a disc cutter, its McIntosh driver amplifier and our cartridge and tape erasing devices, all of which I'm sure are long since dust-biters.
The engineering office was rather small with a desk, chairs and filing cabinets.
In the engineering shop, there was the 5KW KOST-FM Gates transmitter and the controls for the natural gas powered Onan generator that was mounted inside the FM tower base behind the building. There was also a sizable work bench with various test equipment and spare parts bins.
We replaced the older cartridge machines and all studio mics with the relatively new Collins ATC's and Telefunken microphones that were removed from the M/V Mi Amigo, which was home to McLendon’s ‘pirate’ radio ship operation off the coast of Norway, when Radio Nord was disassembled at Pier 37 in Galveston. KILT was the recipient of a good bit of studio gear.
Note: Although it was not a Houston radio station, its connection to Gordon McLendon and KILT warrants more information; for more on Radio Nord and it’s successor ship, see:
Radio Nord in Wikipedia
Pictures of Radio Nord, more pictures, and still more pictures.
Radio Atlanta in Wikipedia
Note: the Soundscapes site says the ship was outfitted at Copenhagen; John was told it was outfitted at Galveston by KILT transmitter supervisor Frank Maher. This was before John joined the station. Although both operations were referred to as 'pirate' radio stations, both actually operated under the laws of that time.
See also the KILT staff directory, the story of Bob Horn/Bob Adams, and the Hooper Ratings for this era.
In 1961, the KOST-FM (now KILT-FM) transmitter, a Gates 5KW kit, was located in the engineering workshop on the 2nd floor of the McLendon Building at 500 Lovett Blvd. The antenna was a 4-bay horizontally polarized "V" array atop the tower immediately behind the building. The UHF (News COMM) antenna was also mounted on the tower.
We ran KOST-FM from 6-midnight (the minimum time to keep a license current) and John Trotter would sign it on as "This is KOST'n KILT in Houston. At the time, KOST was "costing" KILT but, Gordon McLendon had the foresight to know what a more significant role FM would play in the future of broadcasting.
There was a lot of old paperwork at the AM transmitter site that indicated it was the original site. The Collins 5V main transmitter, and the 1V back-up transmitter, were not original. Since the McLendon's were pro-Collins, I'll guess the Collins gear was installed after they purchased the station. The antenna phasing cabinet, between the two transmitters, was earlier vintage than the Collins transmitters, but had been well maintained. The board and turntables at the transmitter site were definitely 'early marriage.'
With regard to the studio layout at the McLendon building, as you looked at the building, there were two sides. KILT occupied the left side. (John believes an insurance company occupied the right half of the building). The receptionist, copy, sales and management offices were on the first floor. The stairway, near the left front lobby glass window before the atrium, went upstairs to the studios.
On the second floor, the break room faced Lovett Blvd. Following the hallway toward the back of the building, on the left, there was the newsroom, On-Air studio #1, another much larger studio that we called "Studio B," On-Air studio #2/Recording Studio/Master Control Room, Engineering Office, and Engineering Shop. The right side of that hallway was solid wall.
Between the Newsroom and Studio #1, there was a double glass window so that the on-air newsman and on-air DJ were facing each for "tighter" production. Both had their boards in front of them.
There was another double glass window between Studio 1 and Studio B, which had a table and chairs. The back wall of Studio B had a double glass window so those at the table (voice talent) were normally looking up and through the double glass to the recording engineer, who had a board in front of him. Or, when in Studio B, the on-air DJ would have eye contact with me as I operated the on-air board in #1, there again for hand signals, nods...whatever cue, for tighter production.
With all that glass, we had visibility from the Master Control Room to the Newsroom so that the on-air newsman had eye contact with whomever was at the board of the Master. (In those instances, lights were usually turned off in Studios #1 and B...otherwise field glasses helped!)
Occasionally, the on-air jock would be in Studio B and I would be operating the on-air board while the jock was (usually) doing an interview, such as the train wreck we had when Dean Martin and Jerry Lewis came in. (We finally had to break that off, get John Trotter back in the on-air #1 and tape the interview which took over an hour for a 10 minute "clean" interview...not to mention the tape edit time). All our interviews were...uh, interesting.?!!
Equipment-wise, the Newsroom had 5-Model 19 teletypes, 4 on line and a back-up, a Collins board, several rack mounted recorders, patch panels, a Collins cartridge playback machine and our UHF transmitter/receiver for mobile news unit COMM.
On-Air #1 had a Collins board, 4 Gates turntables, 4 Collins cartridge playback machines, a rack/cabinet mounted Schaffer remote control system (AM transmitter remote controls), an FM transmitter control panel, and a rotating cartridge bin. It was pretty much a full house.
Studio B was for voice work only; it had a table with several phased mics, two wall mounted play-back speakers and about a dozen chairs. It was more like a small conference room.
On-Air #2/Recording Studio/Master Control had a Collins board, 2 Gates turntables, 2 Ampex 361 recorders on wheels, 2 Collins ATC record/playback machines, two racks with patch panels, McIntosh audio amplifiers and two rack mounted receivers for on-air monitoring. (The DJ was listening to the AM receiver, rather than his console output, so we would have another indicator if we went off the air.) On the back wall we had a cabinet with a disc cutter, its McIntosh driver amplifier and our cartridge and tape erasing devices, all of which I'm sure are long since dust-biters.
The engineering office was rather small with a desk, chairs and filing cabinets.
In the engineering shop, there was the 5KW KOST-FM Gates transmitter and the controls for the natural gas powered Onan generator that was mounted inside the FM tower base behind the building. There was also a sizable work bench with various test equipment and spare parts bins.
We replaced the older cartridge machines and all studio mics with the relatively new Collins ATC's and Telefunken microphones that were removed from the M/V Mi Amigo, which was home to McLendon’s ‘pirate’ radio ship operation off the coast of Norway, when Radio Nord was disassembled at Pier 37 in Galveston. KILT was the recipient of a good bit of studio gear.
Note: Although it was not a Houston radio station, its connection to Gordon McLendon and KILT warrants more information; for more on Radio Nord and it’s successor ship, see:
Radio Nord in Wikipedia
Pictures of Radio Nord, more pictures, and still more pictures.
Radio Atlanta in Wikipedia
Note: the Soundscapes site says the ship was outfitted at Copenhagen; John was told it was outfitted at Galveston by KILT transmitter supervisor Frank Maher. This was before John joined the station. Although both operations were referred to as 'pirate' radio stations, both actually operated under the laws of that time.
See also the KILT staff directory, the story of Bob Horn/Bob Adams, and the Hooper Ratings for this era.
Bill Zak - RIP
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Sad to report on the passing of yet another long-time Houston radio man, Bill Zak of KTRH.
Here is the obituary in the Chronicle.
I have found references indicating he started at KTRH in the 1940s; others say the early 1950s. I have found a Billboard reference that seems to indicate he was a disc jockey back in the day when KTRH interspersed CBS network programming with local music shows; however, given the cryptic style of Billboard, it's not entirely clear he was a disc jockey. But he will be most easily remembered by most for hosting 'Garden Line' with Dr. Ben Oldag, who died less than a year ago.
Here is a tribute that I found a long time ago, entered into the House of Representatives Congressional Record by Representative Jack Fields, on the occasion of Zak's retirement.
Here is the obituary in the Chronicle.
I have found references indicating he started at KTRH in the 1940s; others say the early 1950s. I have found a Billboard reference that seems to indicate he was a disc jockey back in the day when KTRH interspersed CBS network programming with local music shows; however, given the cryptic style of Billboard, it's not entirely clear he was a disc jockey. But he will be most easily remembered by most for hosting 'Garden Line' with Dr. Ben Oldag, who died less than a year ago.
Here is a tribute that I found a long time ago, entered into the House of Representatives Congressional Record by Representative Jack Fields, on the occasion of Zak's retirement.
Classic TV discussion - 11/18/11
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I've been contacted very belatedly about this and thought I would pass it on. Tonight, Fri 11/18/11, at 8 pm on Channel 8, Ernie Manouse leads a panel discussion "A Conversation On…Classic Houston TV," discussing Houston television's past with Doug Johnson, Warner Roberts, Jan Glenn, Jim Bernhard and Harold Gunn.
I'm hoping for some juicy behind-the-scenes tidbits.
A Conversation On...
Update: It was a great show including not only fascinating tidbits but clips of some classic moments/bloopers. I wish I'd had more time to promote it. I'm sure there will be re-airings.
I've been contacted very belatedly about this and thought I would pass it on. Tonight, Fri 11/18/11, at 8 pm on Channel 8, Ernie Manouse leads a panel discussion "A Conversation On…Classic Houston TV," discussing Houston television's past with Doug Johnson, Warner Roberts, Jan Glenn, Jim Bernhard and Harold Gunn.
I'm hoping for some juicy behind-the-scenes tidbits.
A Conversation On...
Update: It was a great show including not only fascinating tidbits but clips of some classic moments/bloopers. I wish I'd had more time to promote it. I'm sure there will be re-airings.
Another Historical Site of Interest
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I always assume that many of the readers of this site are interested in the history of Houston beyond just the history of radio and television, hence the section on the sidebar devoted to History Links. Here's another site I just learned about, a personal reminiscence of growing up in Houston, primarily in the 50s and 60s. It's a great collection of photos and facts drawn from many different sources and tied together with a narrative. I particularly appreciate the fact that the sources are always documented; too many people assume anything they find on the web they can use as though it was their own without crediting or asking permission. (Yes, there is some material from this site on there).
For those just interested in broadcast history, there's material related to radio on the page entitled The End of the Journey. Material concerning Houston TV in that era is on the page entitled More Life in Houston. And some of Marving Zindler's career is detailed on the page entitled More Memories.
For those just interested in broadcast history, there's material related to radio on the page entitled The End of the Journey. Material concerning Houston TV in that era is on the page entitled More Life in Houston. And some of Marving Zindler's career is detailed on the page entitled More Memories.
A Tim and Bob Gallery
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Often referred to as Houston's first morning duo, Tim and Bob were together on KPRC for over a decade. For more on the duo on this blog, click on the label at the end of this post; for other mentions of either individual enter the words 'Byron' or 'Nolan' in the search box.
The St. Patrick's Day Parade was one of their biggest promotions. According to a history on the St. Patrick's Parade Commission website, Tim and Bob resurrected the long-dormant Houston St. Patrick's Day parade in 1960 but I don't have dates for these pictures.
Bob Byron, left, and Tim Nolan. Judging by the decorations on the cake, this had something to do with St. Patrick's Day, too.
KPRC carried the syndicated 1960s comedy feature Chickenman and the Fearless Feathered Fighter came to town to promote the series.
And now for something a little different:
Judy Bonham, Byron's oldest daughter, to whom I am indebted for these pictures, notes the guys seem to be enjoying themselves.
Miscellaneous clippings and shots:
This clipping was from the Houston Post on a Friday in August but unfortunately the date and year is cut. It appeared top left, right under the masthead and above a story about heart surgery for a Cuban boy.
And a couple of personal mementos from Byron:
My thanks to Judy Bonham for providing all these shots and my apologies for taking so long to get them online. My thanks also to all the children of Tim and Bob I have corresponded with over the last year or so for their help.
One of the reasons I delayed publishing these pics was to try and identify the football player in the third from the last picture. I wasn't in Houston during most of the 60s and have no idea who it is, but have a suspicion that he was rather famous for some reason. I will appreciate it if anyone can identify him or add any information about any of these photos such as dates or names. For instance, if anyone can hazard a guess about the name of the movie on the marquee in picture # 1, we can probably date that picture but since Glenn McCarthy appears in two different shots in two different vehicles, the pictures probably do not all date from the same year.
The St. Patrick's Day Parade was one of their biggest promotions. According to a history on the St. Patrick's Parade Commission website, Tim and Bob resurrected the long-dormant Houston St. Patrick's Day parade in 1960 but I don't have dates for these pictures.
Bob Byron, left, and Tim Nolan. Judging by the decorations on the cake, this had something to do with St. Patrick's Day, too.KPRC carried the syndicated 1960s comedy feature Chickenman and the Fearless Feathered Fighter came to town to promote the series.
And now for something a little different:Judy Bonham, Byron's oldest daughter, to whom I am indebted for these pictures, notes the guys seem to be enjoying themselves.Miscellaneous clippings and shots:
This clipping was from the Houston Post on a Friday in August but unfortunately the date and year is cut. It appeared top left, right under the masthead and above a story about heart surgery for a Cuban boy.And a couple of personal mementos from Byron:My thanks to Judy Bonham for providing all these shots and my apologies for taking so long to get them online. My thanks also to all the children of Tim and Bob I have corresponded with over the last year or so for their help.One of the reasons I delayed publishing these pics was to try and identify the football player in the third from the last picture. I wasn't in Houston during most of the 60s and have no idea who it is, but have a suspicion that he was rather famous for some reason. I will appreciate it if anyone can identify him or add any information about any of these photos such as dates or names. For instance, if anyone can hazard a guess about the name of the movie on the marquee in picture # 1, we can probably date that picture but since Glenn McCarthy appears in two different shots in two different vehicles, the pictures probably do not all date from the same year.
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