Wayne State University


Victor Edward Swanson
The Hologlobe Press
Postal Box 5263
Cheboygan, Michigan  49721

copyright c. 2004, 2005, 2006, 2007, 2008, 2009, 2010,
2011, 2012, 2013, 2014, 2015, 2017, 2018,
2019, 2020, 2021, 2022

This document may be freely distributed,
but it may not be reproduced and sold
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Version 53
(September 2, 2022)


    The first version of this document was created and posted on the Internet, particularly through the Web site of The Hologlobe Press (www.hologlobepress.com), on April 10, 2004.  It provides a bit of history about WAYN-AM 860, a student-run radio station that once existed at Wayne State University, Detroit, Michigan, and the focus is on the time from the fall of 1971 to the spring of 1977, and one reason the focus is mostly on the time from the fall of 1971 to the spring of 1977 is I (Victor Swanson) was a member of the radio station at the time, and another reason the focus is mostly on the time from the fall of 1971 to the spring of 1977 is, since the spring of 1977, I have held onto newspaper articles about the station and copies or masters of documents that were created at the radio station at that time, such as copies of membership lists, and the paper materials only focus on that period in the history of the station.  A person who is unfamiliar with WAYN-AM, the history of which can be traced to the late 1950s, should find some information contained within the document interesting because it shows how many persons working in the Detroit area in the broadcast industry today or over the last few years (at least) were at "WAYN Radio" before they got their first jobs.  "WAYN Radio" as a real radio station disappeared in the late 1970s.  Some of the information in this document is commentary of sorts, but most of the information is made up of facts and data.


    From 2004 to 2010, this document was strictly about WAYN-AM Radio.  Then, I decided to find a little more history related to the "roots" of WAYN-AM or find information about other radio-related maters died to the radio station and Wayne State University.  In 2010, I began to develop this section of the document, and from time to time, I have added paragraphs, and you will see some of the early paragraphs in the section have information that I announce as wrong in later paragraphs [I left earlier paragraphs--errors--unchanged so that you could see how the history research was developed], and, by the way, I have added material not strictly related to WAYN-AM in other parts of this document, such as about the building that I now refer to as "The Historic Owen Stanley Fawcett House of 1894."  Now, look at information about the "roots" of WAYN-AM.
        This paragraph was not placed in this document till December 22, 2010, when I finally felt I should, after having done a check of the newspaper database for The South End (a newspaper associated with Wayne State University) to see if it had information about WAYN-AM and see if the database had been expanded to cover materials from the 1950s and 1960s, which I had not really expected.  Back in the 1970s, I spoke with Dr. Jack Warfield, who will be mentioned other times in this document, on some day, a long time ago and when I had no idea that I would make this document, and he noted to me that the history of WAYN-AM went back to the late 1950s, or that is what I remember him telling me.  Dr. Jack Warfield said that the station had another name in the 1950s and early 1960s, but, today, I do not remember what name it had, and I memory only has in it that maybe the letters "U" and "B" were in the call letters.  On December 22, 2010, I found an article in the database for The South End--"Former Mich. DJ dead; got start at WAYN radio" (Pas, J. Ryan.  "Former Mich. DJ dead; got start at WAYN radio."  The South End, 27 June 2010).  The article was inspired by an article in The Detroit News (which I have yet to see) that was about the death of Joseph Pietruska (who was known on radio as Joey Ryan), who had died on June 23, 2010, at the age of sixty-two, and the article noted that Joseph Pietruska visited WAYN radio when he was seventeen years of age and a high-school student, and making some calculations, I figured out Joseph Pietruska was at WAYN radio for the visit in 1965 (or so).  So, it seems WAYN-AM was the name of WAYN-AM by at least 1965.  By the way, the article in The South End had information from Ken Christopher, who was a friend of Joseph Pietruska's, and it was noted that Ken Christopher was the station manager at WAYN-AM when Joseph Pietruska--who would be known as Joey "Mr. Boogie" Ryan at WDRQ-AM, Detroit, in the 1970s--showed up for the visit.
    On June 15, 2018, I wrote this section, and it discounts some of wrong information of the previous paragraph (which I did not want to take out of the document).  On June 15, 2018, I made a discovery.  I came across the name of the forerunner to WAYN-AM, and I did that through a word search of Billboard (the archives website for the media magazine), using words that I had not used before--it was a long-shot search.  I came up with one page from the edition of March 19, 1966, and the page was "Billboard Music on Campus" ("Billboard Music on Campus."  Billboard, 19 March 1966, p. 129).  The station that was the forerunner to WAYN-AM at Wayne State University was WUBG.  "WUBG" was not called "WUBG-AM" on the page, though it may have been called that on campus (at least for a while it may have been, since my meeting with Dr. Jack Warfield seems have put an idea in my mind that the station had a little transmitter for a while).  I did more searching on June 15, 2018, after having made the big discovery, and, for instance, I discovered "WUBG" was listed in Broadcasting Yearbooks between the Broadcast Yearbook for 1961 and in the Broadcasting Yearbook for 1966.  There was no listing for "WUBG" or "WAYN" in the edition of the yearbook for 1967.  The Broadcasting Yearbook for 1968 and the Broadcasting Yearbook for 1969 had "WAYN" listed.  In the Broadcasting Yearbook for 1960, there was an entry for a campus radio station for Wayne State University, but there were no call letters listed.  Generally, speaking, I can say--here--that WUBG existed from about 1960 to about 1966 or 1967 and that WAYN showed up in about 1968 (maybe for the 1968-1969 school season), though it may have been in 1967.  Since the Broadcasting Yearbook for 1967 had no student radio station listed for Wayne State University, there is a blank area in my knowledge related to 1967 or so.  By the way, my meeting with Dr. Jack Warfield of years ago seems to have left me with a memory that WUBG was based in the Engineering Building, but that may be wrong.
    I have determined that "WUBG" came from what was considered the "Wayne University Broadcasting Guild."  The Wayne University Broadcasting Guild, which was tied to extra curricular activities related to radio, got started in September 1937, when Garnet R. Garrison was the director (he would leave the position and the university in 1942).  For the semester of about February 1938, the university had four courses related to radio, one of which was about how to speak before a microphone.  For now, I shall say that the Wayne University Broadcasting Guild existed at least between the late 1937 and the middle of the 1960s, or, at least, activities with direct ties or indirect ties took place or existed in the period of time [Note: In the spring of 1938, the Wayne University Broadcasting Guild won an award in a national educational radio contest by doing The Fall of the House of Usher by Edgar Allen Poe (somewhere), and in November 1939, the Wayne University Broadcasting Guild did a first public performance in the Detroit area, doing An Eye for an Eye (by Samuel Gurbitz) (somewhere).].
    On June 21, 2018, I added this paragraph to the document, and I added the paragraph after seeing documents over the Internet that gave information about student organizations at Wayne State University between 1950 and about 1995.  The documents were on websites called "WSU Student Organization Rosters 1950-1959", "WSU Student Organization Rosters 1960-1969", "WSU Student Organization Rosters 1970-1979", and "WSU Student Organization Rosters 1980-1995" [Note: The final one listed had little from the 1990s.].  Information from those four main webpages is presented later in this document, but for now, I pass along a cut-down version of what was presented.  It cannot be determined when "WUBG" started up.  "WAYN Student Radio"--this title first showed up for the fall of 1967, and that might mean WAYN Radio was now the name for the place, but it is unknown if the station was at 672 Putnam.  I was able to determine that the station was shown to be at 6001 Cass Avenue for Winter 1986, and that was the first listing of 6001 Cass as the address, and that means that the station had been moved in late 1985 from 672 Putnam to 6001 Cass.
    On June 22, 2018, I did a telephone interview with a man who was around for the start of "WUBG" as a radio station, and the interview led to my writing this paragraph of the document, which presents information about "WUBG" and related matters.  On the evening of June 22, 2018, I interviewed Robert C. Williams.  From 1955 to 1959, Robert Williams was a student at Wayne University or Wayne State University (the name that was adopted in 1956), and he was involved in mass-communications studies, and in 1959-1960, he was at Syracuse University, Syracuse, New York, to get a "Masters of Science," and then for the school season of 1960-1961, Robert Williams was back at Wayne State University to get a Ph.D., and then he spent 34 years at Brooklyn College (the City University of New York).  In 1958, Robert Williams was the president of Wayne University Broadcasting Guild, informally called the "Broadcasting Guild," and that year, a man named Roger Lee Jackson had the idea of starting up a student-operated radio station, and he asked Robert Williams whether or not he would be the first general manager for the radio station, but since Robert Williams was already the president of the Broadcasting Guild, he declined to take the position, but Robert Williams did recommend a woman named Juanita Borough, who did become the general manager.  Although Robert Williams did not accept the position of general manger, he did accept the position of program director.  By the way, Robert Lee Williams would write and produce a television show called The Last Deal, which would be shown in the Detroit area under the umbrella title Producer's Choice on WTVS-TV, Channel 56, an educational station, on May 12, 1963; the show would have Wallace F. Smith as the featured performer, playing an auto salesman working through troubles, and the director would be Chuck Sherman.  The building for WUBG was a house at 5063 Cass Avenue--originally called 961 Putnam, which was dropped on August 1, 1920, when addressing changed for buildings and such in Detroit--near Putnam Avenue, which had been acquired in 1937 as part of a block of property; the house existed at what could be called the southwest corner of the intersection of Cass Avenue and Putnam Avenue, and right behind the house was a row of houses, and those houses faced north or had Putnam as the street in front of them.  The radio station was not a true radio station, which might have an "AM" signal or an "FM" signal--it was a "carrier-current station" (like many around the country at colleges or universities).  A carrier-current station was a station that sent an audio signal down wire (such as a dedicated line) from a studio of some type to other places, such as other buildings, specifically amplifiers attached to speakers.  At Wayne State University, in 1958, the station was heard in the Student Center Building (of the time), which was located at Cass Avenue at Putnam Avenue from at least from 1955 to 1963 (when it was replaced with another Student Center Building, which was put up at Cass Avenue and Anthony Wayne Drive); the Student Center Building that existed for Robert Williams was right across the street--right across Cass Avenue and to the east--from WUBG, and the Student Center Building was a 12-story building, and it could be said that it existed at the southeast corner of the intersection of Cass Avenue and Putnam Avenue [Note: The Student Center Building started out as Hotel Webster Hall, with 800 rooms, in 1924, and it ended up in the hands of the university in 1946 and was made a dorm building called the Student Center Building, and in 1961, the building became known as David Mackenzie Hall.].  Since the radio station was not a real broadcasting entity, the station was only called "WUBG" and not "WUBG-AM" or "WUBG-FM".  During the interview, Robert Williams could not remember the broadcast schedule, but he said that the station played a variety of music, using two turntables, from classical tunes to the popular tunes of the time [Note: I report that the popular tunes of the time could be songs featuring Chuck Berry, Rosemary Clooney, Bobby Darin, Doris Day, Connie Francis, Bill Haley and His Comets, Elvis Presley, and Frank Sinatra.].  Also in the building for WUBG were the studios for WDET-FM, which had been received by Wayne University through donation in 1952 from the original owner, the UAW-CIO or, specifically, the UAW Broadcasting Corporation [Note: WDET-FM--an educational-type station--is yet associated with Wayne State University, and, for example, in the 1960s and 1970s, it was located in the the Detroit School Center Building or the School Center Building (formerly known as the Maccabees Building, the address of which was at 5057 Woodward Avenue) of the Wayne State University area, where the radio studios for WXYZ-AM--a commercial radio station--had been located from 1930 to about 1953).  Robert Williams was the program director at "WUBG" during his time at Wayne State University in 1958 and 1959, and other members of the station in the early days were Doug Kole (or H. Douglas Kole), Jim Blashill, Frank Niemiec, and Art Runyon.  The station had a small membership list, covering somewhere around ten persons.   Between 1955 and 1959, Robert Williams had jobs; for example, he did a bit of work as a transmitter engineer, a producer, and a director at WDET-FM, and he was on the staff of the production team at WJBK-TV for a television series called Sunrise Semester, which was a very early morning educational show broadcast on weekdays, and he was involved in putting together sound effects for Soupy Sales's shows--local Detroit-area shows--on WXYZ-TV, Channel 7, such as the evening show known as Soupy's On.  Robert Williams had several stories to tell about "WUBG" special programs or shows or events.  While Robert Williams was attending Wayne State University, the university had limited dorm facilities, and also the general-purpose library was not open on weekends, and Robert Williams reported that the station was involved in a promotional campaign to get the general-purpose library open on weekends, and the campaign worked.  One story told by Robert Williams really peeked my interest.  He said that recently he was at the Willis Show Bar in Detroit, which had been opened up on April 27, 2018.   He reported that he was in the original Willis Show Bar while he was a member of "WUBG".  By the way, the the original place or business was located at 4156 Third Avenue (at Willis), as is the new version, and the old place had several names over the years, the last of which was 1978; the place was the Willis Bar & Gill, Willis Show Club, and Willis Show Bar in the 1950s, and it was at first a "club" that featured musical acts, and it later evolved into a place featuring "burlesque" performers and dancers, which is what the place had in 1958 and 1959.  One radio program that Robert Williams recorded was done at the Willis Show Bar, and during the program, for one, he talked with a very famous "stripper."  In the interview, Robert Williams called the place a "stripper bar."  [Note: His telling the story made me remember the practical joke played on Soupy Sales in the early 1960s--when he was in Los Angeles doing The Soupy Sales Show--during which a nude dancer showed up at the door, and video of that event--which was not actually broadcast--can be seen on the Internet today, and she was a cutie (By the way, a similar type incident had occurred during a show done by Soupy Sales at WXYZ-TV, Detroit in the 1950s).]  Robert Williams could not remember the name of the very famous stripper at the Willis Show Bar [Note: "For the record," I report that in the 1958-1959 period, some of the headliners at Willis Show Bar--not including the leader of the band, Manny Lopez--were Betty "Blue Eyes" Howard, Jada, Valentina, Irene Rogers, Patrice Starr, Carol Le Clair, Stormy Winters, San San, Betty Darnell, Terri O'Mason (as "Rita Revere"), Caren Chan, Patti Lewis, Rita Gamble, Libby Jones, Lilli St. Cyr, Mitzi Dore, and Ann "Bang Bang" Arbor (who was billed as the gal with "the million dollar figure"].  I have reported that Robert Williams was not at Wayne State University for the 1959-1960 school season.  He returned to Wayne State University for the 1960-1961 school season.  During the telephone interview, Robert Williams seemed to think "WUBG" was no longer in the house on Cass near Putnam for his second time at Wayne State University, and he seemed to think the station was now in a house at the south side of the Maccabees Building (or the School Center Building)--the house at 5039 Woodward Avenue near Putnam (south of Putnam).  For now, it is not clear when "WUBG" moved to the new location, but I have some information that might give a clue.  In May 1960, engineers moved the transmitter for WDET-FM to the fifteenth floor of the Maccabees Building or School Center Building (and the station was off the air for a few days), and it is possible that, around the time, both WDET-FM and "WUBG" moved to new locations [Note: By the way, on June 23, 2018, a Wikipedia article about WDET-FM hinted that the transmitter for WDET-FM was moved in 1959, but that is not correct.].  That provides some of the very early history of "WUBG"--a period right before the "British Invasion" with The Beatles and The Animals and other groups.
    On September 18, 2018, I went to the Walter P. Reuther Library on the campus of Wayne State University, particularly the "Reading Room," to see documents in special storage, and the documents were about student organizations of the university, and here is some of the information that I found, and the focus here is on student-run regular radio (non-amateur radio) leading up to the appearance of WAYN-AM at 672 Putnam.  I found that a "radio club" related to regular radio existed at the university in late 1954, and some of the persons involved in the club were John Cantelon (the president), Lee Stott (the vice president), Ron Tindall (the secretary), and John Ruttenberg (the treasurer), and there were about twenty-three others, and the club was based 5063 Cass Avenue, and I note that this club seemed not to be involved with a radio station (even a carrier-current radio station) on campus (based on what information that I found at the Walter P. Reuther Library), but the club may have been involved in making shows for commercial radio stations in the Detroit area.  In March 1955, the club was based at 5063 Cass Avenue, and in November 1955, the club was based at 5050 Cass (the Student Center Building), and the club seemed to be based in the Student Center Building till 1958.  Based on information found at the Walter P. Reuther Library and information from Robert Williams, WUBG (a carrier-current radio station) was at 5063 Cass Avenue from 1958 to about the spring of 1960, and then it was based at 5035 Woodward (which was a house right at the south side of School Center Building, formerly known as the Maccabees Building) starting in about the fall of 1960, and information found at the Walter P. Reuther Library hints that the station was based at 5035 Wooward Avenue (such as, in "Studio E" or a room on the third floor) from 1960 to about October 1967 and hints that the station was known as "WAYN" and no longer "WUBG" in the fall of 1965.  Because of lack of information, such as a lack of entry information noting the location for the club for April 1968 on a sheet of paper at the Walter P. Reuther Library, and I am unsure if "WAYN" was at 5035 Woodward or 672 Putnam in early 1968, and I cannot report if WAYN was moved from 5035 Woodward to 672 Putnam in very late 1967, such as during the December 1967 break.  It is known that WAYN was at 672 Putnam in the fall of 1968, and, by the way, some of the students involved with WAYN in 1968 were Gary Purece, Kenneth Christopher, William Lynch, Robert Klacza, Dennis Farkas, Gerald M. Jusco, and Robert Greenwood.  [Note: When I was at the Walter P. Reuther Library, I found information about television, such as Tartar 100 Productions, related to Wayne State University, but that information is not being passed along here--it is information for my television files and for future use in editions of Television History and Trivia, which are documents about television published at the website for The Hologlobe Press.]
    It was also on September 18, 2018, that I finally was able to consolidate in my mind a short story about amateur radio activities in the history of Wayne State University, the history of which can be traced to 1868 [Note: I will not pass along all the history of the development of Wayne State University, but I will note that the name "Wayne University" (which was a collection of colleges) showed up in 1934 and the name "Wayne State University" appeared in 1956.].  In 1917, Detroit Junior College showed up, and in that year a man name Dr. George Carter became the physics chairman, and this man was instrumental in starting up amateur-radio activities at the college in the building known as Old Main, using two sets of call letters for radio stations--8YJ and 8YN.  The events of World War I shut down amateur-radio activities in the country.  In the 1920s, a radio club became active again, and for instance the club got involved at various times with 8TW, 8XBT, and 8UA, and, in 1928, the headquarters for the radio club was moved from a tower room to the first floor of Old Main (room 117).  World War II shut down amateur-radio activities in the country [Note: By the way, the shutting down of radio activities in war time was to reduce the chance that someone in the United States of America might use amateur radio to pass along information that might help the enemies of the country.].  In 1954, Dr. Jerry Sevick of Wayne University and students got a radio club going again, and this time, the radio club ended up in room 400 of the building known as Science Hall, and in 1955, the FCC issued W8UTN as the call letters for the amateur radio station, the antenna for which was on the roof of Science Hall [Note: My research hints that this station had two antennas--one replacing the other--over the years.]  In 1961, the Wayne State University Radio Club obtained W8UA for the call letters for the station (and W8UTN disappeared).  The heyday for this second period of radio-club history was in the 1950s and 1960s.  In the 1970s--basically, between 1970 and 1975--the radio club was often in limbo or inactive, and in some parts of the period, the radio club did not file papers with the university management noting it was active (such as in the fall of 1972) or was looking for a new base (room) for holding activities.  I shall say that, in the 1970s, amateur-radio activities at Wayne State University were done.
    I have yet another paragraph to pass along, which covers some early radio history related to Wayne University or Wayne State University (and it was added on July 21, 2018).  In 1920, commercial radio debuted in the country, and in Detroit, the first such radio station was WWJ (an amplitude-modulation station), which was owned by the Evening News Association (the company that owned the newspaper known as The Detroit News).  WWJ ended up with a sister station--W8XWJ--on January 29, 1936, and the station was considered a "short-wave" radio station and even an "Apex"-type station at the time, since it was on a higher radio band than WWJ was, and W8XWJ was broadcasting at a power of 100 watts from 45th floor of the Penobscot Building [Note: Also around this time, the Evening News Association had an airplane that could broadcast material, and it was called "Early Bird" or "The Early Bird."].  By the way, in 1936, there was a short-wave amateur radio station at Wayne University, and it was known as W8UA (and it was not the type that would evolve into what would become a radio station of "FM radio"-type and it would be like the amateur radio stations of today, such as those involved in "two-meter broadcasting") [Note: For now, I know Professor Carter was supervising the station in about 1938, and I now there was a "radio club"--probably involved in short-wave amateur broadcasting--at Wayne University or Wayne State University at least between 1955 and 1968, and it seems the club disappeared in 1968.].  W8XWJ became more prominent on January 18, 1938, when the station started broadcasting 14 hours a day; it was now broadcasting at 500 watts at about 41,000 kilocycles (it had been at 31,600 kilocycles) [Note: The station used other frequencies for short periods of time, such as 42,060 kilocycles.].  In 1938, students of Wayne University were involved in doing radio shows for W8XWJ; for example, four of the shows were Sinbad, the Sailor, Ali Baba and the Forty Thieves, Aladdin and the Magic Lamp, and Prince Ahmed and the Fairy Princess Periebanou, and the programs were considered experimental dramas (the first of which showed up on the air on February 22, 1938), and the programs involved, for instance, students tied to the Wayne University Broadcasting Guild [Note: The scripts of the fours shows named are available today.].  In early 1938, Wayne University began offering degrees in Master of Arts related to broadcasting.  W8XWJ was on the air for a couple years, and then it disappeared.  In essence, the station reappeared in 1941, but it was now called W45D, and people were now considering the station an "FM radio station," and several years later, the station would become known as WWJ-FM.  In the early 1940s, students at Wayne University, such as those involved with the Wayne University Broadcasting Guild, did programs on W45D.  Around January 1949, what was called the Radio Division at Wayne University had a new studio on campus (somewhere), which was used, for example, to rehearse radio programs, such as dramas, and which may have been used to record programs (on records) for radio stations in the Detroit area, and some of the people involved with the "Radio Workshop" at the time were Sally O'Connor, Bob Thomas, Wally Duquest, Frances Schwartz, Don Bustany, Beverly Brown, William Hollingsworth, Roy Somloy (as a producer), Robert Schlorff (who could play a piano), and Richard LaHood).  Around 1950, there was an Inter-Student Center Radio Station in the Student Center Building (Mackenzie Hall, which was located at Cass Avenue and Putnam), and it seems it was only providing programming in the Student Center Building from a very simple distribution center.  And I add this general note--Between 1931 (in relation to the College of the City of Detroit, which would become a part of Wayne University when the university was created in 1934) and 1952 (when Wayne University acquired WDET-FM), students were involved in doing programs for such radio stations as W49D (which would become known as WJLB-FM in the 1940s), WCAR (the station in Pontiac) WJBK, WJR, WMBC (where some of the first programs from students of what would become Wayne University appeared, such as in 1931), WWJ, and WXYZ (and the Michigan Network).  [Special note: More history information about radio shows, such as those related to the Wayne University Broadcasting Guild, exists in my PDF-type document about WDET-FM, which also has photographs and has not been posted on the Internet.]
    On July 6, 2021, I put this paragraph into the document, and, specificially, it focuses on more history of the Wayne University Broadcasting Guild, and the information comes from two newspapers mostly--The Detroit Jewish News and The Detroit Jewish Chronicle (which I finally did tracking in after making a document about WKMH-AM and WKNR-AM, which can be reached through this document), and the information can be called notes and happenings of the past.  In 1938, an editorial written by Richard L. Stein (a writer for the Jewish Center News) inspired a radio story, which Richard L. Stein would write, and the radio story was called A Fable of FoolsA Fable of Fools used people tied to the Wayne University Broadcasting Guild, and the show aired on WMBC-AM at 5:30 p.m. on Friday, April 21, 1939, and it was directed by Harry Goldstein (who was the leader of the Jewish Center Adult Theatre Group), and the theme of the story was about racial persecution and war, and it was an indictment of barbarism.  On Friday, November 17, 1939, at 7:00 p.m., Richard Stein had another production written by him on the air on WMBC-AM, and it was called Beyond Sky and Stars, and again it involved people who were members of the Wayne University Broadcasting Guild (which was headed by Garnet Garrison), and the story was about four persons whose lives get changed while meeting a stranger on a flight to New York.  Beyond Sky and Stars was directed by Harry Goldstein (yet the head of the Jewish Center Adult Theatre Group).  Around March 1940, Richard Stein (who then lived at 16555 Washburn, Detroit, and was a graduate student at the Wayne University) was one of several persons who won honors in the Second Annual Wayne University Broadcasting Guild Script Contest, and the award was for a script called Before God (which was about a maladjusted child), and he won $25.00 (which was the first-prize award), and the script was going to be used on the air by the Wayne University Broadcasting Guild, as was a script (which won second prize) written by Walter McGraw (of 941 Burlingame, Detroit), a undergraduate student at the university.  On December 3, 4, and 5 of 1942, Al Cohen (2645 Cortland, Detroit) played Dean Damon in a stage production of the Wayne University Undergraduate Theatre unit, and the play was The Male Animal, and at the time, Al Cohen was a member of the Wayne University Broadcasting Guild.  Around March 3, 1944, readers of The Detroit Jewish News learned the names of some of the people who became newly elected members of the Wayne University Broadcasting Guild, and the students--called "apprentices"--were Charles Chabensky (of 662 East Philadelphia, Detroit), Roy Somlyo (1925 Leslie, Detroit), Alvin Kadushin (17563 Kentucky, Detroit), Mary Kramer (1823 Euclid, Detroit), Jack Miller (3760 Hazelwood, Detroit), and James Lipton (1935 Burlingame) [who would go on to be, for example, the host of Inside the Actors Studio for the cable network called Bravo from 1994 to 2018], and the director of guild was Ernest Ricca.  In October 1945, twelve students were made the "apprentices" of the Wayne University Broadcasting Guild, and some of those students were Alfred N. Himelson (of 1553 Calvert, Detroit), Richard S. Kaplan (3160 Second, Detroit), Lewis Pleasant (4057 Burlingame, Detroit), Donald J. Sharf (2740 Richton, Detroit), and Joseph Stein (2689 Boston, Detroit).  In October 1944, people learned from The Detroit Jewish News the names of some of the young persons who made up the 23 persons in the Wayne University Broadcasting Guild for the 1943-1944 season, and some of those  persons were Roy Somlyo (of 1925 Leslie, Detroit), Leah Levitt (2224 Gladstone, Detroit), Murray Kagan (2715 Sturtevant, Detroit), and Seymour Altman (2511 Taylor of Detroit) [Note: Seymour Altman would be known in Detroit radio history and Detroit television history as "Bob Seymour" and "Bob 'Robin' Seymour" and "Robin Seymour" between 1947 and 1971 (at least).].  On Saturday, August 17, 1946, the Wayne University Broadcasting Guild began to present a thirteen-week weekly series called Red Feather Toll Call on WXYZ-AM, airing at 11:30 a.m. and running for 15 minutes each time.  The scripts for Red Feather Toll Call were written by Samuel Sheplow (the son of David Sheplow of 2685 Clairmont, Detroit), and the program was produced by Seymour Tuchlow (the son of Mrs. Morris Tuchlow of 2611 Gladstone, Detroit).  The first production of Red Feather Toll Call was called Louise, which was about a girl who runs away from home, and the main cast members were Paul Kaczander (the son of Anton Kaczander of 3783 Tuxedo, Detroit), Joseph Augello (the son of Michael Augello of 15212 Novara, Detroit), Mary Dell Roberts (the daughter of Owen Roberts of 1511 Glynn Court, Detroit), Shirley Squiers (the daughter of A. W. Squires of 16045 Warwich, Detroit), Max Soch (the son of Raymond Soch of 68 East Arizona, Detroit), and Seymour Altman (the son of Herman Altman of 2511 Taylor, Detroit).  Three members of the Wayne University Broadcasting Guild appeared in a play presented at the Detroit Institute of Arts on Thursday, December 19, 1946, and Friday, December 20, 1946, and the play was called Time of Your Life (by William Saroyan), and the three members were Jack Schwartz (who had the lead role of Joe), Dave Lebenbom (of 2019 West Philadelphia, Detroit), and Reuben Silver (2598 Pengree, Detroit).  Members of the Wayne University Broadcasting Guild gave a performance of Message to the American People (written by Morton Wishengrad) at the meeting of the Junior Service Group and Junior Division Workers of the Allied Jewish Campaign on Thursday, March 27, 1947, and the presentation of the one-act radio drama took place at the Jewish Center.  On Thursday, May 15, 1947, members of the Wayne University Broadcasting Guild did a performance at Congregation Shaarey Zedek.  Jerome Stashefsky (who was the first violinist for the Wayne University Symphony and a member of the Wayne University Broadcasting Guild) took part in a musical presentation at the Detroit Institute of Arts on Tuesday, June 24, 1947, and two of the other performers were Leah Crohn (a soprano) and Betty Kowalsky (a pianist).  For the 1947 spring script contest of the Wayne University Broadcasting Guild, there were 16 entries, and in August 1947, it was announced that the winner was Marvin "Sonny" Schlossberg, whose work was a light G.I. comedy, and Sonny won $25.00 [and Sonny Schlossberg would become mostly known in Detroit radio history and Detroit television history as "Sonny Eliot" (a weatherman mostly)].  On Thursday, December 18, 1947, members of the Wayne University Broadcasting Guild presented Morton Wishengrad's Eternal Light at Congregation Shaarey Zedek.  Around April 1948, some of the members of the Wayne University Broadcasting Guild who were heard regularly on radio were Gloria Smith, Ray Szick, Frances Schwartz, Bob Kane, Lillian Shapiro, Jerry Seltzer, and Milton Weiner (who would still be with the guild in January 1949).  On July 6, 1952, Elaine Hyman became eighteen years of age, and she already had been in showbiz in the Detroit area for around eight years, and then she was a sophmore at Wayne University and was a member of the Wayne University Broadcast Guild; in the past, she had done work on local radio shows, such as The Lone Ranger, and in stage shows, and she had done television work, such as being on Wayne University Story, which had been on WXYZ-TV starting on Monday, March 24, 1951, and which had mostly run weekly for 15 minutes each time on Saturdays till March 1952  [Note: Wayne University Story was really a two-season series that was off the air, generally speaking, in the summer of 1951 and in the fall on 1951.].  In about April 1956, Elaine Berman made an appearance on a television show on WXYZ-TV, Channel 7, hosted by Soupy Sales; she had been a member of the Wayne University Broadcasting Guild in the past and had won an award for putting together a radio series on WDET-FM called Women's World, and at the time of the appearance on television, she was doing freelance work related to radio and television and modeling and sales promotion (such as for the Great Lakes Automotive Show).  In 1958, Paul Kasander, who had been a director for the Wayne University Broadcasting Guild in the past, was involved in putting together a production company called Kasander-Taines Production (of New York City, Detroit, and Hollywood).  And here is something fun--around October 1960, Sheila Ashe, who was living at 5440 Cass Avenue (The Belcrest Hotel) was chosen from among a group of 26 gals to be the first "Miss Wayne University Broadcasting Guild," and she was crowned at the "WUBG Record Round-Up Hop" on November 4, 1960, in the Mart Room of the Student Center building [Note: In essence, the "hop" event was probably much like what Robin Seymour and other disc jockeys were known for hosting, "sock hop" (dance) events, such as at schools, and on Sunday, January 28, 1962, Sheila Ashe (Sheila Rose Ashe) would marry David Isreal Lipschutz.].
    And now you know roots associated with WAYN-AM Radio.


    From the fall of 1971 to the spring 1977, I was a student at Wayne State University, Detroit, Michigan, and, during the time, I was a member of the student-run radio station on campus, WAYN-AM 860, which should not be confused with WDET-FM, a station belonging to Wayne State University that still exists and still exists at 101.9 FM.  Before I walked in to the building that was the home of WAYN-AM, at 672 Putnam, the station had existed for at least five years, though not always at 672 Putnam.  After I was no longer a student at Wayne State University, I yet spent time at the station, such as in first half of the 1977-78 academic year.  Today, I probably have the only documents that tell some of the history of WAYN-AM from 1971 to 1977, the years that were about the last for the radio station and during a time when the heyday for disc-jockey radio was ending.
    On the campus of Wayne State University, 672 Putnam no longer exists.  I believe it was in the middle of the1980s or so that the place where 672 Putnam was was covered over by a building that added to the size of the engineering building.  In fact, all the old houses that were along Putnam near where 672 Putnam was are gone.
    The place that was 672 Putnam was a three-story building, built around 1900, was made of brown-colored brick, and had a slate roof and a large porch, which was covered by a roof.  The front door faced south toward the engineering building, which was as long as the block was; the block was a street that had the engineering building on the south side and a row of about fifteen old houses on the north side, one of which was the house for the station, which was in about the middle of the block.  Mounted on the porch--right underneath the roof for the porch--were two speakers, which were sort of aimed at the engineering building, and the sounds from the speakers sometimes bothered people in that old engineering building.  The building for WAYN Radio had a basement, which had brick foundation walls and was like a junk yard (during much of the period), a first floor, which was the heart of the station, a second floor, and a third floor, which had been condemned sometime in the past and was not used.
    To get inside the building and to the first-floor, a person walked up about six steps to the porch and pulled open a heavy wooden door.  From inside the front door, a person could look the length of the building and see down to the engineering room, which led to a back door for the building and a simply made old wooden porch; here, the person was in a foyer-like area that gave access to the two main studios, a stairway to the upstairs, and a pop machine, and a person could see part of a main room beyond a doorway.  If a person took a couple more steps inside, the person reached the door to the main studio, Studio A, which was on the left, and the stairs to the second floor, which were on the right.  When a person took another two steps or so, the person was at the door to the production studio, Studio B, which was on the left.  After taking three more steps or so, the person reached the main room of the first floor, and the main feature in the room was round yellow table and chairs and at least one old couch.
    In essence, the first floor was sort of divided in half from north to south.  Beyond the main room in the eastern half of the building or on the east side of the building was a lavatory and then the engineering room, which had a door that was the entrance to stairs that led up to the second floor and even the third floor and which had a door that was the entrance to the basement.  On the western side of the building were Studio A and Studio B, as I have already mentioned, a room that was for newscasters, sportscasters, and others to use (informally called, for one, a news work room), which was reached by passing through a doorway connecting it with the main room of the first floor, Studio C (or the News Studio), and a news director's office.  In the back by the news director's office was an AP teletype machine, and when the station was open for broadcasting, which was most of the days from September to June each year, the teletype machine was clicking away, or the keys were continuously typing out stories, and the sound of the teletype machine was never completely drowned out, even when all the speakers in the building were turned on.   Every room on the first floor had speakers so that no one could ever miss what was happening on the air.
    A person usually reached the second floor by walking up the main stairway; some time in the past, the stairs to the third floor had been sealed off.  The second floor was mostly an open space.  The eastern half of the level had a main office (usually called the general manager's office), which had a desk for the general manager and at least one more desk, and north of the main office was a lavatory, and then there was the music library, which was about eight feet by eight feet by eight feet and had hundreds of albums and forty-fives.  The remainder of the second floor had places set up for the sales department and for people to relax, though most people relaxed somewhere on the first floor.
    Studio A had two main configurations when I was at the station (which was from 1971 to 1977).  At first, the main studio was set up so that the disc jockey, when sitting in front of the microphone (an Electro-Voice 666), faced the street or faced south toward Putnam, and, through the bay windows, the disc jockey could see everyone passing by [Note: Before I arrived at the station--and maybe originally--the studio had been set up so that the disc jockey faced Studio B or the back of the building.].  Officially, the disc jockey sat on a steel stool and was surrounded by a three-sided counter-like unit; the support structure was made of two-by-fours, which were painted black, and the counter was made of wood, maybe plywood, covered with white laminate.  In front of the disc jockey was a copy board, on which commercial copy and other material to be read could be set up, and also right before the disc jockey, below the copy board, was the studio control console, which had several rotary potentiometers and six slider potentiometers [Note: A special section of this document provides information about the audio console.].  Up above was a big speaker, housed in a wooden cabinet that hung from the ceiling.  To the right of the disc jockey were two turntables (which were light-brown QRK turntables with Shure tone arms late in the period).  Off to the forward left were usually three cart machines (two Gates machines and one other, such as a Tapecaster Model 700-P from 1971 to about 1973).  The counter had space for records, and some of the counter was used as a place for a somewhat portable Ampex reel-to-reel tape machine (an Ampex 601), and tape cartridges (Audiopak types or Fedilipac types) were stored in a brown four-sided cartridge tower, which could be spun around.  Sometime around 1973, the studio was rearranged so that the disc jockey now faced west when talking into the microphone and faced a wall with no window.  In addition, Studio A had a couple wooden racks that were crammed with albums, and, in 1975 or so, I built a yellow wood case with four rows (or four rectangular pockets of sorts) that could to hold forty-fives (in jackets), maybe two-hundred forty-fives, and placed it on the counter to the rear-left of where the disc jockey sat.
    Between Studio A and Studio B was a big double-pain window (two panes of glass separated by one inch or two of air space).  Studio B was set up so that a person using the studio was facing north or toward the news work room, and from the studio, a person could see down toward the AP teletype machine and, of course, Studio C, which had a small window that faced Studio B.  Studio B had a Sparta control board (an A-20B console, which had eight rotary potentiometers), a Scully 280 reel-to-reel tape machine in a brown cabinet with wheels (a one-track tape machine), an Ampex 601 reel-to-reel tape machine, usually two cartridge machines, and two turntables (two blue Russco CUE-Master turntables, which had Shure tone arms, during most of the period).  And the studio had an old wooden desk made of light-colored wood,  which was pushed tight against the west wall of the room, and it also had a wooden rack to hold such items as 12-inch reel-to-reel tapes.
    Studio C was really small.  The walls were covered with dark-brown cork board and with carpeting.  When a person sat in the studio, the person faced south and could see, looking through a series of windows, portions of the news work area, Studio B, Studio A, and, in the far background, the engineering building.  The studio had a small Sparta control board (an A-15B console, which had five rotary potentiometers), set right before the person who used the studio.  It had one turntable, set off to the forward-left a bit, and there was at least one cart machine (usually it had two Tapecaster cart machines), set off to the forward-right a bit.  And to the right of a person who was using the studio was an Ampex reel-to-reel tape machine (a model 350), the main unit of which was lying in the counter top and the electonics unit of which was housed in a homemade wooden unpainted rack (of sorts) that was above the electronics unit and mounted to the counter.
    By the way, there were big round clocks everywhere in the building, so a person never had to wear a watch.
    Generally speaking, the station was on the air from eight in the morning to two in the morning on a Monday-through-Friday basis (for a short while, the station was on the air on Saturday during the day).  The broadcast schedule started on the first day of the second week of each semester or quarter, and the broadcast schedule for each semester or quarter ended with the last week of classes.  From 1971 to 1973 or so, the station had three formats.  From early morning to mid-afternoon, the station had a progressive Top 40 format, a format focused on the popular songs that appealed to college-age guys and gals and that avoided "bubblegum" tunes (which might be popular with young teenage boys and girls).  From mid-afternoon to late-evening, the station had a progressive rock format, which was based on the Album Oriented Rock format-style of radio at the time.  The remainder of day was made up of a free-form format, during which a person could play any type of music.  The station had local newscasts and newscasts from the ABC Contemporary Radio (one of four main news services of ABC Radio of the time), and newscasts were usually aired at about five minutes before the hour and lasted five minutes, and, in a given hour, the newscast that was aired was either a local presentation or an ABC newscast presentation.  In the early 1970s, a light-rock format, which was then known as an MOR format (related to the middle-of-the-road music of the time), was added to the broadcast schedule (for part of the day) and, even for a while, circa 1973, it was the format that was done on Saturdays.  In the mid-1970s, jazz blocks and rhythm-and-blues blocks of music were added to the air schedule of the week.
    Blocks--they were the periods of time that were filled by broadcasters.  A person might do an hour shift or a two-hour shift each week, and what time a person had was a regular time slot, or a person had some regular time slots (such as two time slots each week), but a person might work other time slots if someone did not show up for a time slot one day.  Not only disk jockeys had regular time slots but also newscasters had regular time slots.
    The process of getting at least a one-hour time slot was not too hard.  A person had to show up at the station and sign up to be a member.  Then, a person had to make an audition tape, which was really only a tape that showed what the person could do and could not do, and the quality of the tape was very unlikely to keep a person from getting on the air, since the station was designed to allow beginners to get on the air and to learn "radio."  Usually, audition tapes were made during the first week of a semester or quarter, and, during the first week, a person made a request for a particular time slot or for time slots by signing the person's name to a sign-up sheet, which was marked off in blocks.  Audition tapes were evaluated by each program director, and each program director set up the air schedule for the program director's format, announcing the schedule on the Friday of the first week of classes.
    Of course, news audition tapes were evaluated by the news director, and the news director set the air schedule for the news department.
     The station was run on a day-to-day basis by students, who received a little--a little--supervision by a faculty advisor.  No one got paid to work at WAYN-AM.  For a student at the station, it was strictly a volunteer arrangement; however, a person could sign up for a class known as "Speech 0275," work at the station, and gain one college credit.
    The idea of a radio station being "student-run" probably makes some people wonder about the quality of the station.  I can argue well that, in the way that WAYN-AM was able to be run from the fall of 1971 to about 1974, WAYN-AM was the best environment to have in which to learn radio, and, I can argue well that, for some students, the structure was good from about 1974 to the spring of 1977.  A person was allowed to take part in every activity of the station, from disc jockey to engineer, from newscaster to janitor, from salesperson to management, and that was because no one was paid.  If a person wanted to work at getting better and develop skills, the person could.
    Let me present some commentary of sorts.  In the 1960s, Dr. Jack Warfield, a professor at Wayne State University, helped promote WAYN-AM within the university, and I have the impression that members of the station seemed to work hard to be good or get better and learn "radio" in the 1960s, and, for example, members of the station were good enough to send out programming on reel-to-reel tapes to a few stations in the Detroit area on a regular basis, such as weekly.  Those who learned things at WAYN-AM in the 1960s seemed to have a good work ethic, which I was able to pick up on when I joined the station.  When I joined the station, the station manager was Steve Lawrence, whose father had already been a regular staff announcer for many years at WXYZ-TV, Channel 7, in Detroit, and, as part of showing me how to do Top 40 radio, Steve Lawrence let me listen to a demonstration tape that showed what level of skill I should try to achieve; the anouncing for the tape had been done by Gary Bridges, who had left the station recently (and, for instance, was doing work at WKNR-AM ("Keener 13," Dearborn), where he was known as Gary Kent on the air), and the tape, which Steve Lawrence produced, was really topnotch and professional.  (I met Gary Bridges one summer day when I was alone at WAYN-AM  in the mid-1970s; he showed up, simply to see the place again, and by then I had already heard stories about how he had practiced and practiced and practiced and practiced off the air at WAYN-AM to get good and be, I am pleased to say, perfect.)  Generally speaking, in the early 1970s, more established students did indeed pass along their knowledge about radio to new people, like me, as if it were a part of tradition and duty, and that was what I did while I was at the station, using Gary Bridges' tape and using my own example tapes.  In the mid-1970s, troubles at the station and on campus helped reduce the quality of what information was passed along from established members of the station to newer members, and the radio industry was entering a new phase of history, and that phase was a phase that was giving the disc jockey little to do, killing the art of being a disc jockey and taking away the heart of disc-jockey radio.  [Note: For more information about WKNR-AM and WKMH-AM (the predecessor to WKNR-AM), see my document entitled WKMH-AM and WKNR-AM (first as 1540 and then as 1310 on the AM Dial): Another Detroit-area Radio History Story, which can be reached through this WKMH-AM and WKNR-AM link.]
    WAYN-AM was designed to be run by students, and the students followed a constitution.  Generally speaking, each year, there was an election in late winter, and five persons were elected the managers of the station for the next year (generally speaking, from the start of spring to the end of the next winter), and those five members had responsibilities to perform, some of which were to appoint persons to the non-elected management positions of the station.  During the period that I was at the station, some board positions were changed in structure, but during the entire time, each board always had one general manager (the highest management position at the station), one station manager, and one operations manager.  A board member was allowed to serve one year, but sometimes board members did not finish their terms, and then special elections were held.
    From the fall of 1971 to the spring of 1977, the station had four main constitutions.  The first was in existence when I joined the station in the fall of 1971, and that document was called The Constitution of Wayne State University Student Radio, a copy of which I received in the mail on January 5, 1972, which was shortly before a new constitution would be voted in.  The first constitution had these positions as board members: a general manager, a station manager, a special productions manager (who oversaw special programming, such as the shows that were made for other radio stations in the Detroit area), an operations manager (who oversaw the physical status of the station), and a personnel manager.  Another constitution was adopted on April 1, 1972, and the positions of the board remained the same.  Another constitution was adopted on February 18, 1975, and the board was now made up of a general manager, a station manager, a minority access director, an operations manager, and a personnel manager.  The final constitution was adopted on June 27, 1977, and the board was now a general manager, a station manager, a general sales manager, an operations manager, and a station relations director; the team that worked on the final constitution was T.S. Taylor, Reuben Yabuku (whose name also shows up on materials as Reuben Yabuka), Ray Parker, Dr. Dan Logan, who was the faculty advisor, and Victor Swanson, who did most of the work to write up the document.
    WAYN 860 AM was a radio station.  In the 1970s, though, the station did not have much of an air signal, but it did have an air signal.  When I was at the station, for example, the station had a transmitter connected up to the AC circuit of the DeRoy Apartment building and a transmitter connected up to the AC circuit of Joy Dormitory, and what people in the rooms of those buildings did to hear the station was tune to 860 AM (at the time, the transmitters were allowed to have something like 200-milliwatts third-stage power and not force the station to have an FCC license to broadcast).  The signal was put over the loud speakers of the cafeteria in the basement of the Student Center Building (or University Center Building).   And the campus had "carrels," which were booths at which people could, for instance, listen to recorded French lessons, and the number for tuning into WAYN-AM was 108; the carrel locations were in room 228 of the Engineering Building, on the 3rd floor of the University Center Building, in room six of Old Main (which was a room in the basement), in the first floor study area of Science Hall, in room 201 of State Hall, in the reading rooms of Flint Purdy Library, in the nursing learning lab of the Cohn Building, on the ground floor of Prentis Hall, and in the Learning Resources Center (at 5448 Cass).


    In May 2018, I began to put this section of the document together, and it was designed to talk about the building at 672 Putnam, a place that no longer exists (in the 1980s the building and the section of street that the building was on was destroyed and replaced with other stuff).  At the time, I had some old photographs of the building, such as one from 1976 and one from 1985, when the building was about done for (in the 1985 photograph, the first step is crumbled).  The best that I knew then was the building was constructed in the late 1800s or early 1900s, and it was a three-story structure with a basement (and a dumbwaiter) [Note: To find out when the building was put together, I would have to go to city files or materials available at the main branch library for the Detroit Public Library.].  The building was probably made as a single-family home for a well-off family.
    Through research in late May 2018, I found that, at least from 1927 to 1947, the place was like a bordering house, a place were people paid for a room at some type of rate; the evidence was found in editions of the Detroit Free Press, particularly in advertisements of two lines or three, which could denote the place at 672 Putnam was near Second Avenue, the place offered housekeeping suites at reasonable rates, the place had running water, the place offered linens, and the place offered kitchen privileges [Note: When I was at the station, I noticed no evidence that the place had ever had a kitchen.].  I was able to discover the names of several persons who lived at 672 Putnam over the years.  In December 1931, August Martin, who was 34 years of age, lived at the place, and it was in December 1931 when he was injured in a traffic accident at Second Boulevard and Warren Avenue.  In March 1944, Mr. M. Voal, who was a coach at Lawton-Dexter, lived at the house, and he put an advertisement in the Detroit Free Press on March 20, 1944, and the advertisement noted that he lost his billfold, which had important cards within it, and he was hoping the billfold would be returned.  In December 1946, Francis Cunningham, who worked as the advertising manager for the Wage Earner in Detroit, lived at 672 Putnam, and it was in April 1946 that his car and an oil truck crashed together about seven miles west of Ann Arbor, and that put Francis Cunningham in the hospital for a while--at St. Joseph's Hospital.  The Detroit Free Press for Saturday, December 4, 1948, had a very short death notice for Helen E. Zumsteg, whose last residence was 672 Putnam.  When Helen E. Zumsteg died, she was 82 years of age, and after she died, there were no more advertisements in the Detroit Free Press telling people of rooms to rent at 672 Putnam.  It was probably in the very late 1940s when Wayne State University acquired the lot that was 672 Putnam, and from the late 1960s to the early 1980s, the building was used for WAYN Radio [Note: The 1950 U.S. Census, which became available on the Internet on April 1, 2022, did not show any listing for 672 Putnam as a residence, such as as a stand-alone house or an apartment-like unit, which hints that the university now had the property or the property was vacant.].
    On May 30, 2018, and May 31, 2018, I did a little "census" research to see who lived at 672 Putnam at the time of the "1940 Census," and what I got was a surprise.  At the time of the "1940 Census," eight family groups or eight groups were living at the house, two groups of which were only made up of one person.  Sylvia Turppa (30 years of age), who was born in Minnesota, was a machine operator at an adding machine company, and she was by herself, and Joseph Donis (18 years of age), who was born in Massachusetts, was a milkman for a creamery and was by himself.  Walter Covert (25 years of age) worked at an auto plant as a laborer, and Barbara Covert (Walter's wife) was a beautician at a beauty parlor.  William Kendall was a salesman for a baking company, and Martha Kendall (William's wife) was a proprietor for a rooming house [Note: The rooming house may have been the house at 672 Putnam.].  Donald Tannehill, who was born in Indiana, was a shipping clerk for motor products, and Evalena Tannehill, who was born in Illinois, was a domestic at "city hospital," and John Tannehill, who was born in Indiana, was a coal miner.  Harry Khoury worked as a "leader" at a playground, and Mary Khoury (Harry's wife) was not working.  Paul W. Roberts was an apprentice tool maker for an auto-body manufacturer, and Betty Roberts (Paul's wife) was a soda-fountain attendant.  The final family was the Hutstunson family--a husband-and-wife team--and Aenone Hutstunson was a saleslady at a department store, and Lester Hutstunson was (as noted on the "1940 Census" sheet having information about 672 Putnam)--a "radio engineer" for "radio" [Note: "Radio" might have meant "radio station."].  [Note: The "1940 Census" information for 672 Putnam was found on page twenty in the document known as "ED 84-166".]
    [Note: Here is a thought.  In the 1970s, I walked from WAYN-AM to the Fisher Building (the home of WJR-AM, 760) or WJR-AM and back several times.  Is it possible Lester Hutstunson was an engineer at WJR-AM?  He could have easily walked to work.  Then again, he could have worked for WWJ-TV, which was in downtown Detroit--he could have taken a street car along Woodward Avenue to work.  Then yet again, Lester Hutstunson could have worked at WXYZ-AM, which was located in the Maccabees Building, which was at 5057 Woodward close to Putnam Street and which was in the Wayne University area.]
    When I finished writing the previous two paragraphs, I thought I was done with the story of "672 Putnam", and then late on the evening of May 31, 2018, I decided to make one more try at an Internet search about "672 Putnam" and the first owner of the place.  I came up with an astounding revelation.  The next paragraph presents an overview of what I found--the information shows that "672 Putnam" is or was the most historically important house related to entertainment for Detroit--if you look at span of years tied to the entertainment industry.
    The big bang hit when I came across a document entitled "Historical Resources of the University-Cultural Center: Partial Inventory--Historic and Architectural Resources in Phase II Project Area."  The document was a "National Register of Historic Places Inventory--Nomination Form."  It was tied to the United States Department of the Interior, National Park Service.  It was received on March 19, 1986, and filed on May 1, 1986.  The document is 36 pages along, and it talks about, for one, land that now is a part of Wayne State University, Detroit.  I could find no author or authors named.  A portion of the document gave me information about "672 Putnam".  Here is a condensed version about the property, based on the document of 1986.  In 1818, Lewis Cass, who was the governor of the Michigan territory, bought some land--what was considered farm land--that would (in later years) be considered between Cass Avenue and Third Avenue of Detroit, and in 1836, he sold off a big portion of his about 500 acres to others, who subdivided their portions. Between 1892 and 1907, Robert Grindley was involved in getting a portion of the 500 acres--particularly lots that were on the north side of Putnam and between Second Avenue and Third Avenue; in the early part of the period, Robert Grindley was able to quickly sell off some of the lots that he had gotten.  One lot was quickly acquired and was given a house in 1893, and that lot would years later be identified as 654 Putnam.  Another lot was quickly acquired and was given a house in 1894, and that lot would later be considered "672 Putnam".  The first owner of what would be called "672 Putnam" was Owen Stanley Fawcett. By the way, in the 1800s and early 1900s, the street numbering system did not have houses on Putnam between Second Avenue and Third Avenue listed as they might be known today, if they were still in existence today [Note: I will not give an explanation of the number system here, since I know not enough about the numbering system, but it seems houses on a street might be listed from one corner to the next corner as house number one, house number two, house number three....].  The 1986 document notes that the two houses on Putnam between Second Avenue and Third Avenue that I have mentioned were the only houses on the block for about twenty years.  Both houses were Queen Anne-style houses.
    The previous paragraph probably does not spark any big excitement in you.  But you do know the name of the first owner of the property that would later be known as "672 Putnam".  The man is Owen Stanley Fawcett (or Owen S. Fawcett or Owen Fawcett).  At this point, you might think Owen Stanley Fawcett worked for some type of big company in Detroit, such as a bank or a manufacturing company or a construction company.  If Owen Stanley Fawcett would have been someone tied to a bank or manufacturing company or construction company, you would have no big bang.
    On June 1, 2018, and June 2, 2018, I did research to find out who Owen Stanley Fawcett was, and I found out who he was, based on seeing numerous articles in old newspapers, such as the Detroit Free Press, and here is a rough look at who Owen Stanley Fawcett was.  I state--Owen Stanley Fawcett was a very famous comedian or stage performer, who performed all over the United States, from New York to San Francisco, and who did some performing in England.  It might be said that Owen Stanley Fawcett is tied to a big-name theatrical family or dynasty, going back to England in the 1700s.  Owen Stanley Fawcett's grandfather was Charles Fawcett, who lived from 1771 to 1836 and who was a stage performer in England, and Charles Fawcett's wife (Charlotte Jenkinson) was also a stage performer, such as on December 2, 1816, in a production of The Devil to Pay; or the Humors of Jobson the Cobbler and His Wife Nell, which was done on the same stage and on the same night as Alexander the Great; or the Rival Queens, in which Charles Fawcett was appearing, and Mr. and Mrs. Charles Fawcett had a son born in 1803, and the son was Owen Stanley Fawcett's father; Owen Stanley Fawcett was born on November 21, 1838, and was brought to the United States when Owen Stanley Fawcett was about two years of age, and Owen Stanley Fawcett was raised in Philadelphia, Pennsylvania [Note: I have no information that hints Owen's father was a professional stage performer, but I found that he did appear on stage, for instance, at age five in Tom Thumb in England during an event focusing on his father.].  It was on December 7, 1853, when Owen Stanley Fawcett appeared on stage for the first time [maybe], and that happened in Norristown, Pennsylvania, in a production of Uncle Tom's Cabin as George Shelby [Note: This information comes from an article entitled "Fifty Years on Stage" published in The Detroit Free Press in 1903, but I found--on September 24, 2018--an article entitled "Comedian Owen Fawcett" in The Times--Philadelphia for December 4, 1887 (page 6) reported his first appearance was in 1854 at the Harrisburg Theatre in Philadelphia.].  Over the next fifty years or so, Owen Stanley Fawcett became well known as a comedian--a nationally known comedian at least.  Around November 1864, he appeared on stage in Julius Caesar with Edwin Booth and John Wilkes Booth (who was Edwin's brother and who would kill U.S. President Abraham Lincoln in 1865).  From November 1864 to March 1865, he appeared as a performer in Hamlet on "Broadway," his first performance on a "Broadway" stage, and he appeared in ten productions on "Broadway" during his lifetime, the last of which was Robert Emmet: The Days of 1803 (which was about the Irish revolt of 1803), a production that was done in other cities in the country.  Here are only a few of the productions that Owen Stanley Fawcett took part in on stage--The Merry Wives of Windsor (at the New Chestnut Street Theatre in Philadelphia in January 1866), Violet; or, the Life of an Actress (at the Walnut Street Theatre in Philadelphia on April 27, 1867), Banker's Daughter (at the California Theatre in San Francisco in August 1882, Americans Abroad (in Indianapolis in January 1894), and Charley's Aunt (at the Grand Opera House in San Francisco in September 1894).  It was commonplace for him to appear as a member of touring companies, such as the Lyceum Comedy Company (of the Lyceum Theatre in New York).  Of course, Owen Stanley Fawcett appeared in stage productions done in Detroit; for instance, he appeared in The Big Bonanza at the Detroit Opera House on June 29, 1881, and the Owen Fawcett Comedy Company appeared in Married Life during a testimonial event for two men (Messrs. Davidson and Fewius) at the Detroit Opera House on May 15, 1885, and three generations of the Owen Stanley Fawcett family--Owen Stanley, Mary Fawcett Uridge (his daughter), and Owen Fawcett Uridge (his grandson)--appeared together at the Empire Theater in Detroit on June 6, 1898, in A Kiss in the Dark [Note: The Detroit Opera House referred to was the place that was opened on October 7, 1869, was damaged by fire on October 7, 1897, and was reopened on September 12, 1898, and it was not the current Detroit Opera House, the history of which began in the 1920s.].  Owen Stanley Fawcett also did writing for the Detroit Free Press for many years; one of his final pieces for  the newspaper was "A Season of Brainstorming" (Fawcett, Owen.  "A Season of Brainstorming." Detroit Free Press, 16 August 1903, p. 34.).  The last production that Owen Stanley Fawcett performed in was Robert Emmet: The Days of 1803, and that production he did with a touring company at such places as the Krug theater in Omaha (in November 1903) and in Rock Island (Illinois, in November 1903).  In January 1904, Owen Stanley Fawcett was at his "country home" in Flat Rock, Michigan, having recently been forced to retire from playing in Robert Emmet: The Days of 1803 because of illness, and on Sunday, February 22, 1904, at about 8:00 p.m., Owen Stanley Fawcett died of Bright's disease at his country home, and, for instance, he was survived by his wife, Mary J. Fawcett, and his daughter, Mary Fawcett-Uridge, both of whom had ties to performing on stage.  [Note: By the way, on June 1, 1903, there was an advertisement in the Detroit Free Press from Mrs. Owen Fawcett, in which she was looking for a girl to go to Flat Rock to do general housework, and at the time, Mrs. Owen Fawcett could be contacted at 1259 Third Avenue, Detroit.]
    Although all the connections of the building to the entertainment-world history may have been told, I have yet more information to pass along, pushed along by my interest.  On June 2, 2018, I sent an email to the Burton Historical Collection department of the Detroit Public Library, Detroit, and I was looking for clues to what the first address for the house was, and on June 3, 2018, I received two emails with information from Sean Marshall of the Burton Historical Collection department.  Sean Marshall passed along evidence (a graphic image called a Sanborn Fire Insurance Map from Polk's Detroit City Directory of 1920) that noted that the first address for the building was "152 Putnam".  And Sean Marshall  passed along an old article from the Detroit Free Press entitled "New Number Plan Effective Aug. 1" ("New Number Plan Effective Aug. 1."  Detroit Free Press, 16 April 1920, p. 7.), and the article noted, for example, that the new numbering system for buildings in Detroit would be effective on August 1, 1920, and that old numbers should not yet be removed from buildings.
    On June 2, 2018, I now knew the first address for what I had known to be at least "672 Putnam", and on June 2, 2018, and June 3, 2018, I put this paragraph together.  It seems Owen Stanley Fawcett spent little time at "152 Putnam"; for one, he was touring a lot between 1894 and February 1904 (when he died) and had a "country home," which may or may not have been his only home.  In addition, it looks as if Owen Stanley Fawcett and his wife were no longer in the house a little after July 31, 1896.  On July 31, 1896, there was an advertisement in the Detroit Free Press, and the advertisement was about renting the house at 152 Putnam; the advertisement noted that a modern brick residence was for rent, and it was "complete in every way," having shades, a furnace, a laundry, a billiard room, six bedrooms, gas, and electric lights, and it was near a new high school.  I know not who took up renting the house, but I found that a man named John C. Shaw changed his address from "152 Putnam" to "472 Putnam" between about October 1902 and July 1903, based on a piece of information in The Michigan Alumnus for October 1902 and July 1903.  By the way, John C. Shaw (1863-1911) was graduated from the University of Michigan in 1886 and worked in the law field in Detroit, and he was the first "commodore" for the Detroit Boat Club (which had been founded in 1899), and he was involved in getting a famous yacht for "cup races" built and entered in races in 1901--The Cadillac.  For now, I know not who came to the live in the house after John C. Shaw had had it.  On March 12, 1905, on page 30 of the Detroit Free Press, there was an advertisement (from Gerard, Stormfeltz, Lovely Co.) noting that the house was up for sale, and the advertisement noted that the lot was 40 feet by 180 feet, had 12 rooms, and was made of brick and stone.  So a new owner was soon to show up in the history of the house.  I have no information about the sale.  However, I know a man named Seaman Leggett Bird (1862-1928) was living in the house from 1906 to at least 1912, and in 1917, he was living in Pine Lake [which can be called the West Bloomfield area of southeastern Lower Michigan today]; Seaman L. Bird came to Detroit in late 1903, and he bought into a clothing store in late 1903 (R.H. Traver, which had been around since at least 1890), which became known as Traver-Bird Co., and in 1917, the store was already being called S.L. Bird and Sons, which would exist into at least the 1940s [Note: When Seaman Leggett Bird died in 1928, his estate was worth $800,000.].  While "tracking" (researching) on June 2, 2018, and June 3, 2018, I discovered that, between February 1898 and May 1910, there were a number of advertisements in the Detroit Free Press looking for, for instance, a "girl" or "good girl" to do housework at 152 Putnam (but no washing or ironing would be involved), and I found that, on May 15, 1914, a person living at 152 Putnam was advertising (in the Detroit Free Press) that a reward was being offered for the return of a "small silver bonbon box" that had been lost in downtown Detroit on Wednesday afternoon (May 13, 1914).
    At some time between 1910 and 1927, the building became a boarding house.  Maybe that happened during World War I (which the U.S. was involved with directly in 1917 and 1918).  It may have happened while Seaman L. Bird was alive; the house could have been used as an income property, while he was living in Pine Lake.  It may not have happened till about September 4, 1927, when the first advertisement promoting rooms for rent showed up in the Detroit Free Press.
    In essence, the house at "672 Putnam" or "152 Putnam" started out as a place related to the entertainment industry (in 1894)--particularly a famous stage performer, maybe one of the biggest in Detroit theatrical history--and the house was home to a "radio engineer" for a while, such as around 1940, and the house at "672 Putnam" ended up as something tied to the entertainment industry--WAYN-AM Radio (from the late 1960s to the middle of the 1980s)--and the building involved a span of about 90 years.
    I wonder who did the last radio show at the studios of WAYN-AM in 672 Putnam.  I wonder who shut down the "rack" (probably the one that I had put together in the 1970s) for the last time.  I wonder who shut the front door and locked the front door for the last time.
    When the building was torn down, no one involved knew what was being torn down and how historically unique it was.
    Today, I promote the building as--"The Historic Owen Stanley Fawcett House of 1894."
    [Note: Here is some extra information that I came across on March 30, 2022.  Owen Fawcett Uridge (from December 10, 1895, to July 20, 1962) was one of the grand children to Owen Stanley Fawcett; Owen Fawcett Uridge's mother was Mary Fawcett (Mary Uridge), who was Owen Stanley Fawcett's daughter.  In an odd way Owen Fawcett Uridge has an indirect connection to WAYN-AM.  In about 1926, Owen Fawcett Uridge began to work at a radio station in the Detroit area of Michigan [Note: I note here that it was an "amplitude modulation"-type station, since I plan to send the document to relatives of, for example, Owen Fawcett Uridge's in England, and I report that commercial radio began in the United States of America in 1920.].  It was only 100-watt radio station, and Owen Fawcett Uridge worked at the place for about two years.  Then, Owen Fawcett Uridge joined the staff of WJR-AM, which is a big-deal radio station in the Detroit area today.  In the last half of the 1920s, there was a radio station in the Detroit area known was WGHP, and for a short while, Owen Fawcett Uridge worked there, and in around the time the station was changed to WXYZ-AM, which happened on July 1, 1930, Owen Fawcett Uridge returned to WJR-AM on the sales staff or the advertising-sales staff [Note: By the way, in essence, WXYZ-AM was the birthplace for such fictional radio series, which ended up being distributed nationally, as The Long Ranger and The Green Hornet, which were followed up by television series and movies.].  In the early 1930s, he left WJR-AM for a short while to work for the Columbia Broadcasting System (in the Detroit office).  In around 1938, Owen Fawcett Uridge was the sales manager at WJR-AM.  Here are some highlights of what Owen Fawcett Uridge later did--In 1940, he was the assistant general manager and the sales manager at WJR-AM, and in 1948, he was the general manager of WQAM-AM in Miami, Florida, and in 1952, he was yet the general manager of WQAM-AM, and the fall of 1956 or so, he became the manager of WCKR-AM in Miami, Florida, and in about January1960, he retired and left the position of general manager of WCKR-AM.  I note that from 1985 to 1995, I was regularly heard on WJR-AM while working in the broadcast area of Michigan AAA or AAA Michigan, and, in 1927, Owen Fawcett Uridge was living somewhere on Pleasant Avenue, Royal Oak, Michigan, and, today, my main residence is only a few miles away from that place.]


    On June 4, 2019, I was finally able to begin to construct this section of the document, and this section is about the audio console (or "control board" or "board") that was in Studio A from about 1967 to at least June 1977; up till June 2, 2019, I had had no information about the control board, except, for the most part, several photographs of the board.  On June 2, 2019, I received an email from a man named Tom Coleman (who, in essence, wrote me on behalf of himself and a man named Kenn Christopher), and the email reported that, for one, he was involved with the construction of the board in Studio A in about 1967.  Over the next two days or so, I exchanged several emails with Tom Coleman, and I contacted a few businesses by email to get information about electronic parts, and one thing that we were working to hunt down was the name of the company that had made the "faders" (or what, for years, I have informally called "sliders") used in the board.  Basically, the control board had six main "faders" (or "sliders"), which controlled the audio level of things; for example, one fader controlled the audio level of turntable number one (and controlled only that), and one fader controlled the several things (depending on which associated button was pushed or which button of several on a bank of buttons was pushed), such as audio for the ABC radio network or the telephone [Note: For example, when a person pushed the button for the telephone, the fader allowed the person to control the level of the telephone audio put on the air--the one fader controlled several different audio feeds but only one at a time.].  A person who was using a fader pushed a little-handle-like thing up (or increase the audio level) or down (to decrease the audio level).  Based on knowledge of the radio industry, I report that it was commonplace in the 1960s for studio control boards to not have faders but to have rotary controls ("potentiometers" or "pots") [Note: In the 1970s, the control board of Studio B and the control board Studio C--both of which were made by Sparta--had "pots" and no "faders".].  The audio control board in Studio A did have a few "pots", and they were for the studio main monitor, the studio cueing monitor, the main microphone, and a second microphone.  Such things at cart machines and turntables were controlled with the faders.  The work done by Tom Coleman and me to find information about the sliders did come up with information about what company's faders Tom Coleman and Kenn Christopher had put in the Studio A audio board some fifty years previously, and it was on June 3, 2019, that I gave a name to the audio board (at least for my files and this document)--"The Coleman-Christopher Audio Console" for Studio A of WAYN-AM [Note: I did not use "Christopher-Coleman", since it sounds like the name of one person.].
    Now let me show a few emails that were created and sent to determine what faders were used in the audio console in roughly 1967.
    Here is the email that I received from Tom Coleman to start up the search, and I received it at 3:56 p.m., on Sunday, June 2, 2019:

I designed and built the custom audio console in use at WAYN at Wayne State University.  The project was completed around 1967 and there's quite a story behind it.  I would really like to see your notes on the console as it existed in 1975 as they will refresh my memory.  I can provide references to corroborate my story.

    I wrote Tom Coleman a response that evening, and one thing that I had to report is that I was 270 miles way from my WAYN-AM files, and I said that I believed that I had a "block diagram" of what the audio control board was like in 1975, as drawn up by George J. Kereji during the time when he slightly reconditioned and redesigned the audio control board.  I gave Tom Coleman other information, which does not need to be reported in this document.  Even later on June 2, 2019--at 8:00 p.m.--I received another email from Tom Coleman:

I just spoke with Kenn Christopher, who was the Station Manager during the time we built the console (board).  We are trying to remember whose faders we used on the console.  I know they were German or Austrian, and I know they were not Langevin, which were used in a custom-built console at WDET.

I was employed as a "spinner" at CKLW and we used the same faders that were used in the McCurdy console at "The Big 8".  That console provided a lot of inspiration for the console we built at WAYN.

Kenn was friends with some Motown engineers and I'm pretty sure they through him introduced us to Gotham Audio in NYC who sold us the faders.

Between Kenn and myself we should be able to document the project which will hopefully prove to make interesting reading.

    It was the second email from Tom Coleman that inspired me to do "tracking" ("research") to see if I could come up with information about the faders, which would help out Tom Coleman and Kenn Christopher.  On the Internet, I found photographs of audio consoles of the past that used faders similar with those used by Tom Coleman and Kenn Christopher in around 1967, and, for instance, I sent an email (with photographs) to a company called Telefunken and an email (with photographs) to Gotham Audio (the history of which can be said to go back to 1958, though the current company has a somewhat recent founding).  The email that I had sent to Telefunken resulted in no useful information through a response.  On Monday, June 3, 2019, at 11:25 a.m., I received an email from Gotham Audio, particularly a man named Lewis Fisch (who can be called an audio historian and who was also tied to an entity called The Bedford Consultancy at the time), and here is what he provided me:

I am not technical enough to recognize the faders by specific brand name or type.  Also I have never saw anything with linear attentuators in my early years in radio in the 60's and my studio console in the 1970's still used rotary pots.  So I did not begin using linear faders until the 1980's -- well past the time period you are asking about.  BUT the information below may prove helpful :

Many Neumann consoles imported by Gotham used linear motion balanced ladder attenuators type HW-600 and KW-600 and Gotham also did sell these as separate parts items.  They appear to have been very popular items.  Later they went toa Model series KCW.  I believe that both series were made by Danner in Berlin.  These appear to be their most popular attentuator products in the mid 1960's into the 1970's.  Danner also made rotary pots for Neumann/Gotham.

Some of the Neumann consoles combined a module the attentuator with a 30 db preamp and an input transformer.  These were a series identified as TRVa.

I don't know who made Telefunken's attentuators.  In the mid-1960's they lavelled their ladder attentuators are W 63, W 66 and W85.

    [Note: I did not make corrections for this document to Lewis Frisch's email.]
    On June 3, 2019, at 1:07 p.m., I received another email from Tom Coleman (who had seen the email from Lewis Frisch, my having sent it to him), and some of what the email from Tom Coleman had was--"I'm wondering if the earliest photos of the console reflect some modifications.  The faders I remember were all black and would have been mounted on top of the panel, as shown in the WAYN pics.  Here's a picture of the McCurdy console at CKLW which served as our design model...." and "...If you blow up the upper portion of the image of a WAYN fader, you can make out a trademark/logo, but I don't recognize it as the original:...." and "We're going back some 50 years here so some of the details tend to get a little fuzzy.  It's possible I'm confusing my time at CKLW and WAYN, but I'm pretty sure we bought and installed the same McCurdy console faders at WAYN.".
    In the previous quoted material, Tom Coleman referred to photographs--those photographs exist in a PDF-type document with a lot of old photographs of the station (which is not available on the Internet) that I had sent to Tom Coleman.
    Based on the email, I made a number of simple arguments, hinting that the faders shown in the PDF-type document were probably the original faders.  For one, there were no black-faced faders in the board in 1971, when I joined the station.  Also it seemed very unlikely six faders would have been replaced at some time between 1967 and 1971, since the station had a truly tiny budget.  During the time that I was at the station, there was no electronic breakdown with any fader, but sometimes, a mechanical part--a steel band--came loose within a fader (and usually I made a repair by doing soldering work).
    On Monday, June 3, 2019, at 2:25 p.m., I received a fourth email from Tom Coleman--"Below are screenshots (may be .tiff, not Windows-friendly) from a Gotham Audio catalog." and "The faders I remembered had a black face, which makes me wonder whether they had been replaced by the time the WAYN photo was taken.  If you look closely at the WAYN photo you can discern the Gotham Trademark (GA) on the faders.  I've seen enough to identify the original faders as Gotham KW-600s.".
    Based on all the information available on the evening of June 3, 2019, some of which I had not passed along to Tom Coleman, I wrote Tom Coleman, and I reported that it was very likely the model of fader--put in the marketplace or sold by Gotham Audio--was made by a company in Germany and was considered a "KW-600/85-1" [Note: On June 3, 2019, I had found images a fader that looked like what was in the Studio A board, and the label on it could make a person think the model was a "KM-600/85-1".].
    My doing "tracking" over several days resulted in my drawing a number of conclusions.  Other companies made things or parts for Gotham Audio, which had its name put on the things or parts, and Gotham Audio did not actually make the type of fader used in the audio console for Studio A, and it was a company in Germany that made the fader (which was an imported item).  The "KW-600"-type fader used in the board did not have black faces (with numbers and symbols on them); the faders had sort-of stainless-steel-looking faces (with numbers and symbols on them).
    "Danner"--this is the informal name of the company that actually made the faders for Gotham Audio (the entity in the United States of America) around 1967, and "Danner" was based in Berlin, Germany.  Up to this point in time, I have very little information about "Danner" (which is not the full name of the company).  I found photographs of a number of difference types or models of faders made by "Danner" while searching the Internet in June 2019.  Around the time that the faders for "The Coleman-Christopher Audio Board" were bought, the company was using "KD" (to identify the company at least informally) on identification strips (which included the model name) existing on each fader (on the bottom).  The "KD" stood for at least "K. Danner", a name that I found on some faders shown in photographs and used by some people putting text on the Internet in recent years (such as when selling faders on eBay).  I also found some faders with "DannerRegler", which seemed to be on faders made in the 1970s or 1980s or 1990s [Note: I have done research that shows analog-type audio boards would start to become passé in the 1980s, such as because of the rise in using a software program for computers called "Pro Tools" and digital control boards in radio stations, so it looks as if the "DannerRegler" entity has been gone since the late 1900s.].
    Here is a more explanation of the audio-console setup.  In essence, the audio board was on a slight slant--slating down from the top--or the audio board slopped downward a bit (as seen by the disc jockey).  Basically, the faders (or sliders) were in a group (side-by-side) existing on roughly the right half of the face of the audio console (the other half of the board had such things as the microphone switches, the main monitor pot, and the cue-monitor pot) [Note: For this document, I report that the faders should be counted from one to six from left to right.].  Above each fader was a toggle switch.  When the toggle switch for a fader was straight up, it allowed audio related to the switch and the fader to be sent out over the air and to the main studio monitor (if the fader was not in the no-sound-at-all position, which was down all the way).  When the toggle switch for a fader was flipped downward, the audio signal would go to the cueing system and the cueing monitor; for example, a person could play and hear what was on an audio cartridge off the air by flipping down the toggle switch related to the cartridge machine in which the cart was set.  Below each fader were two more switches (side-by-side)--these were push-button switches.  The push-button switch on the left of a set of switches for a particular fader had a square green cover, and the switch on the right had a square red cover.  By the way, each of the six faders had an associated group of two push-button switches, but the ones for the sixth fader (related to, for example, the telephone) were never used (at least when I was at the station), since the sixth fader was not related to such things as a turntable or a cart machine that had to be started up to play something.  The green-capped switch was used to make something start (and not stop the something), and the red-capped switch was used make something stop (and not start the something).  By the way, the push switches related to faders three, four, and five were for cartridge machines, and I often taught people to--instead of using the start switches to start the cart machines--use the start switches on the cartridge machines, since the reaction time was faster.  Under each green square cap (or cover) and each red cap (or cover) was a little light bulb, and when a lightbulb was lighted, a person could determine whether or not a certain push-button switch (or turntable or cartridge machine) was on or off.  Originally, the squares (the caps or tops) for the push-button switches were blank or had no writing on them, and when George J. Kereji reconditioned the board, new push-button switches were installed, and the new squares (the caps or tops)  for the start buttons of faders one, two, three, four, and five had letters engraved in them, such as "TT ONE" and "CART ONE".
    My research shows that the push-button switches ("subminiature push-button switches") were "silent"-type and "momentary"-type push-button switches made by Dialight Corporation (a.k.a. DIALCO), which, in the 1960s, was based in Brooklyn, New York, and each indictor-light cap was three-quarter-inch square.
    For now, that is some information about "The Coleman-Christopher Audio Console" of Studio A.


    This section contains a listing of people who were members of WAYN-AM.  The listing is derived from telephone lists that were typed up for each quarter or semester, each of which was derived from sign-up sheets that people filled out to be at the station.  However, some people signed up to be at the station and then only showed up once or twice or never showed up.  You should be able to tell who were the regulars at the station, since the regulars often ended up at the station for more than one quarter or one semester; I note who some of the regulars were, especially in the first two years, by putting an asterisk next to their names (at least for their first appearances), but an asterisk usually notes during the first two school years that a person was enrolled a class called "Speech 0275," which allowed a person to get one college credit for doing work at the station.  Some people may have joined the station after a telephone list was made and will not show up in the statistics, and I know at least one person was at the station in the early mid-1970s and is not listed, and he is George J. Kereji, an engineering student, who never signed up as a regular member of the station but was like a "chief engineer" for a while, and a guy name Mark Andrews, who was a student at the university, showed up at the station during the time that Kurt Schneider was at the station.  Note: Almost all the spellings are as they were presented on telephone lists (I was able to make a few corrections).

    FALL 1971: Curtis Alden; Jack Allweiss *; Janice Allweiss *; Thomas Anderson *; George Baldwin *; Steven Barnaby *; James Baughman *; Daniel Bernath *; Sharon Blount *; Richard Cavellier *; Robert Clifford * (also known as "Bo" Clilfford); Larry Cohen; Christopher Conrad; Gerald Dugelar *; Ronald Dzwonkowski *; Paul Francuch *; Patricia Frasard *; ? William Glogower *; Steve Gordish; Simm Gottesman *; Robert Grant *; Martin Grossberg * ; Gabriel Gruen; Gerald Gubb *; Matthew Guice *; Luther Harven Jr. *; John Holod *; Andrea Ignatowski *; James Jarecki; Cynja Jones *; Larry Jones *; Larry Kaufman; Janice Kaye *; Charlotte King; Michael Klein; Richard Klos *; Gary Klueck *; Tom Krikorian *; Paul Lampi *; Steve Lawrence *; James Leinbach *; William McMillan *; Chris Mauer *; William Melucci; Paul Miller; Arthur Mirek *; Douglas Nagy *; Joseph Oberlee *; Pat Payne; Jerry Piasecki; Phyllis Rawls *; Raymond Rea; David Rosenberg *; John Rudnicki *; Larry Russell *; Karen Savelly *; Mark Schilling *; Kurt Schneider * ; Lee Schostak *; Don Schuster; Lucy Selecky *; David Strang; Victor Swanson *; Rhonda Tanton *; Charles Taylor *; William Trout; Eric Tulloch; Stephanie Turkin; Howard Waxer; Sherrelyn Williams; Charles Wilson; James Wilson; Brian Wood; and Robert Wunderlich. Adviser: Dr. Jack Warfield.

    WINTER 1972: John C. Aboud *; Jack A. Allweiss; Thomas G. Andersson; Frank J. Angelucci *; Jackie D. Armstrong; Robert Ashley *; George Baldwin; James Baughman *; Benita B. Bleecker; Sharon Blount; Anthony R. Bogadin; Linda Boigon *; Rae Brown; Kevin J. Burke; Richard Cavellier *; Robert Kinghorn Clifford; Joseph DeAgostino; Stephen G. Donovan; Paul C. Francuch; Patricia Frasard; Simm Gottesman *; Robert Grant; Carl S. Green; Martin Grossberg; Jane G. Huebner *; Deborah A. Hall *; Luther S. Harvin Jr.; Richard J. Herrmann; Andrea Ignatowski; Larry W. Jones; Janice A. Kaye; Michael C. Klein; Richard K. Klos; Gary G. Klueck *; Tom M. Krikorian; Robert Kustasz; Steve Lawrence; Richard Magyar *; Paul A. Manzella *; James J. Mickiewicz *; Arthur Mireck * (also known as Rick Mireck); Doug A. Nagy; Gregory N. Neubacher *; Phyllis A. Rawls *; Mary D. Reilly; David B. Rosenberg; John D. Rudnicki *; Karen F. Savelly *; Kurt M. Schenider; Lee Lawrence Schostak; Kenneth Skorina; Michael Sporer; David T. Strang *; Joseph Sullivan; Victor Swanson; Todd S. Taylor Jr.; William Tindall; Jon Truckenmiller *; Eric Tulloch; Mike Vacari; Brian J. Wood; and Rob Wonderlich. Adviser: Dr. Jack Warfield.

    FALL 1972: Frank J. Angelucci; Jack A. Allweiss; Cynthia Aguilar; Robert Ashley; Benita Bleecker; Bo Clifford; Robert J. Conway; Jerry D. Cornatzer; Joseph D. DaVic: Wendel D. Davis *; J. Michael DeAgostino; Bev Dinham; Isabel Doyle; Patricia A. Frasard; Robert J. Gengle; Daniel P. Gorzelewski; Simm Gottesman; Martin Gross; Martin Grossberg; Matthew Guice; Luther S. Harvin; Richard J. Hermann; Jane G. Huebner; Andrea Ignatowski; Jack L. Jaffe; James M. Jarecki; Robert F. Jordan; Janice A. Kaye; Michael C. Klein; Rick Klos; Paul M. Lampi; Steve Lawrence; Marcy Leeds *; Paul A. Manzella; Michael T. Maurer; James J. Mickiewicz; Arthur R. Mirek; Douglas A. Nagy; Michael L. Parrott; Phyllis A. Rawls; John Rudnicki; Karen F. Savelly; Mark Z. Segal; Kurt M. Schneider; Michael L. Schuff * (who called himself Mike Lawrence); Michael Sporer; David T. Strang; Victor E. Swanson; T.S. Taylor; William Tindall; Allen M. Wolf *; Brian Wood; and Rob Wunderlich.

    WINTER 1973: Frank J. Angelucci; Jack A. Allweiss; Alan Arndt; Benita Bleecker; Bo Clifford; J. Michael DeAgostino; L. Wendell Davis; Stephen Fioro; Simm Gottesman; Robert M. Grant; Martin Grossberg; Matthew C. Duerkop-Guice; Richard J. Herrmann; Jane G. Huebner; Raymond Kilmanas; Michael C. Klein; Steve M. Lawrence; Paul Manzella; James J. Mickiewicz; Rick Mirek; Phyllis A. Rawls; David Rosenberg; John W. Rudnicki; Karen F. Savelly; Tom Savelly; Kurt M. Schneider; Michael L. Schuff; Mark Z. Segal; Michael Sporer; Victor Swanson; R. Michael Tanner; Bill Tindall; Allen M. Wolf; Brian J. Wood; and Rob Wunderlich.

    SPRING 1973: Frank Angelucci; Linda Ashley; Robert W. Ashley; Benita B. Bleecker; David W. Bowles; David O. Chance; Robert M. Clark; Robert K. Clifford; Joseph D. DaVia; L. Wendell Davis; Miller G. Davis; J. Michael DeAgostino; Omelio Diaz; Michele Edwards; John Eissa; Stephen Fiori; Patricia A. Frasard; Simm Gottesman; Robert M. Grant; Martin Grossberg; Matthew C. Duerkop-Guice; Gerard Happy; Eric M. Herman; Jerry J. Kaufman; Richard K. Klos; Barbara A. Kusak; Steve Lawrence; Marcy Leeds; Paul A. Manzella; Pearl Moy; Paul J. Pastir; Edward J. Piquette Jr.; Robert O. Rucker; Greg Rabb *; Phyllis A. Rawls; Charles Sanzone; Karen F. Savelly; Tom Savelly; Kurt M. Schenider; Deborah M. Schornak; Michael L. Schuff; Mark Z. Segal; Michael S. Sporer; David T. Strang; Joseph Sullivan; Victor E. Swanson; Donald L. Swindell; Charles B. Taylor; Linda D. Taylor; Bill Tindall; Donald D. Walters; James D. Wear; Debra M. Weslow; Allen M. Wolf; William W. Woznak; and Robert Wunderlich. Adviser: Dr. John Spaulding.

    FALL 1973: Jerry J. Allaer; Frank Angelucci; Linda Ashley *; Dennis Bailey; Benita Bleecker (also known as Beni Bleecker); Ray Boyd *; Richard Bryce; David Brzezinski; David Chance; Mark Chester; Robert K. Clifford; Gerald Coleman; Connie Comequat; Robert Conaway; David Cottler; Joe DaVia; Loren Wendell Davis; J. Michael DeAgostino; Jerry DeMatin; Michael Dinwiddie; Roy Dolley; Matt Duerkop-Guice; Katherine Ervin; Steve Fiori; M. Christopher Frye; Marty Glazek; Donna Gorzelewski; Esa Katnamar; Jerry Kaufman; David Klueck *; Corinna Krajewski *; Gregory Kruzel; Barbara Kusak; Paul Manzella; Joseph McCauley; Gordon McClelland; J.J.J. Mickiewicz; Cynthia Novak; Richard Pesta; Tony Petta *; Richard Pomeroy; Loraly Ross; David Roque; Tom Savelly; Sue Sanderson *; Kurt Schneider; Michael Schuff; Mark Segal; Victor Swanson; Bill Tindall; Tim Wellman; Alvin Lee Wolf; Bill Woznak; and Mary Beth Zolik.

    WINTER 1974 (derived information from materials): Frank Angelucci; Linda Ashley; Robert Clifford; Wendell D. Davis; Michael DeAgostino; Jerry Kaufman; Barb Kusak; Paul Manzella; James Mickiewicz; Tony Petta; Susan Sanderson; Tom Savelly; Mike Schuff; Victor Swanson; Allen Wolf; Mary Beth Zolik. No more information is available.

    SPRING 1974: Jerry Allaer; Edward Anderson *; Frank Angelucci; Peter Antanaitis; Linda Ashley; Dennis Bailey; Bruce Blackford; Barbara Bleecker (who might be Benita Bleecker); David Bowles; Raymond Boyd; Salvatore Catanese; Robert Conaway; Miller Davis; Wendell Davis; Michael DeAgostino; Sandra Debogurski; Ezell Dunford; George Geck; Donna Gniewek; Howard Ishakis; David Johnson; Nick Jordan; Jerry Kaufman; Corinna Krajewski; Glenn Kurkowski; Barbara Kusak; Marcy Leeds; Allan Lengel; Dennis MacDonald; Paul Manzella; James Mickiewicz; Rick Mirek; Richard Morgan; David Muse *; Sharon O'Brien; Timothy O'Connor; Roger Olkowski; Tony Petta; Shirley Robinson; Susan Sanderson; Charles Sanzone; Thomas Savelly; Michael Schuff; Michael Sporer; David Strang; Victor Swanson; Patricia Taylor; T.S. Taylor; Allen Wolf; Reuben Yabuku; and Mary Beth Zolik. Adviser: Dr. John W. Spaulding.

    FALL 1974: Jerry Allaer; Frank Angelucci; Linda Ashley; Sue Ashley *; Dennis Bailey; Debra Beller *; Bruce Blackford; Sandy Debogurski; Jametta Boyce; Robert Ciarlo; Gary De Santis *; Bob Durivage; Robert Friedmann; Dan Gorzelewski; Charles Haynie; Mark Henkelman; Gary Henley; Leslie Hjric ?; Alan Hurvitz; Howard Ishakis; Nick Jordan; Jerry Kaufman; Marcus Kelley *; Hilde Kirkland; Glenn Kurkowski; Barbara Kusak; Joseph Larabell; Ilased Lewis; William Living; John McCartney; Paul Miller; Bruce Nicholas; Marcus Parrish; Anthony Petta; Vicky Polonka; Mielissa Press; Herman Quinney; Kathy Reppke *; Gail Roberts *; Loraly Ross; Susan Sanderson; Chuck Santoni; Kurt M. Schneider; Michael Schuff; Michael Sporer; Victor Swanson; T.S. Taylor; Dave Uchalik *; Roman Welyczkowsky (also known as Roman Wells); Reuben Yabuku; and Mary Beth Zolik.

    WINTER 1975: Anthony Accardi; Shirikiana Aina; Jerry Allaer; Frank Angelucci; Linda Ashley; Sue Ashley; Dennis Bailey; Debra Beller; Bruce Blackford; Sal Catanese; Mike Christian; Robert Ciarlo; John Cobb; Wendell D. Davis; Sandra Debogurski; Gary DeSantis; Bob Durivage; Mark Emge *; Therese Ensink; Brian Fishtahler; Gerry Garcia; Les Harvey; Chuck Haynie; Mark Henkelman; Dennis Heron; Jerry Hollingsworth *; Esa Katajamaki; Jerry Kaufman; Laura Keith; Marcus Kelley; Toni Kirkland; Glenn Kurkowski; Barbara A. Kusak; Dennis LaLone; Robert Leonard; Ilaseo Lewis; Willard Living; William Martin *; Mark Masters; Randy Mcghee *; Kevin McLogan *; Paul Miller; Richard Moran; Rochelle Mullins; Austin Musgrove; Bruce Nichols; Roger Olkowski; Anthony Petta; Gail Roberts; Mike Saoud; Sue Sanderson; Kurt Schneider; Michael L. Schuff; Mike Seaver; Mark Sidge; Victor Swanson; Michelle Tate; Alecia Thomas; Brenda Thomas; Francis Weathers; Roman Welyczkowsky; Carol Williams; Al Wolf; Reuben Yabuku; Steve Zieman *; and Mary Beth Zolik.

    SPRING 1975: Greg Alexander; Jerry Allaer; Frank Angelucci; Linda Ashley; Susan Ashley; Dennis Bailey; Debra Beller; Edward Blackmon *; Michael Christian; Robert Giarlo; Jon Cobb; Steve Collins *; Wendell D. Davis; Sandra Debogurski; Gary DeSantis; Stephen Donovan; Steven Dorfman *; Edward Durrschmidtt; Mark Emge; Therese Enzink; Stefanie Foster; John A. Frankowski; Daniel Gorzelewski; Kenneth Harrell; Charles Haynie; Mark Henkleman; Dedria Humpries; Howard Ishakis; Esa Katajamki; Marcus Kelley; Jerry Kaufman; Glen Kurkowski; Barbara Kusak; Ilaseo Lewis; Robert J. Leonard; Clarence Lusane; Philip Martin; William Martin; Randy Mcghee; Kevin McLogan; Jim Meredith *; William Mims; Gayle Palmieri *; Anthony Robert Petta; Vicky Plonka; Melissa Press; Gail Roberts; Susan Sanderson; Chuck Santoni; Michael Saoud; Michael Schuff; Kurt M. Schenider; Omar Shakir; Silvia Soloman; Mike Sporer; Victor Swanson; Michelle Tate; Brenda Thomas; Roman Welyczkowsky; Allen Wolf; Rueben Yabuku; Steven Zieman; and Mary Beth Zolik.

    FALL 1975: Jerry Allaer; Frank Angelucci; Linda Ashley; Debbie Beller; Edward Blackmon; Raymond Boyd; Rory Bradles; John Callay; Herman Cecil; Michael Christian; Harold Clay; John Cobb; Stephen Collins; Bob Conway; Thomas Dean; Gary DeSantis; Jenise Drayton; Jeffrey Edwards; Mark Emge; Vickey Fenderson; Phillip Frederick; Steven Galloway; Darrell Gartrh; Jerry Jankiewicz *; Jerry Kaufman; Marcus Kelley; Greg King *; Renata Krajewski *; Marty Lawlor; Michael Lisby; Steven Magier; William Martin; August Messana *; Richard Moran; Raymond Mundy; David Muse; Randy McGhee; Kevin McLogan; Roger Olkwski; Ron Palmerlee *; Richard Patton; Gary Perzigian; Anthony Petta; Melissa Press; Gail Roberts; Rosfelt Rowe * (also known as Ross Rowe); Jon Sankovich; Charles Santoni; Belinda Smith; Robert Stuart; Victor Swanson; Michelle Tate; Dave Uchalik; Roman Welyczkowsky; Carolyn Williams; Reuben Yabuka; Steven Zieman; and Mary Beth Zolik.

    WINTER 1976: Edward Blackmon; David Bowles; Earl Brown; Herman Cecil; Steve Collins; Gary Desantis; Steve Dorfman; Jenise Drayton; Roderick Ford; Phillip Fredrick; Steve Galloway; Philip Garner; Dana Gatewood; Arlene Gero *; Michele Gerus *; Steve Gontarek; Dedria Humphries; James Jackson *; Dorothy Jakymowych *; Jerry Jankiewicz; Jerry Kaufman; Marcus Kelley; Lawrence Kupla; Renata Krajewski; Illaseo Lewis; Willard Living; Bill Martin; August Massana; Peter Moy; Randy McGhee; Kevin McLogan; Linda Nagy *; Damian Ochab; Raymond Parker; Anthony Petta; Douglas Podell; Antiono Pollock *; Gail Roberts; Rosfelt Rowe; Chuck Santoni; Kurt Schneider; Belinda Smith; Victor Swanson; Michael Tarver; Dave Uchalik; Claudia Vala; Roman Welyczkowsky; Vicki White; Brian Wood; Reuben Yabuka; and Steven Zieman.

    SPRING 1976: George Baier *; Edward Blackmon; Dave Breault; Steve Collins; Cheryl Crenshaw; Gary DeSantis; Steve Dorfman; Jenice Drayton; Mark Emge; Kathryn Ervin; Evin Fobbs; Philip Frederick; Irene Futiak *; Arlene Gero; Michele Gerus; Gregory Griggs; Jerry Hollingsworth; Dorothy Jakymowych; Jerry Jankiewicz; Ken Kalczynski * (also known as Kenny Kal); Jerry Kaufman; Marcus Kelley; Greg King *; Renata Krajewski; Amie Langerman; Janice Litch; Bill Martin; Kevin McLogan; James Meredith; August Messana; Eric Mitchell; Rochel Mullins; Linda Nagy; Damian Ochab; Mike Olah; Ray Parker *; Tony Petta; Doug Podell; Tony Pollock; James Ramos; Gail Roberts; John Rohr *; Ross Rowe; Thais Rozmay; Steve Sexton; Belinda Smith; Mike Sporer; Victor Swanson; Michael Tarver; Dave Uchalik; Roman Welyczkowsky; Johnny White; and Steve Zieman.

    FALL 1976: Jerry Allaer; George Baier; Phil Beaudette; Tim Blachut; Ed Blackmon; Joseph Bommarito; Dave Breault; Larry Brooks; Mark Constantine; Cheryl Crenshaw; Ben Crumpton; Gary DeSantis; Steven Dorfman; Mark Emge; Phil Frederick; Irene Futiak; Arlene Gero; Michele Gerus; Steve Gontaraek; Greg Griggs; Jewel Haywood; Patricia Ice; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Jerry Kaufman; Jeanette Killewald *; Greg King; Ventie King; Larry Kozin; Mitchell Kozuchowski; Renata Krajewski; Amie Langerman; Robert Leonard; Keith Leveille; Steven Magier; Bill Martin; Kevin McLogan; Jim Meredith; August Messana; Eric Mitchell; Rochel Mullins; Linda Nagy; Ron Nolan; Damian Ochab; Ray Parker; Gary Perzigian; Tony Petta; Doug Powell; Tony Pollock; Donna Reed *; Gail Roberts; Ross Rowe; Douglas Rowland; Peter Salinas; Victor Swanson; Michael Tarver; T.S. Taylor; Toni Thomas *; Giselle Thornton; Robin Turla; Dave Uchalik; Claudia Vala; Roman Welychzkowsky; Reuben Yubuka; Richard Zalewa; and Steven Zieman.

    WINTER 1977: Kevin Beverly; Cheryl Crenshaw; Ben Crumpton; Dave DeBrosse *; Steven Dorfman; Martin Edelstein; Amia Fore; Kevin Frederick; Irene Futiak; Arlene Gero; Steve Gontarek; Liz Grisdela; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Marcus Kelly; Jeanette Killewald; Vertie King; Renta Krajewski; Bill Martin; Kevin McLogan; Jim Meredith; Steve Mertion; August Messana; Eric Mitchell; Linda Nagy; James Nahirniak; Ray Parker; Chris Pietrizyk (female); Gail Roberts; Robert Robinson; John Rohr; Ross Rowe; David Salinger; Rick Schwallie; Victor Swanson; T.S. Taylor Jr.; Goldie Thomas; Charles-Fontaine Wilson, and Victoria Yee.

    SPRING 1977: Kevin Beverly, Sharon Blount; Greg Briskey; Cheryl Crenshaw; Amia Fore; Kevin Frederick; Phil Frederick; Arlene Gero; Steve Gontarek; Linda Grissom; Morris Hayes; Gayla Houser *; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Rita Kapetanski; Marcus Kelley; Jeanette Killewald; Greg King; Mertis King; Renata Krajewski; Amie Langerman; Robert Leonard; Gary Lockard; Millie Luchkovitz; Howard Makkonon; Bill Martin; Kevin McLogan; August Messana; Eric Michell; Sharon Mitchell; Linda Nagy; James Nahirniak; Ray Parker; Eleanor Parnell; Chris Pietrzyk (female); Tony Pollock; Donna Reed; Gail Roberts; John Rohr; Ross Rowe; Robert Rucker; Dave Salinger; Victor Swanson; Larry Watson; Craig Weiland; Roman Welyczkowsky; Tamara Williams; Charles Wilson; and Victoria Yee.


    The previous section has information about people who a showed up to at least sign up to be members of station.  This section gives some information about those who were involved in management work.  The information is not complete, and one reason for that is my files lack information; for example, in the very early 1970s, the music guides that were printed up at print shops had the managers listed, and, in the mid-1970s, music guides, which could have indicated to me today who was doing what or who were the managers, were not produced at print shops (Yes, I have all the music guides produced at print shops and the music guides that were produced in print-shop-like ways during the period).

1971-1972 SCHOOL SEASON (two seminsters this year) --
    FALL 1971: George Baldwin, general manager; Dave Rosenberg; station manager; Steve Lawrence, program director of Top 40; Rob Wunderlich, music director. Jack Allweiss took over for George Baldwin in April 1972, and, in April 1972, Steve Lawrence and Bo Clifford were program directors.

1972-1973 SCHOOL SEASON (now on the quarter system) --
    FALL 1972: Jack Allweiss, general manager; Steve Lawrence, station manager; Bob Grant, operations manager; Mike Schuff, personnel director; Bo Clifford, Rick Klos, and Jim Mickiewicz, "programming" (program directors); Rob Wunderlich, music director; Doug Nagy, news director; Victor Swanson, sales manager; and Jim Mickiewicz, promotions director.
    WINTER 1973: Jack Allweiss, general manager; Steve Lawrence, station manager; Mike Sporer and Bill Tindall, programing (program directors); Robert Wunderlich, music director; and Victor Swanson, sales manager.
    SPRING 1973: Paul Manzella, general manager; Bo Clifford, station manager; Bob Grant, operating manager; Mike Schuff, personnel director; Mike Sporer, special productions manager; Steve Lawrence and Bill Tindall, programming (program directors); Victor Swanson, program director of Top 40; Frank Angelucci, music director; Jim Mickiewicz, promotions director; and Phyllis Rawls, public service director.

1973-1974 SCHOOL SEASON --
    FALL 1973: Mike Schuff, general manager; Bo Clifford, station manager; Victor Swanson, operations manager; Barbara Bleecker, personnel director; Frank Angelucci, special productions manager; Frank Angelucci ("progressive" format), Bo Clifford ("free-form" format), and Kurt Schneider ("Top 40" format), program directors; Frank Angelucci, music director; Tony Petta, assistant music director; Kurt Schneider, news and sports director; Victor Swanson, sales manager; and Barb Kusak, traffic director.  James W. Spaulding was the advisor.
    WINTER 1974: Mike Schuff, general manager; Bo Clifford, station manager; Victor Swanson, operations manager; Tony Petta, personnel director; Frank Angelucci, special productions manager; Bob Ashley (a short while), Wendell D. Davis, Tom Savelly, and Bo Clifford, programming; and Frank Angelucci, music director.
    SPRING 1974: Victor Swanson, program director of Top 40.

1974-1975 SCHOOL SEASON --
    FALL 1974: Victor Swanson, program director of Top 40.
    WINTER 1975: Victor Swanson, program director of Top 40.
    SPRING 1975: Al Wolf, news director; Victor Swanson, program director of Top 40; and Mike Schuff, program director MOR format.

1975-1976 SCHOOL SEASON --
    FALL 1975: Victor Swanson, operations manager; Victor Swanson, program director of Top 40; and Jerry Allaer, free-form program director.
    WINTER 1976: Frank Angelucci, station manager; Victor Swanson, operations manager; Victor Swanson, program director of Top 40; James Jackson, jazz program director; Linda Nagy, traffic and continuity director; and Jerry Hollingsworth, sales and promotions director.
    SPRING 1976: Tony Petta, general manager; Victor Swanson, station manager; Jerry Jankiewicz, operations manager; Roman Welyczkowsky, personnel manager; Victor Swanson, program director of Top 40; Ed Blackmon, program director MOR format; Earl Brown, program director jazz and R&B; Gail Roberts music director; Reuben Yabuka, minority afffairs director; Jerry Allaer, assistant music director; Kevin McLogan, program director of progressive rock; Johnny White, program director of jazz and rhythm and blues; Arlene Gero, news director; Jerry Hollingsworth, sales manager; Michele Gerus, account executive; Johnny White, account executive; and Judy Donlin, playlist executive.

1976-1977 SCHOOL SEASON --
    FALL 1976: Tony Petta, general manager (the first few weeks); Victor Swanson, general manager; Victor Swanson, station manager; Jerry Jankiewicz, operations manager (the first few weeks); Reuben Yabuku, minority affairs director; Victor Swanson, program director of Top 40; Ed Blackmon, program director of MOR; Dave Uchalik, program director of progressive rock; Earl Brown, program director of jazz; Jerry Jankiewicz, program director of progressive rock (for a short while); and Gail Roberts, music director.
    WINTER 1977: Victor Swanson, general manager; Victor Swanson, station manager; Victor Swanson, news director; Ray Parker, program director of Top 40; and James Jackson, program director of jazz.
    SPRING 1977: Victor Swanson, general manager; Victor Swanson, station manager; Reuben Yabuku, minority affairs director; Bill Martin (Bill Martin-Cartier), program director of R&B; John Rohr, news director; David Salinger, sports director; Jeanette Killewald, sales manager; Dorothy Jakymowych, music director; and Jerry Allaer, assistant music director.

    Here is information about others and the jobs that they did, but I have no clear dates about the people and their work: Linda Ashley, news director; Jerry Hollingsworth, news director; Kevin McLogan, program director rock-and-roll format and program director punk rock format; Damian Ochab, sports director; and Kurt Schneider, sports director (circa 1976, around the time he was working at WPON-AM, Pontiac).


    From the fall of 1971 to the spring of 1977, the station held a number of promotions or events, and members of the station took part in special programming.  Not much information is available about some events, of course.  One event I have no information about in my files, but I will make some guesses about it, and that event was a radio marathon, the first of five marathons it seems.
    The first big event that took place while I was at the station was a radio conference, which attracted radio people and music people from other places in the country.  The event was a weekend event, taking place from Friday, March 3, 1972, to Sunday, March 5, 1972, and it took place at the radio station, a restaurant (a Howard Johnsons restaurant), where a dinner was held, and the Community Arts Building on campus.  There were lectures and discussion groups, of course, and there were concerts, such as with Burton & Cunico, Billy Joel, and Spencer Davis (on Friday) and Harry Chapin (on Saturday).
    The next type of big event that I am going to list is the "radio marathon," and here is where the lost event gets a mention or no clear mention.  WAYN-AM held several marathons, and the marathons lasted either one week or two weeks, and, during each marathon, a couple disc jockeys did work on a rotation basis, doing shifts that were long, such as eight-hours long.  The first marathon was held in the late spring of 1972, and here is a bit of information about the start of the event that was published in Billboard on June 10, 1972:

    Detroit--WAYN, student radio station of Wayne State University, is seeking sponsors for a special radio marathon that is being held to raise money for the March of Dimes.  The marathon will start at 11:59 pm. on June 9, and is scheduled to continue for at least 11 days, during which WAYN will remain on the air 24 hours a day.
    "Sponsorship" of an hour's worth of programming on the station is being set at $10 for each person, club, organization or company.  The donation is tax deductible.
    The marathon will also seek to break the two-man college radio endurance record.
    Additional information regarding sponsorship may be obtained by calling the station at (313) 577-4200, between 8:00 am. and 9 p.m.

I have no information about who were the two disc jockeys for the first marathon.  I do recollect that Kurt Schneider and Paul Manzella did a marathon together, and it seems very likely that they were the disc jockeys (but, as I noted, I am not sure at the moment who were the disc jockeys for the event).  I can report that the second annual marathon began on June 4, 1973, and for this marathon, the "WAYN/March of Dimes Radio Marathon," Wendell D. Davis and Mike Schuff (known as Mike Lawrence on the air) did eight-hour shifts for a 336-hour-long period.  The marathon of 1974 was held from June 10 to June 17, and I have no information about who the disc jockeys for the event were, but I know the event was designed to raise money for the March of Dimes.  From June 14 to June 28 of 1976, the station ran another marathon, and, for part of the time, from midnight to six in the morning, it was simulcast on WMZK-FM 97.1; Tony Petta was the marathon director, and the disc jockeys were Victor Swanson, Ed Blackmon, and Ross Rowe, and Jerry Hollingsworth was a backup disc jockey, and the newscasters were Arlene Gero, Jeanne Lobb, Tony Pollock, Jeanette Killewald, Jim Meredith, and Dave Uchalik, and the backup newscasters were Damian Ochab and Greg King, and sportscasting was done by at least Kurt Schneider and Damian Ochab.  The final marathon was held from July 11 to July 27 of 1977; the disc jockeys for the event were Ed Blackmon, Larry Watson, and Ross Rowe, and the news director was John Rohr, and John Rohr's news team was Morris Hayes, Chris Pietrzyk, Craig Weiland, Ton Pollock, Liz Twardon, David Salinger, Donna Reed, and Victor Swanson, and sportscasting was done by David Salinger (the sports director) and T.S. Taylor.
    The fall was the season for two different types of events.  On October 28, 1971, the station held a pumpkin-carving contest at the University Mall, and, during the event, people paid a small sum to carve a pumpkin and then hoped to win a prize, and what money was raised went to Mother Waddles' charity.  Another pumpkin-carving contest was held the next year (in October 1972), and I believe this was the event that Mr. Belvedere (the head of a local construction firm whose real name was Maurice Lezell) showed up as a celebrity guest.  There may have been a pumpkin-carving contest for 1973, but I have no information about one.  Later in the 1970s, the station conducted turkey-race events around Thanksgiving Day, and the events were informally called "Turkey Trots," and I know one "Turkey Trot" was held on November 23, 1977, and the event was held in the mall near the Student Center Building, and what money was raised went to the Mother Waddles Perpetual Light Mission, and it seems to me there had been at least one event previously.
    From time to time, the station held on-air contests.  The station ran a promotion to give away a trip in the Virgin Islands in the fall of 1972 (and I believe it was related to Windjammer Cruises), and, in April 1973, the destination promoted in a contest was the Bahama Islands.  Jim Mickiewicz was instrumental in setting up both contests.
    An unusual contest was held during the 1974-75 school season, starting in the fall I believe.  The contest involved "The Mystery Runner" (me).  The contest was set up so that, during a radio show, I could run to different carrel locations on campus and give away albums.  The act was accomplished by my having a board operator during a show, such as Jerry Hollingsworth (and, I think Ken Kal was a board operator at least once).  After doing a break or segue, I ran out of the station and to a carrel location, and at the carrel location, I asked someone what number could be used to pick up WAYN-AM on the carrel system, and if the person knew the number was 108, I handed the person an album, got the person's name, and ran back to the station to do the next break.  Yes, some people did win albums.
    In the spring of 1973, WAYN-AM obtained a bright yellow van (a true van and not a minivan), which could be used for doing remote broadcasts.  George J. Kereji set up the electronics for the van, and I have a copy of the block diagram for it, which is dated April 18, 1974.  I remember one remote was held at the Kern Plaza of Detroit, but, for now, I cannot give information about what the event was.  I yet have an eight-inch-by-ten-inch photograph of the van, inside of which is Wendell D. Davis, and on the side of the van, it states in black paint: "WAYN 860/DETROIT.  SPONSORS: Verne's bierstube.  MOTOR CITY CUSTOM VANS INC."  I remember the transmission soon went bad and had to be repaired.
    I have already hinted at some concerts that WAYN-AM was associated with, and besides concerts, there were a few "dances," which were held during the disco years, the latter days of my time at the station.  On April 22, 1974, Dean Rutledge was the headliner for a concert in the second-floor ballroom of the University Center Building (which I always think of as the Student Center Building).  This was promoted to the students of Wayne State University: "The Jazz Connection of WAYN Presents A BENEFIT "SUPER-DISCO" DANCE At the Student Center Building, on the Wayne State Campus. Friday, October 15, 1976..."; Reggie "The Rapper" of WAYN and Reuben Yabuku of WJBL-FM (Detroit) and WAYN-AM were promoted as some of the people who were going to appear at the event.  And the event for April 16, 1977, was "Luv's in the Air, Spring Affair Disco"; it was an event held in the basement of the Student Center Building (or Student Union or the University Center Building), and scheduled to appear were Reuben Yabuka (of WJLB-FM), Donnie (the Luv Bug) Simpson and "Rockin Ronna" of WGPR-FM, Detroit, and "Reggie the Rapper," and the music was provided by THE M.A.R.S DISCO MACHINE.
    At least twice, the station was promoted on the covers of commercial magazines that were distributed on campus.  "Sound: The Sony Guide to Music 1975/1976" was a promotional magazine that was distributed on campus, and at the bottom of the magazine was "Campus Sponsor: WAYN; DIAL No. 108; 860 AM."  And "Nutschool: A handbook for College 1976/77" was distributed on campus, and on the bottom left-hand corner of the magazine was "Detroit Edition. Compliments of WAYN; Dial #108; 860 AM".
    The last event that I note was a radio play.  Jim Mickiewicz wrote a radio play entitled "Nightmare!";  I use the quotation marks in the title, since they were noted in the contract that I signed to take part in the event, which could result in my getting paid some money someday, if the production made any money by being aired somewhere, and that contract, which I still have, is dated March 15, 1973.  "Nightmare!" was produced at the station; Studio B was the recording studio, and the work area for the news department was where the performers stood before microphones.  The production was completed in the spring of 1973 it seems, and it was aired at least once on a radio station in the Detroit area, but I am unsure what station it was.


    To make this section of this document and the next section of this document, I did research in Billboard magazine.  I had available to me editions of the magazine published since 1942; from the issue of January 3, 1942, through the issue of December 3, 1960, the magazine was called The Billboard, and from the issue of January 9, 1961, through the issue of December 29, 1962, the magazine was called Billboard Music Week, and since issue of January 5, 1963, the magazine has been known as Billboard.  Today, people only think of Billboard as a magazine that focuses on music and radio, but, in the first three decades of existence, the magazine did cover television, too.  I went hunting for articles in Billboard, knowing there were articles about  WAYN-AM in it and wondering if I would find articles that might hint at early history of the station, during the late 1950s and early 1960s, but all I found was material from 1971 to 1977.  Much of the material that got published in Billboard had been supplied by Rob Wunderlich, as you shall especially see by reading the next section.  For now, look at what articles I found in Billboard that bring to light other things that happened at WAYN-AM.
    The first big-deal article that I found in Billboard was entitled "WAYN Seminars Focus On Total Campus Radio," and it was published in the edition for March 25, 1972 ("WAYN Seminars Focus On Total Campus Radio."  Billboard, 25 March 1972, p. 27.).  On the weekend of March 3, 1972, WAYN-AM was the host site for the "WAYN Radio Conference," and the people who took place in the event were from WAYN-AM and other college radio stations.  Some of what a person could take part in were a session on music on Saturday afternoon or a session on "News and Public Affairs" on Saturday afternoon, during which people talked about such topics as how newscasts offered could be made relevant to students and how stations could go beyond conventional news sources, and the story noted that Jim Cameron (of WLVR Radio at Lehigh University, Bethlehem, Pennsylvania) and Michael Benner (of WRIF-FM, a commercial station in Detroit) were two panelists.  [I must note that, I believe, DeRoy Auditorium at Wayne State University was used as one location for the event.]  The station was used for discussion session focusing on engineering topics.
    One article that I found was about an event that had no close ties to WAYN-AM, but the article did involve some people who were members of WAYN-AM, who, in essence, represented WAYN-AM at the event, and the article was entitled "IBS, Confab Hit by Reps" and was published on April 8, 1972 ("IBS, Confab Hit by Reps."  Billboard, 8 April 1971, pp. 1 and 25.).  The event was the "33rd Annual Convention of the Intercollegiate Broadcasting System," which was held in New York City, New York, which took place on the weekend of March 24, 1972, and the theme of the event was "Speak Out 72," and it was an event that--as noted in the article--did have dissension issues related to, for one, "the convention itself" (but I do not cover those dissension issues for the most part).  The event was attended by people from record companies, people from commercial radio stations, people involved in publications (such as Billboard), people involved in making broadcast equipment, and people involved in college radio stations, and there were a number of forums at the event, and one afternoon forum--entitled "Music Industry Forum"--had Rob Wunderlich (of WAYN-AM) as a panelist (and the moderator of that forum or panel was Gary Cohen (of Record World), and the other panelists were Scott Muni (the program director of WNEW-FM, New York), Jimmy Fink (of WPLT-FM, New York), Russ Singer (of WVBR-FM, Cornell University, Ithaca, New York), and Pete Fornatele (of WNEW-FM)).  It was estimated in the article that about six-hundred persons had attended the event.  The event had concerts.  At the Alpine on Saturday, attendees saw Jake & the Family Jewels, Nanette Natal, and Dennis Stoner (of Rare Earth), and also on Saturday, attendees was David Bromberg and was the Kenny Loggins Band with Jim Messina.  The big concert event had Todd Rundgren with the Hello Public, Billy Joel, David Pomeranz, George Gerdes, and Tiny Alice.  I note that one problem brought up during the event was that record people felt students--those involved in college radio stations--were more interested in getting free records than looking for ways in improve relations between record companies and college radio stations.
    In the issue Billboard for May 22, 1972, Sam Sutherland wrote the "What's Happening" portion, a section that was being used around this time to report information from college radio stations, especially information about records that stations were playing.  This edition had no information about new songs being played by WAYN-AM, but it had other information.  Here is the text (Glassenberg, Bob.  "What's Happening."  Billboard, 22 April 1972, p. 34.): "Rob Wunderlich of WAYN, Wayne State University in Detroit, reports increased activity for the station ranging from expanding off-campus shows of WHIF, WHRI, and WJR-FM to alterations in the programming format.  Also, please note the new appointments of Jack Allweiss as general manager, Bob Grant as operations manager, Karen Savelly as news director, and George Baldwin as sales director.  Rob Wunderlich continues as music director."  [Note: I wonder if the article wanted "WHIF" instead of "WHIF."  I will have to track that down sometime.]
    On page 24 of the issue of Billboard for June 10, 1972, there is an article that focused on the first on-air "marathon" that was held at WAYN-AM, and the article was entitled "WAYN SETS A MARATHON" ("WAYN SETS A MARATHON."  Billboard, 19 June 1972, p. 24.).  The story reported that WAYN-AM was seeking "sponsors"--people or entities--to pay $10 to sponsor an hour of airtime during a "marathon," during which two disk jockeys would play the tunes and do more.  The event was scheduled to begin at 11:15 p.m. on June 9, 1972, and run for eleven days.  The two disk jockeys were hoping to break the college radio endurance record.  In this case, the disk jockeys would alternate being on the air during the period.  [I believe the disk jockey format was a twelve-hours-on-and-twelve-hours-off format.]  If you wanted to sponsor an hour, you could contact the station by calling 1-313-577-4200.
    The issue of Billboard for June 16, 1973, had an article that I am not going to cover much about here (and if you wish to learn more about what it was about, you can see it).  The article was entitled "Intra-State Service Unit" ("Intra-State Service Unit." Billboard, 16 June 1973, p. 24.).  The focus of the article was on the Michigan Intercollegiate Radio Association (or the MICRA).  One part of the article noted that the first MICRA convention or meeting had been held at Wayne State University in April 1973 [probably in conjunction with WAYN-AM], at which time a constitution for the MICRA was ratified and three chairpersons were elected.  I have no idea whatever became of the MICRA and whether or not it had any value.
    The final article--the most recent article--that I found was published in the edition of Billboard for April 23, 1977, and the article was entitled "Wayne State's WAYN-AM Like a Commercial Station" ("Wayne State's WAYN-AM Like a Commercial Station."  Billboard, 23 April 1977, p. 48.).  It looks as if the material contained in the article had come from then music director Gail Roberts, who got quoted several times.  The story noted that the station receives $4,000 from the Speech Department of Wayne State University to run, and the station also gets funds from the sales of commercials.  The hours on the air at the time were from 8:00 a.m. to 1:00 a.m. on, in essence, a Monday-through-Friday basis, and the station played music in five main format blocks--Top 40, MOR, Rock, R&B, and Jazz--and it was noted that on Monday at 11:00 p.m. to 12:00 a.m., the station had a program called "No Scratches Or Fingerprints," during which cuts from new releases were featured.  The story had this text: "'Up until 1974 we didn't program jazz or r&b as separate entities.  We've gone from an abstract to regular hourly formats,' says Roberts."  [The quotation is a little misleading.  Since the fall of 1971 at least, the station had had a block format.  What happened around 1974 or so is blocks specifically focusing on jazz and R&B were would start to show up.]  What was really important in the story is that the station was going to hold a "Radiothon" for two weeks starting on June 27, 1977.  The event, which was hoping to raise money to keep the station running, was going to run for twenty-four hours a day, and during the hours between 12:00 a.m. and 6:00 a.m., the station signal would be simulcast on WWWW-FM.  And in the story, there was this material related to what the function of the station was as seen by Gail Roberts: "'It's the best way to train students for professional careers,' says music director Gail Roberts."


    I have noted that WAYN-AM is mentioned in issues of Billboard from 1971 to 1977.  Much of the information published in the issues had come from music directors at the station, especially Rob Wunderlich, who was the music director at the station for about three years.  This section notes what was presented in Billboard as reports about records being played at WAYN-AM (and the information about the issues exists in the "Bibliography"):
    In the issue for March 24, 1971, this was published: "WAYN, Wayne State University, Putnam, Mich.: 'Never Ending Song,' Delaney and Bonnie & Friends, Atco."
    In the issue for March 31, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Rob Wunderlic reporting: 'Malt & Barley Blues,' McGuinness Flint, Capitol."
    In the issue for April 10, 1971, this was published: "WAYN, Wayne State University, Detroit: 'If,' Bread, Elektra."
    In the issue for May 15, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Rob Wunderlich reporting: 'High Time We Went,' Joe Cocker, A&M."
    In the issue for May 22, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Low Down,' Chicago, Columbia."
    In the issue for June 5, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Little Bit Lonely,' (LP cut), Heads, Hand and Feet, Capitol."
    In the issue for June 19, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Uncle Albert'/'Admiral Halsey,' (LP cut), Paul and Linda McCartney, Apple."
    In the issue for August 14, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Stick-Up,' Honey Cone, Hot Wax."
    In the issue for October 1, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Closer to the Ground,' (LP cut, Pilot), Joy of Cooking, Capitol."
    In the issue for November 11, 1971, this was published: "WAYN, Wayne State University, Detroit, Bob Wunderlich reporting: 'Step Out,' (LP cut, People Like Us), Mamas and Papas, ABC/Dunhill."
    In the issue for November 27, 1971, this was published: "PICKS AND PLAYS: WAYN, Wayne State Univ., Detroit, Mich., Rob Wunderlich reporting: 'American Pie,' Don McLean, UA."
    In the issue for December 4, 1971, this was published: "MIDWEST--MICHIGAN--WAYN, Wayne State, Detroit, Rob Wunderlich reporting: 'Open the Door,' Judy Collins, Elektra."
    In the issue for December 16, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Third Week in the Chelsea,' (LP, cut, Back), Jefferson Airplane, Grunt."
    In the issue for December 23, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Mister Deadline,' Vigrass and Osborne, Uni; 'Demon in Disguise,' (LP), David Bromberg, Columbia; 'Talking Book,' (LP), Stevie Wonder, Tamla."
    In the issue for January 22, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: "Dynamite,' Supremes & Four Tops, Motown."
    In the issue for February 5, 1972, this was published: "MICHIGAN--WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'America's Great National Pastime,' Byrds, Columbia."
    In the issue for February 12, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'Beads and Feathers,' (LP), Carol Hall, Electra."
    In the issue for February  19, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'FM & AM,' (LP), George Carlin, Little David."
    In the issue for March 11, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'McKendree Spring 3,' (LP), McKendree Spring, Decca."
    In the issue for December 9, 1972, this was published: "WAYN, Wayne State U., Detroit, Rob Wunderlich reporting: 'Because of you,' Kracker, Dunhill; 'The Grand Wazoo,' (LP), Frank Zappa, Bizarre; 'Talking Book,' (LP), Stevie Wonder, Tamla."
    In the issue for May 5, 1973, this was published: "...The last month has seen many stations experiencing staff turnovers, among them WAYN at Wayne State University in Detroit.  There, Rob Wunderlich, music director and station sparkplug for the past three years, has stepped down this term while Frank Angelucci has taken over the post.  Angelucci is now the man to talk to regarding all music programming and service."
    In the issue for May 12, 1973, this was published: "WAYN, Wayne State U., Detroit, Frank Angelucci reporting: 'Blues Band, Ops 50,' Ozawa/Siegel-Schwall Blues Band, DGO; 'Banquet,' (LP), Lani Hall, A&M; 'Birthday,' (LP), New Birth, RCA."
    In the issue for June 9, 1972, this was published: "WAYN, Wayne State U., Detroit, Frank Angelucci reporting: 'Banquet,' Lani Hall, A&M; 'The Tin Man was a Dreamer,' (LP), Nicky Hopkins, Columbia; 'Daltrey,' (LP), Roger Daltrey, MCA."
    In the issue for March 9, 1974, Frank Angelucci had information reported, and this time, I do not quote the material (since it was spread out in the article), and I note that Frank Angelucci reported the station was playing "Playing My Fiddle for You" by Papa John Creach & Zulu, "Manfred Mann's Earth Band" by Manfred Mann's Earth Band, "Rock 'n' Roll Animal" by Lou Reed, and "Different Drummer" by Linda Ronstadt.


    In the 1970s, the campus of Wayne State University was nearly deserted at about midnight, or only from time to time someone might walk by the station at the late hour, but, even at about midnight, someone was very likely to be in Studio A of WAYN-AM doing an air shift, maybe lighted only by the lights on the control console and the small rectangular florescent lamp that was positioned above the control console.  The ceiling light in the lobby might be on, and the speakers in the room were most certainly turned on, though maybe not high.  If it were a warm spring day, the front door of the old building might be open, and someone could be sitting on the front steps, and that someone had no car to follow with the eyes from right to left or from left to right, since the street was blocked to traffic at both ends.  What music left the speakers bounced off the Engineering Building and the other buildings and disappeared down the street.
    If I had time to write a novel and present it here, I might be able to give a good description of the ambiance of WAYN-AM to someone who was never there, and since I am unable to present a good description, I can only present a few notes that might bring up memories in someone who was once at WAYN-AM.
    If I bounded up the front steps and on to the porch, which had a wooden deck, I could send little shockwaves through the building that people inside the station--at least on the first floor--could probably feel.  The sound of the heavy front door closing could be detected by someone up in the general manager's office, though the office was on the second floor.  Inside the station at a given moment, I might hear the sound of The Rolling Stones or The Dramatics.  I might catch someone putting coins in the pop dispenser, or I might hear a pop can falling through the machine.  In the air might be the scent of smoked pipe tobacco, something from Doug Nagy, who could be in the news director's office, or the air might have a hint of perfume from a gal who had moments ago passed through the foyer and gone inside Studio B.  Almost every room had one ceiling florescent-light fixture, and each of the florescent-light fixtures was made up of four four-foot-long U-shaped florescent bulbs and looked like a large ceiling fan, and because each fixture gave off a lot of light, the station was certainly no dark place when all the lights were on.  When the light was on in the main room of the first floor, a person had no trouble reading while at the round yellow table, and when the light was on in the news work area, a person had no trouble seeing the red carpet on the floor of the room.  The floor in the engineering room was made of wood strips; the floor was painted gray, so a person had a hard time telling what type of wood the floor was made of, but the floor in the engineering room was sturdy, and the floor in the enginnering room seemed more sturdy than the floor in the main room of the first floor, which was a wood floor covered with light-brown tiles and which was sort of warped and somewhat spongy, because right below the main room in the basement was the steam-run furnace, heat and humidity from which had warped the floor above over many decades.  When one of the two gray steel cabinets in the engineering room was closed, the sound could easily be heard by someone in the main room of the first floor, who might wonder if I were locking up the Electro-Voice 635A microphone that the person had recently used with a black Sony Cassette Recorder (a model TC-110B cassette recorder) to record an interview.  If it were a windy day, the back door of the building would rattle, especially the single pain of glass, and I might notice the rattling, and I might hear the footsteps of someone right above on the second floor in the music library.  "W.A.Y.N., Wayne State Music"--that could be the sweep jingle, sung by a chorus and backed by musicians, that I might then hear over the small speaker in the engineering room, a jingle used to separate two songs.

    Let me digress to note what Rob Wunderlich might be typing out on a Selectric II typewriter on the second floor, such as the copy that was put in the music guide of 14 February 1972: "...BESIDES WHAT WE DO HERE....  Every Sunday on WHFI, 94.7 FM, Wayne State Student Radio present 'COVERSATIONS WITH WAYNE STATE' featuring interviews and conversations with newsmakers in the New Center area.  8 a.m.   Late Sunday night (actually Monday morning), you can hear us on WRIF, 101.FM, presenting music and campus news.  1:00 a.m.  Even later, music your mother likes (MOR) can be heard by us on WDRQ, 93.1 FM, with 'MUSIC FROM WAYNE STATE'...."  A Selectric-type typewriter was electric and had a distinct sound when used, and it is a sound that I shall have to leave undescribed.

    Each weekday--a little before eight in the morning--someone opened up the station.  Studio A was turned on.  The rack in enginnering was turned on.  Usually, the first sounds put out over the air were those from the sign-on cart, and in someway the sign-on cart announced: "This is W. A. Y. N., eight-sixty A.M., Detroit."

(noted May 10, 2007)

    In one of the final music guides that I helped produce in the spring of 1977, I wrote up a list of where I knew some people from WAYN-AM were working or had recently worked.  In fact, it was the music guide for May 16, 1977, and it had this information: Linda Ashley, news at WDEE, Detroit; Debbie Beller, disc jockey, WWWW-FM, Detroit; Bo Clifford, ABC records; Paul Francuch, The Voice of America, Washington, D.C.; Arlene Gero (AAA Motor News); Bob Grant, engineer, WCAR-AM, Detroit; Jerry Jankiewicz, disc jockey, WWCK; Rick Klos, disc jockey, WSDS-AM, Ypsilanti; Barbara Kusak, news, WOMC-FM, Detroit; Steve Lawrence, engineer, WXYZ-TV, Detroit; Jim Mickiewicz, sales, WWJ-AM, Detroit; Dave Muse, engineer, WIID; Tony Petta, disc jockey, WSDS-AM, Ypsilanti; Doug Podell, disc jockey, WWCK; Karen Savelly, disc jockey, WABX-FM, Detroit; Chuck Santoni, disc jockey, WABX-FM, Detroit; Kurt Schneider, sports, and Michael Schuff, disc jockey, WSDS-AM, Ypsilanti; Belinda Smith, news, WJLB-FM, Detroit; Al Wolf, sports, WPON-AM, Detroit; Reuben Yabuku, disc jockey, WJLB-FM; and Mary Beth Zolik, news, WJR-AM, Detroit.
    In the years after the music guide was produced, people went on to other jobs, and here are rough notes about some people:
    Mark Andrews had a number of radio-related jobs in the Detroit area (Michigan), such as working with Dick Purtan at WOMC-FM; Mr. Andrews died in early 2004.
    Frank Angelucci worked for WDET-FM for a while (in either the late 1970s or early 1980s), and , in the early 1980s, he was managing a Detroit-area band called The Reputations, a member of whom was Johnny Angelos (who had worked with Ted Nugent and the Amboy Dukes in 1971 and 1972).
    J. Michael DeAgostino, who is sometimes called Michael DeAgostino (or only Mike DeAgostino), is the public relations manager for the Grand Traverse Resort and Spa at Acme, Michigan.
    Stephen G. Donovan, who was a member of the station for a very short time, never entered the radio field and went on to study law, and, today, he is in private practice, listed as "Stephem G. Donovan, Attorney at Law" in Roseville, Michigan.
    Steve Dorfman, who was a game-show trivia buff, work as a writer for Jeopardy! from the fall of 1984 to his death in early 2004.
    Paul Francuch yet works for The Voice of America; in 2003 and 2004, he was in London, England.
    Arlene Gero worked at WRNN-AM (Clare, Michigan), starting in spring 1977 or so, and did work a little later in St. Ignace, Michigan.
    After announcing hockey games for the University of Michigan for at least a decade, Ken Kalczynski (a.k.a. Kenny Kal) started to work as the play-by-play announcer for the Detroit Red Wings on radio in the fall of 1995, and he is still associated with the Detroit Red Wings.
    Jerry Kaufman, who became an attorney, did work at WPON-AM (Pontiac, Michigan).
    Rick Klos did work in the 1970s at WDRQ-FM (Detroit, Michigan), which is not the current WDRQ-FM.
    Barbara Kusak did much work as a newcaster in the Detroit area; in the 1980s and the early 1990s, for instance, she worked at WLLZ-FM.
    Gary J. Lockard did a bit of work in radio around 1980 and that was it; mostly, he has been associated with the United States Air Force since the early 1980s, and, currently, he is a colonel in the U.S. Air Force, and, for example, he is considered a veteran of Operation Desert Shield, Operation Desert Storm, Operation Enduring Freedom, and Operation Iraqi Freedom, and, in 2005, he was Iraq.
    Billy Martin became a part of the security staff of the Detroit Public Library (the main branch), where he yet works today.
    Greg Neubacher, who once worked in the news departments of such television stations in the Detroit area as WJBK-TV, Channel 2, and WDIV-TV, Channel 4, moved to London, England, to work for CNBC Europe in the fall of 2003; he was hired to be a morning executive producer for CNBC Europe.
    Tony Petta became a teacher and worked for the Detroit school system, such as in the 1980s (I believe).
    Doug Podell did work, I believe, in Cleveland and on a television show on WTVS-TV (Detroit, Michigan), and he would certainly do work at WRIF-FM (Detroit, Michigan), where he currently is.
    Chuck Santoni did work on a television show on WTVS-TV (Channel 56 in Detroit),  and he also worked at WWWW-FM (Detroit, Michigan), and he is currently on WMJC-FM (Detroit, Michigan).
    Karen Savelly was at WRIF-FM (Detroit, Michigan) for many years and is currently at WCSX-FM (Detroit, Michigan).
    Kurt Schneider did work at WPON-AM (Pontiac, Michigan) before working for many years at "Sports Phone," which was a sports-information line in the Detroit area.
    Michael Schuff, who wrote comedy pieces (with Wendell D. Davis) about Commander Hotdog (a character that had been created by Victor Swanson) at WAYN-AM, was a country-music disc jockey for many years.
    Dave Uchalik has been a member of a Detroit-area band called The Polish Muslims since the 1970s, and since 1998, he has been a pediatric occupational therapist at the Abilities Center of Walled Lake, Michigan.
    Rob Wunderlich worked in the record industry in California and in public relations in the Detroit area and is at NuTech in Bloomfield Hills, Michigan.
    Mary Beth Zolik, who did work in Charlotte, N.C., before 1981, works at  WRVF-FM 101.5 in Toledo, Ohio; she started out doing news at WRVF-FM ("The River"), and since the early 1980s, she has been a co-host on the morning show of the station, "Mitch & Mary Beth."
    It is noted, here, that many members of the station worked for a short periods at AAA Michigan in the 1970s; AAA Michigan ran broadcast services from about 1966 to 2003, and the services were the Holiday News Services, The Icicle News Service, and The Weekend News Services, and some of the persons who work at AAA Michigan for at least short periods of time were Arlene Gero, Jim Meredith, Donna Reed, Kurt Schneider, Mike Schuff, Victor Swanson, T.S. Taylor, and Al Wolf.


    Added on December 10, 2008:
    Gary Bridges began his professional announcing career in the Detroit area, working at WWWW-FM (1970), WKNR-AM (1971), and WRIF-FM (1971), and over the years from 1972 to 1987, he worked at stations scattered about the country, some of which were KSLQ in St. Louis, WZZD in Philadelphia, and WNBC in New York City, and now he is the "voice" (not an on-air staffer) of WMJI-FM in Cleveland, Ohio, and has a productiion company called "Winning Sounds," which, for one, makes political commercials.
    Michele Gerus, who did Top 40 programs at WAYN-AM and did not end up as a "Top 40 D.J.," has been involved in the publishing business in recent years; she has worked as, for instance, a global account manager for The Wall Street Journal (such as around early 2005), the global account manager for Business 2.0 magazine (around spring 2005), and as the associate publisher at Dwell magazine (in 2007 and 2008).
    Added on June 29, 2011:
    On June 29, 2011, I finally decided to make an addition to this document about Chuck Santoni, having, somewhat recently, found information about where Chuck Santoni is.  Around this date, Chuck Santoni was the morning disc jockey at WSAQ-FM ("Q Country" 107), Port Huron (Michigan), and he was doing the shift of 5:00 a.m. to 10:00 a.m. on weekdays.  While I write this section, I remember when Chuck Santoni was at WAYN-AM, he did sometimes play country-music records.
    Added on January 13, 2015:
    In mid December 2014, Barb Kusak (who at one time had worked for MSNBC) started up in a new job as one of the anchors for the new radio news service called "Westwood One News," and she was the anchor for the evening hours (as a rule), and on Sunday, August 30, 2020, the news service was shut down by Cumulus (the operator of the service) after the 11:30 p.m. (EDT) broadcaston .
    Added on July 2, 2019:
    In late June 2019, I discovered a man named John Delle-Monache was once at WAYN-AM in the 1960s.  John Delle-Monache was a student at Wayne State University from roughly 1964 to 1971, and at least for a part of the period, he was at the station.  In April 1968, he got his first real radio job as a disc jockey at WHFI-FM (94.7) in Birmingham, Michigan, and he was on duty at the station on the day that Martin Luther King Jr. was shot and killed.  Later, at least from 1980 to October 16, 1987, John Delle-Monache was a staffer, such as as a news anchor, at WWJ-AM (the all-news radio station) in Detroit, and later, he worked at WOWF-FM (99.5), WAAM-AM (1600), which was in Ann Arbor, Michigan, and WYUR-AM (1310), which was a short-lived radio station of the 1990s that the creators seemed to want to be like, for instance, WJR-AM of the 1970s [Note: A big problem with WYUR-AM is the creators and operators made the station focus too much on things related to the base city and not on the southeaster region of the Lower Peninsula of Michigan.].
    Added on December 11, 2020:
    On Friday, December 11, 2020, Dick Haefner retired from WJR-AM.  On that day, he was the news director of the station, and he did his last newscast at 11:30 a.m. during The Frank Beckmann Program.  On December 11, 2020, the edition of the Detroit Free Press had an article for readers entitled "Detroit radio news icon ready to leave the airwaves" [Hinds, Julie.  "Detroit radio news icon ready to leave the airwaves."  Detroit Free Press, 11 December 2020, pp. 1C and 4C."].  The article had this material--"...Haefner got a scholarship to Wayne State University and began doing news and sports for the student-run campus station, WAYN, which still airs online.  When WDET-FM came looking for students to do the news, he volunteered and was reporting there when National Public Radio was incorporated in 1970.  NPR made a big difference in his fiancial stituation, he recalls. 'Every time we would send them a story, they would pay us 35 bucks.  This was $35 in 1969, 1970 dollars.  I didn't know what I'd do  ith all that money!'"[.]  After college, Haefner went on to work for a variety of Detroit stations with news departments.  He worked at WCAR-AM and WDEE-AM (the former Big D at 1500 on the dial) before spending eight years with WWJ...." and "...Haefner also had stints at CKLW-AM and WXYZ-AM, which later became WXYT-AM, before joining WJR, where he has been the news director since 1989.  On the air, he delivers the news from roughly 5:30 a.m. to noon, a shift covering both Paul W. Smith and Frank Beckmann's morning slots....".
    Added on August 5, 2021 (and revised on August 17, 2021):
    In July 2021, I acquired an Akai M-9 tape recorder (which was put in the marketplace in the late 1960s, such as around 1967), and I acquired it to see what existed on some audio recordings from WAYN-AM of the first half or so of the 1970s that I had in storage, and it led to my doing a little search on some people of WAYN-AM, and here is what I found.  Kurt Schneider (a.k.a. "Coach Kurt"), who had been involved in broadcasting wrestling events and in promoting wrestling, especially in the Detroit area, died on August 9, 2018.  Mike Scuff (often known as Mike Lawrence on the air) died on May 22, 2016; he had worked at such radio stations focusing on country music as KNFM-FM, KGEE-FM, and KHKX-FM, and over much of his time in radio, he was teamed up with Dana Schuff (a.k.a. Dana Carole), his wife.  Rob Wunderlich died on August 30, 2013.  Mary Beth Zolik died on July 1, 2021.  On August 5, 2021, I was far from the Akai M-9, which had fallen in to may hands by surprise and which I had had to do repairs to, and I had yet to see fully what was on the tapes, but it seemed I had some air checks featuring me, the "Joe Format" Top 40 teaching tape (featuring Gary Bridges of WKNR-AM as "Joe Format") of 1971, which had been produced by Steve Lawrence, my Top 40 teaching tape, six episodes of Commander Hotdog (which were written by Michael Schuff  and Wendell D. Davis and were based on characters that had been created by Victor Swanson and which featured such persons as Michael Schuff (as the mayor), Victor Swanson (as Command Hotdog and Wiener), and Barb Kusak (as Peppermint Patty)) of around 1974, production things (such as commercials), and other things.  Incidentally, the Akai M-9 was given to me by a man who had used it with other guys in Vietnam during the Vietnam War, and I report that the "Akai" brand name was not used in the United States of America in the 1960s, so the machine is quite special.
    Added on August 20, 2022:
    Michele Gerus died on December 12, 2021, while living in the general San Francisco area of California.

    Added on September 2, 2022:
    In August 2022 and early September 2022, I did my main research to find out who the gals were who took place in two naked-gal events related to television shows hosted by Soupy Sales and when the events could have taken place (trying to come up with better information than what had been published by other persons in news articles or books or Internet pieces), and, by the way, one of the events took place at WXYZ-TV, Channel 7, in Detroit, Michigan, and the other took place at KABC-TV in Los Angeles, California, and those events are talked about in Television History and Trivia #222 (which can be reached through this T.H.A.T. #222 link.  During the search period, I contacted Steve Lawrence Jr. to see whether or not he had any information about the event at WXYZ-TV, given he had worked at the station for several decades and may have heard something about the event (though it had taken place some fifteen or twenty years before he joined the station).  Steve Lawrence ended up sending two emails with television information to me, some of which told a bit of his broadcasting-career story.  Steve Lawrence's first email (on September 1, 2022) noted--"Hello Victor!  It's been nearly 50 years since our paths crossed.  I heard your AAA reports on WWJ as I drove from my upstairs flat in Grosse Pointe to Gibraltar Twp. to tend to the WCAR transmitter in 1974-75.  At least that's how I remember it....".  The second email (on September 2, 2022) from Steve Lawrence was much longer than the first had been, and I now present parts that are suited to this document, and I have edited out (or redacted) some parts that exist in the email, and the parts that I present are in the order in which they appear in the email--"Hi Victor!  I re-read your history of WAYN and I was blown away.  The exhaustive breadth of detail (and minutiae) has only gotten better in the intervening years, as you've added the history of the building itself at 672 Putnam and its ownership through the decades.  That's a lot of work!  I'm 71 now, and been retired from WXYZ since mid-August 2010.  I started as a temp engineer (vacation relief) way back in September 1975.  A year later, I was hired (or 'made staff' as they referred to it).  The original complement of senior engineers commenced their retirements after I joined the station (they were hired post-war, mostly in the late 1940s).  For the first 11 years, I gained exposure to a variety of behind-the-scenes assignments, such as audio, switching, Chyron, and Master Control.  It was an extended period where I  was learning something new every day.  It was all very stimulating, and as long as the station was owned my [by] ABC, I loved my job.  Then Scripps purchased the station in 1986...." and "...Anyway, Scripps offered a buyout package for engineers in 2010, and since I hadn't heard from anyone who'd regretted early retirement, leaving the station was a no-brainer.  I've been retired for 11 years, and most of my friends and colleagues at the station followed suit as soon as the opportunities arose...." and "...I spent 6 months in Mid-Michigan in 1973 'paying my dues' at WILX-TV, with studios in Jackson, Mi....".  Of course, I responded to both emails from Steve Lawrence, and I reported, for example, that, in the middle of 2022, I acquired an Akai M-9 reel-to-reel tape machine (which had been the first all-transistor machine from Akai ) that had been used in the Vietnam War by a soldier [Note: Akai-type machines were sold as "Roberts" machines in the United States of America.], and I told him that I transferred roughly 50-year old tape material from WAYN-AM that I had had for years to digital material, and I made sure to tell him that I had the "Joe Format" tape that he had made with Gary Bridges and that I had an air-check tape of him that was made in about November 1970 (which exists in two parts today).  And that is that from Steve Lawrence Jr., who is living in Florida.


    Since I put this small document together, I felt I should note some things that I remember about WAYN-AM.  If someone sees this document and sends some information that can be added to this document, this section will have more than only my recollections.  Material should be sent to The Hologlobe Press (The Web site for The Hologlobe Press is www.hologlobepress.com.)

    One recollection that I have is about the cold winter of 1975/1976 and the days during which I spent rebuilding the "rack," which was the distribution center of the station (and located near the back wall of the engineering room); a rack held amplifiers, patch bays, and more, and the rack was used to connect up studios and send audio signals down telephone lines to transmitters and the carrel system of the university, and, by the way, one amplifier in the rack was used to route the ABC Radio news feed to WDET-FM, which received its feed through WAYN-AM.  During the winter break of 1975-1976, the heat in buildings on campus had to be turned down; it was a conservation "thing" at the university. I had to work in mid-forties temperatures to tear the old rack apart and build the new rack, and I even spent an entire night at the station to get some of the main work completed, taking a few-hours nap on the floor in the general manager's office, next to a heating vent; the building had a gravity steam-heat system.  I completed the rack in more than enough time so that the winter broadcast schedule could begin on time.
    I rewired Studio A in the summer of 1975, and I got supervision from George J. Kereji, who reworked the Studio A Control Console.  George J. Kereji, an engineering student at the university, was the sort of the chief engineer of the station in the mid-1970s, though he was never a true member of the station, such as by indicating he was by signing up on membership lists; my copy of his technical notes for "Studio A Audio Control Console" is dated February 24, 1975.  I had no problems getting the studio rewired, and, on the date that I finished the main work, I turned on all the speakers in every room and studio on the first floor of the station and cued up a side of Yessongs (by Yes) in Studio A (and I think it was side two of volume one, which begins with "Perpetual Change"), and when I started the record, the station was filled with music.
    Dr. Jack Warfield, a member of the faculty, was very helpful to the people at WAYN-AM, especially in the 1960s.  Someone he knew wrote a script for a nine-part production, which, I believe, was supposed to be played in schools in Canada, and, in December 1974, I did much of the work to get the nine stories turned into one main audio presentation, entitled "The Future Tapes."  Dr. Warfield took part in the production by being one of the narrators, and the other narrator was Mike Parrott.  Mike and some other students in one of my television production classes, maybe my television-directing class, provided the voices for the stories.  The characters of the nine-part production were done by: Henry Adams, Cal Hughes, Barb Kusak, Mike Saoud, and Mike Schuff, and there was a "Bob P.," the "p" standing for a last name, which is missing from my files.  I did all the mixing for this roughly 35-minute production, and I used all three studios of the station one night--all night--to do the final mixing; I used Studio B as the center of operations, and I used Studio A to feed some materials to a pot in Studio B, and all the feeds of Studio A and Studio B were fed to Studio C, where a master recording was collected.  All through the night, I was running back and forth between Studio A and Studio B to hit carts, stop carts, start records, stop records, start tape machines, et cetera, and, of course, I was running back and forth between Studio A and Studio C.  It was sort of like "Old Time Radio."
    Some time after the WAYN-AM van had been taken apart, I took some of the cabinetwork, which was brown, and made "The Box."   The Box was a roll-around turntable unit; I had cut a hole in the top of the square cabinet, filled the hole with one of the turntables that had recently been taken out of Studio A or Studio B, put in some electronics in the unit, and mounted rubber wheels on the bottom of the unit.  People used The Box, which was kept on the second floor, to listen to records, such as an album that had arrived in the mail for the music director moments earlier.
    And Mike Schuff created and wrote a couple short vignettes about crime-fighter "Hotdog," whose partner was called Wiener.  Mike and I produced those comedy bits using Studio B and Studio C on a number of occasions.  I have copies of those productions on a reel-to-reel tape, and I will have to play the tape sometime, if only to make myself remember if Mike was the voice of Wiener and I was the voice of Hotdog or if Mike was Hotdog and I was Wiener.

    On Friday, November 25, 2005, I received a letter from Gary J. Lockard, who was a member of the station from early 1977 to the spring of 1979.  The letter was an unexpected delight.  Here, I now present most of the letter written by Gary J. Lockard.

    I was surfing the Internet and ran across your history of WAYN Radio.  It brought back a lot of memories as I worked there from the winter of 1977 until I graduated in the spring of 1979.  I don't know if you remember me, but I remember you.  When I first began to work at the station, you were one of the first people I met.  I remember the vast amount of time you devoted to the station.  I also remember when you did the spots for AAA.
    I first worked at the station as a DJ, doing "progressive rock."  I recall that Kevin McLogan was the "Prog Rock" program director.  I continued to work as a DJ and in the spring of 1978 I assumed the duties of Rock program director.  At that time the name changed from "Progressive Rock" to "Alternative Rock."  The station manager would not let us use the term "Punk Rock" or "New Wave."  I guess we were well ahead of the times as the term "Alternative Rock" would not be used by the mainstream radio business for a number of years.  I continued to work at WAYN as a DJ and program director until I graduated in the spring of 1979.
    After graduating, I worked in radio for a few months and then joined the U.S. Air Force.   Now, 25 years later, I am a Colonel and the Director of Public Affairs for a major military base in the Midwest.  As a public affairs officer, I am responsible for all media relations, community relations, and internal infomation programs for the base....
    In my spare time, I am a guitarist-songwriter and recently produced the "Garage-O-Rama" new music festival in Indiana.  I have also been involved in professional wrestling as a manager (under the name Johnny DeVille) and was a charter member of the Landmark Wrestling Federation Hall of Fame.
    The experience I received at WAYN played a major role in my life.  It gave me the chance to improve my broadcasting and people skills as well as improve my overall self-esteem.  Even though I did not keep in touch with the friends I had made at WAYN (Kevin McLogan, Kenny Kal, Dave Menard, E. Dale Lee, Jerry Jankawicz [Jerry Jankiewicz], etc) I have very fond memories.

    This following section contains information from a person who was a member of the station before I became a member.  The member is Horst Mann, who, when he put together this information, was the editor of The Monitor--the publication was a free weekly entertainment-themed newspaper focusing on the Metropolitan-Detroit area and Windsor (which is in Ontario, Canada, and which is across the Detroit River from Detroit (which is in Michigan of the United States of America)), and it was distributed in Wayne County (in which Detroit exists), Oakland County, and Macomb County, which are three counties of the southeastern region of the Lower Peninsula of Michigan.  This information came to me in a letter dated September 28, 2007, and the letter passes along history of WAYN-AM in the late 1960s and early 1970s (only a few paragraphs of the letter are not presented here):

    I joined WAYN (and WSU) in the fall of 1968 and was there when the house at 672 Putnam was first used for the radio station.  Student radio had previously been located on the main floor of the "Mass Communications" building (also called CIT, earlier or later) which was the two-story house on Woodward Ave. next door to the Schools Center Bldg. (Macabbbes).  My only encounter with the Woodward Avenue. studios was when a friend and I visited there just after graduating Denby High School in 1968, as we prepared to enter WSU that fall.  That's when we found out that the Putnam location would be the new home of student radio.
    It was about the same time when WSU switched to the new Centrex telephone system that allocated "outside" numbers to the campus (all those 577 numbers), while also providing for truncated on-campus dialing.  I recall that it was a thorn in the side of the folks at the "real" campus radio station (WDET-FM) that they got some gobledy-gook phone number while WAYN got the more "commercial" number of 577-4200.
    At first, WAYN only occupied the first floor of the house on Putnam, pretty much the way you described it.  But the biggest room (the living room) had not yet been divided to create the news studio and work room.  It housed the record library and was used mostly as a lounge.  The second floor of the house was being used as a studio by the Photographic Department which had offices in the house next door.  We often saw parades of costumed actors tramping up the front stairs as they came to pose for publicity photos for the Hilberry and Bonstelle Theatres.
    We experimented for a short time, using the small "space" at the top of the back stairs on the second floor as a news booth.  The noisy AP teletype machine was in a "sound-proofed" closet on the main floor underneath the front stairs.  The third floor attic was so dirty and unfinished, that we only went up there to "fool around," risking serious injury and lots of dust.  Sometime later, we re-configured the first floor to create the news studio as we had some very serious students who wanted to have a "real" newscasting experience on their way to real jobs in the broadcast industry.
    Anyways, your story brought back a lot of memories and conjured up some names from the past.  Many of the names from the fall of 1971 are familiar to me, although some elude me completely.  While I was at WAYN, the names I remember most were Bob Greenwood (PD when I first arrived), Jon Myers (PD later), Tony Russomannno (now working in TV in California for many years), Rob Wunderlich (Music Director), Paul Francuch, Ed Mutter, Chuck Switzkowski (aka Chuck Richards, who I also went to high school with), Janice Kaye, Steve Lawrence, Lee Schostak, Don Schuster, Gary Bridges, Elliot Shevin, Dick Wallace and Dick Haefner (I think he's the same one), among many others (sadly, it seems like very few women ever spent time at WAYN in those days).  There are some other names just on the tip of my tongue, but I just can't remember them.
    I recall when WWWW Radio [WWWW-FM was a commercial radio station based in Detroit] changed from an automated background music station to 'oldies,' a few WAYN alumni became their air and technical staff, getting them real radio jobs as they left student radio behind.  Of course, many others were already working at various local radio stations in minor roles and many became quite prominent.
    While at WAYN, I did a one-hour air shift for a while (like so many others) at a time when we were programming Drake-style Top-40 music.  The console in studio A had the DJ facing the windows to Studio B, but the layout seemed to change quite often.  Jon Myers, a real wiz and first-rate radio talent, got some jingles from other radio stations and spliced together some audio tape to create a very convincing set of WAY...N jingles that we used for a long time.  I don't recall when the WAY...N came from, but he did a spectacular job of joining them.
    I personally had a brief broadcasting career, working as a board-op helper in 1968 at WBRB (Mt. Clemens [a suburb of Detroit]) and as a TV producer at then WXON-TV Channel 62 (later Channel 20) in 1971-72.
    I went to work at the Downtown (Detroit) Monitor newspaper in 1971 and have been at the Monitor ever since, though I dabbled in radio on several occasions, including briefly for Victor Ives at WTWR-FM in the Renaissance Center in the late 1970s and again at WBRB in the 1980s.
    To help readers who are unfamiliar with the Detroit area and WAYN-AM, I add some information here that will make the previous letter more clear (this information was written on October 18, 2007).  When I was at the radio station from the fall of 1971 to the summer of 1977, the station had three telephone numbers--577-4200 (which used as the general-purpose line), 577-4201, and 577-4202 (which was used as the "request line").  The Hilberry Theatre and the Bonstelle Theatre were stage theatres associated with Wayne State University, and they still are.  Since 1963, The Monitor has been published (currently, it is based in Fraser, which is a suburb of Detroit), and to make money to publish, the publishers sell advertisements, and although the publication can be picked up for free at various places in the Detroit area, a person can subscribe to the publication for a fee; to give you a better idea about what the newspaper is, I report that the edition for October 18, 2007, which had sixteen pages, featured such articles as an article about the "Treats in the Streets" event at the Detroit Historical Museum, a theatre review by Robert Delaney, a theatre review by Daniel Skora, a small article noting "Uncommon Women" begins at the Bonstelle Theatre soon, a music review, an article about the University Players at the University of Windsor (Windsor, which is in Ontario, Canada), a small article entitled "Healing Belly Dance," and a sports article by George Eichorn.  Dick Haefner is the news director at WJR-AM (760), Detroit, and he has worked for the station for many years, and, in the early 1970s , he worked as a broadcaster for the Automobile Club of Michigan (to see a document that presents the history of the broadcast services of AAA Michigan, you can use this link: AAA; the link reaches the first of five parts, and, really, Dick Haefner is listed in part three (AAA Part 3) and part five (AAA Part 5).  The "Drake"-style format, created by a man named Bill Drake, was a type of radio format adopted by CKLW-AM ("The Big 8"), Windsor, Ontario, Canada, in 1967 (to see information about a television program that recounts the history of CKLW-AM, you can use this link: T.H.A.T. # 21).  And when I was at WAYN-AM, the closet under the front steps were used to store toilet paper and soda pop (for the soda-pop machine)--the teletype machine had been moved to the back of the house on the first floor near the news studio and the news director's office before I showed up.  And when I became a member of WAYN-AM, the station had already acquired a true "jingle package," and I never heard the "jingles" put together by Jon Myers.

    On some day in July 2009, I received a letter from Mitchell Kozuchowski (who was in New York City, New York); the letter was dated July 15, 2009, but I was away from home, and I cannot determine when the letter arrived.  The name Mitchell Kozuckowski did not come to my mind when I saw the envelope, and I understood why when I read the letter, since Mitchell Kozuchowski was at WAYN-AM as a regular after I had left the station.  Here is what Mitchell Kozuchowski wrote:

    I enjoyed reading your history of W.A.Y.N.  I remember my time spent there fondly.  I see that you update it from time-to-time on what people went on to do and where they are now.  I was the music director the last year-and-a-half of my stay there 1976-80.  I moved to New York City in 1982 and began working at MTV in the programming department before moving over into production where I became an executive producer working on a wide range of MTV shows like The Video Music Awards, The Movie Awards, and MTV Sports series like Rock N' Jock.  In 1999, I left MTV to go freelance.  I worked for many of the cable channels and networks (ABC, Fox, CBS, ESPN, VH-1, CMT, Vesus, and BBC) on a variety of projects. Thanks for the memories from reading your W.A.Y.N. post.  Be well...

    By the way, since I am a television historian, I will note here that Rock N' Jock is a title that can be called an overall short title for a number of specials that MTV ran from the early 1990s to the early 2000s, and some of the programs of the very early 1990s were Rock 'N' Jock Diamond Derby, Rock N' Jock Slugfest, Rock N' Jock Softball Challenge, and Rock 'N' Jock B-ball Jam, and, in essence, each show had celebrities competing against sports personalities, and, by the way, if you were at the station when I was not and you do write me, please provide recollections about the station, such as about where it was located at the time when you where there, what the station had for studios, where it could be heard on campus, and what was going on at the station.

    On Wednesday, November 6, 2013, I received an email message from Allen Wolf, who had been, basically, involved in doing news and working in the news area of WAYN-AM in the early 1970s.  Allen Wolf reported that he recently saw an obituary for Rob Wunderlich.  I did a little research and found an obituary for Rob Wunderlich in the Daily Tribune (of the Detroit area) for September 5, 2013, and the article noted that Rob Wunderlich died on August 30, 2013 and was a resident of Pleasant Ridge, Michigan, at the time he died.  At the date that Allen Wolf reported the information to me about Rob Wunderlich, Allen Wolf was involved with the Wolf Law Firm, PLCC, in Lake Orion, Michigan.

    On April 26, 2018, a back-and-forth email talk between George Baldwin and me began--George Baldwin sent an email, noting that he saw the history document.  I reply to his email, and in it, I asked if he knew the calls letters that the station previous had, and he replied on April 27, 2018, that he had no idea.  The email of April 27, 2018, from George Baldwin had other information--"One thing I will add is that Jack Allweiss was really important when I was there.  My first meeting as GM with Dr. Warfield I was informed that we had no budget.  I was able to work out with Coke to get product for the machine [a dispensing machine] and they actually gave us a little money.  We had a few other ads we sold (of course we weren't supposed to).  But the big thing was that Jack [Jack Allweiss] was able to get equipment by using the Engineering budget (I don't believe that they were aware of it).  He also set up a small antenna system so we broadcast for about a mile until the FCC shut it down.  We had to be pretty resourceful that year.  When Jack took over as GM they did give us back a budget.".  There were other little email notes over the next few weeks, which will go unreported.  On June 5, 2018, I sent George Baldwin a rough sketch of the floor plan for the radio station as it was in about 1976 [Note: I was inspired to make the sketch because I had found out how historically important the building was], and, by the way, the floor plan had the Studio A disc jockey desk (of sorts) not facing the street that was in front of the building, as it had been when George Baldwin was at the station [Note: In my email, I reported that I was aware the studio desk (which was not really a desk and which might be called a console unit) faced the street when he was there.].  Jack wrote back, and some of what he passed along was--"As you note the studio A desk faced out to the street during my main time around the station.  The production studio was as you show it, right behind Studio A.  For some reason it invokes memories of Ed Mutter working in there on various documentaries.."  George Baldwin also passed along the idea that, when a budget was returned to the station--money from the university--staffers at the station "were able to make Studio B a real studio and upgrade the office behind it for the Program Director.  Before that Studio B was more a box where we would do the 5:00 [p.m.] news for WDET.".  This piece of news in the email from George Baldwin caught me by surpise--"When I came to the station the upstairs [the second floor of the building] was for the Gerontology Department.  When they moved we took over that space for the GM desk and other random space.  Of course the record library was at the back of the upstairs.  The email of June 5, 2018, also brought up the topic of why George Baldwin had originally contacted me--"One other quick not is that I found your page on WAYN because I had just learned that Rob Wunderlich had passed away.  Rob was my student advisor and became a good friend.  He was a talented DJ, production person and Music Director.  He worked at WWWW [an FM station in Detroit] on the weekends.  He was hired by A&M Records as College Rep and was very effective with college stations all over Michigan.  I ended up working for United Artists Records in the same role but Rob was so much more effective and dedicated.  Rob and I set up the College Radio conference at Wayne [Wayne State University, fronted by WAYN-AM].  For a free concert I brought in Spencer Davis [who had been known for fronting the Spencer Davis Group in the 1960s] as an acoustic artist and Rob lined up Judy Sill [Judee Sill or Judith Sill] and Billy Joel who was unknown at the time and blew the place away.  Rob moved to California to work successfully at A&M Records and at Mercury Records.  I moved to California with Rob and he was a great friend who set up some amazing music experiences....".  The final big thought in the email from George Baldwin was about Rob Wunderlich--"He was a smart, caring, good person who I'm sure is sorely missed by his family and friends.".

    Note: Since this document was first posted on the Internet on April 10, 2004, it has gone through changes and has been posted in updated versions from time to time, and since April 10, 2004, these individuals have officially reported that they have seen the document (in some version): Chuck Santoni (in April 2004), Ken Kalczynski (June 2004), J. Michael DeAgostino (September 2004), Stephen G. Donovan (October 2004), Gary J. Lockard (November 2005), Jerry Allaer (March 2006), Bob Grant (April 2006), Horst Mann (September 2007), Gary Bridges (November 2008), Mitchell Kozuchowski (July 2009), and Allen Wolf (November 2013).


    I was at WAYN-AM from 1971 to 1977, and I report that the heyday for the station was probably between 1965 and 1974.  Before I arrived at the station, staffers had done a number of things that show why the heyday was between about 1965 and 1974.  For instance, on September 30, 1969, staffers of WAYN-AM began to do a WAYN radio program regularly on WDET-FM (the non-commmercial radio station associated with Wayne State University, and the program was called On Campus.  The goal of the program was designed to provide listeners with campus news (things related to Wayne State University) and rock music.  By the way, at the time, the promotions director at WAYN-AM was Janice Kaye.  On June 6, 1970, the station held a first annual broadcasting banquet, which was designed to honor members of the station who had done things at the radio station to make it better, and the event also was set up to honor the station advisor, Edwin Glick, who was a staffer of the university and was leaving.  For the banquet/awards event, the special speaker was Ken Thomas, who at the time was one of the main news anchors at WJBK-TV, Channel 2.  In October 1970, the third annual Pumpkin Carving Contest was held, and any profit-money raised during the event was given to the United Fund.


    Here is information that I found on the webpages known as "WSU Student Organization Rosters 1950-1959", "WSU Student Organization Rosters 1960-1960", "WSU Student Organization Rosters 1970-1979", and "WSU Student Organization Rosters 1980-1995" on June 21, 2018.  This section gives information about where WAYN-AM was located, who where the persons in charge at the station, who were the student advisors or sponsors (staffers of the university), and more, such as about the "Broadcasting Guild."  By the way, listings for the address for the station did not show up until the 1970s, but, given I knew where the station was in the 1970s and 1980s when I wrote this section, I only put in addresses in years near the time when the station was moved in the 1980s so that a person can get an idea when the station moved out of 672 Putnam.
    First semester 1950-1951:
        Entity: "Radio Guild"
        Head officer: none listed
        Sponsor: none listed
    First semester 1951-1952:
        Entity: "Radio Guild"
        Head officer: none listed
        Sponsor: none listed
    First semester 1952-1953:
        Entity: "University Broadcasting Guild"
        Head officer: none listed
        Sponsor: none listed
    Second semester 1953:
        Entity: "University Broadcasting Guild"
        Head officer: none listed
        Sponsor: none listed
    First Semester 1953-1954:
        Entity: "University Broadcasting Guild"
        Head officer: none listed
        Sponsor: none listed
    Second Semester 1954-1955:
        Entity: "Broadcasting Guild"
        Head officer: John A. Cantelon
        Sponsor: F.G. Bouwsma
    First Semester 1955-1956:
        Entity: "Broadcasting Guild"
        Head officer: Raymond Bell
        Sponsor: Wayne C. Wayne
    Second semester 1955-1956:
        Entity: "Broadcasting Guild"
        Head officer: H. Douglas Kole
        Sponsor: Wayne C. Wayne
    First semester 1956-1957:
        Entity: "Broadcasting Guild"
        Head officer: H. Douglas Kole
        Sponsor: George Steiner
    Second semester 1956-1957:
        Entity: "Broadcasting Guild"
        Head officer: H. Douglas Kole
        Sponsor: George Steiner
    Second semester 1957-1958:
        Entity: "Broadcasting Guild"
        Head officer: John Riggs
        Sponsor: John Ellery
    First semester 1958-1959:
        Entity: "Broadcasting Guild"
        Head officer: Robert C. Williams
        Sponsor: Dr. J. B. Ellery
    Second semester 1958-1959:
        Entity: "Broadcasting Guild"
        Head officer: Robert Williams
        Sponsor: Dr. J. Ellery
    First semester 1959-1960:
        Entity: "Broadcasting Guild"
        Head officer: Mort Jaffe
        Sponsor: Jack Warfield
    Second semester 1959-1960:
        Entity: "Broadcasting Guild"
        Head officer: Gerald Jacob
        Sponsor: Jack Warfield
    First semester 1960-1961:
        Entity: "Broadcasting Guild"
        Head officer: James Blashill
        Sponsor: Jack Warfield
    Second semester 1960-1961:
        Entity: "Broadcasting Guild"
        Head officer: James Blashill
        Sponsor: Jack Warfield
    First semester 1961-1962:
        Entity: "Broadcasting Guild"
        Head officer: John Colling
        Sponsor: Jack Warfield
    Second semester 1961-1962:
        Entity: "Broadcasting Guild"
        Head officer: Robert Sievers
        Sponsor: Jack Warfield
    First semester 1962-1963:
        Entity: "Broadcasting Guild"
        Head officer: Alexander Stachel
        Sponsor: Jack Warfield
    Second semester 1962-1963:
        Entity: "Broadcasting Guild"
        Head officer: Marjorie Warfield
        Sponsor: Jack Warfield
    Third semester 1962-1963:
        Entity: "Broadcasting Guild"
        Head officer: Marjorie Warfield
        Sponsor: Jack Warfield
    Fall 1963-1964:
        Entity: "Broadcasting Guild"
        Head officer: none listed
        Sponsor: Jack Warfield
    Winter 1964:
        Entity: "Broadcasting Guild"
        Head officer: Louis Slyker
        Sponsor: Jack Warfield
    Spring 1964:
        Entity: "Broadcasting Guild"
        Head officer: Louis Slyker
        Sponsor: Jack Warfield
    Fall 1964:
        Entity: "Broadcasting Guild"
        Head officer: Robert Diehl
        Sponsor: Jack Warfield
    Winter 1965:
        Entity: "WSU Student Radio"
        Head officer: Jerry Trainor
        Sponsor: Jack Warfield
    Spring 1965:
        Entity: "WSU Student Radio:
        Head officer: Gerald Goldhar
        Sponsor: Jack Warfield
    Fall 1965:
        Entity: "WSU Student Radio"
        Head officer: Robert Whitney
        Sponsor: Chuck Sherman
    Winter 1966:
        Entity: "WSU Student Radio"
        Head officer: Charles Schaeffer
        Sponsor: Chuck Sherman
    Spring 1966:
        Entity: "WSU Student Radio"
        Head officer: Charles Schaeffer
        Sponsor: Chuck Sherman
    Fall 1966:
        Entity: "WSU Student Radio"
        Head officer: Charles Schaeffer
        Sponsor: Mr. M. Breen
    Winter 1967:
        Entity: "WSU Student Radio"
        Head officer: Charles Schaeffer
        Sponsor: Mr. M. Breen
    Spring 1967:
        Entity: "WSU Student Radio"
        Head officer: Gary Purece
        Sponsor: Mr. M. Breen
    Fall 1967:
        Entity: "WAYN Student Radio"
        Head officer: Gary Purece
        Sponsor: Mr. M. Breen
    Winter 1968:
        Entity: "WAYN Student Radio"
        Head officer: Gary Purece
        Sponsor: Mr. M. Breen
    Spring 1968:
        Entity: "WAYN Student Radio"
        Head officer: Gary Purece
        Sponsor: Mr. M. Breen
    Fall 1968:
        Entity: WAYN
        Head officer: Gary Purece
        Sponsor: Mr. A. Douglas [Note: I list it as seen.]
    Winter 1969:
        Entity: WAYN
        Head officer: Dennis Farkas
        Sponsor: Mr. J. Douglas
    Spring 1969:
        Entity: WAYN
        Head officer: Dennis Farkas
        Sponsor: Mr. J. Douglas
    Fall 1969:
        Entity: WAYN
        Head officer: none listed
        Sponsor: Mr. J. Douglas
    Fall 1970:
        Entity: WAYN
        Head officer: Paul Francuch
        Sponsor: Jack Warfield
    Spring 1970:
        Entity: WAYN
        Head officer: George Baldwin
        Sponsor: Jack Warfield
    Fall 1971:
        Entity: WAYN
        Head officer: George Baldwin
        Sponsor: Jack Warfield
    Winter 1972:
        Entity: WAYN
        Head officer: George Baldwin
        Sponsor: Jack Warfield
    Spring 1972:
        Entity: WAYN
        Head officer: none listed
        Sponsor: none listed
    Fall 1972:
        Entity: WAYN
        Head officer: Jack Allweiss
        Sponsor: John Spaulding
    Winter 1973:
        Entity: WAYN
        Head officer: none listed
        Sponsor: none listed
    Spring 1973:
        Entity: WAYN
        Head officer: Paul Manzella
        Sponsor: John Spaulding
    Fall 1973:
        Entity: WAYN
        Head officer: none listed
        Sponsor: none listed
    Winter 1974:
        Entity: WAYN
        Head officer: none listed
        Sponsor: none listed
    Spring 1974:
        Entity: WAYN
        Head officer: Mike Schuff
        Sponsor: John Spaulding
    Fall 1974:
        Entity: WAYN
        Head officer: Kurt Schneider
        Sponsor: none listed
            [Note: No more sponsors were listed in the quarters or semesters to come.]
    Winter 1975:
        Entity: WAYN
        Head officer: Tony Petta
    Spring 1975:
        Entity: WAYN
        Head officer: Anthony Petta
    Fall 1975:
        Entity: WAYN
        Head officer: Anthony Petta
    Winter 1976:
        Entity: WAYN
        Head officer: Anthony Petta
    Fall 1976:
        Entity: WAYN
        Head officer: none listed
    Spring 1977:
        Entity: WAYN
        Head officer: Victor Swanson
    Fall 1977:
        Entity: WAYN
        Head officer: Ross Rowe
    Winter 1978:
        Entity: WAYN
        Head officer: Ray Parker
    Spring 1978:
        Entity: WAYN
        Head officer: Ken Kalczynski
    Fall 1978:
        Entity: WAYN
        Head officer: Christopher Stepien
    Fall 1979:
        Entity: WAYN
        Head officer: David S. Menard
    Winter 1979:
        Entity: WAYN
        Head officer: none listed
    Spring 1979:
        Entity: WAYN
        Head officer: none listed
    Winter 1980:
        Entity: WAYN
        Head officer: David Menard
    Spring 1980:
        Entity: WAYN
        Head officer: David Menard
        Location: 672 Putnam
    Fall 1980:
        Entity: WAYN
        Head officer: David Menard
        Location: 672 Putnam
    Winter 1981:
        Entity: WAYN
        Head officer: David Menard
        Location: 672 Putnam
    Fall 1981:
        Entity: WAYN
        Head officer: Renee Abraham
        Location: 672 Putnam
    Winter 1982:
        Entity: WAYN
        Head officer: Renee Abraham
        Location: 672 Putnam
    Fall 1982:
        Entity: WAYN
        Head officer: Renee Abraham
        Location: 672 Putnam
    Winter 1983:
        Entity: WAYN
        Head officer: none listed
        Location: 672 Putnam
    Fall 1983:
        Entity: WAYN
        Head officer: Mark Brown
        Location: 672 Putnam
    Winter 1984:
        Entity: WAYN
        Head officer: Mark Brown
        Location: 672 Putnam
    Fall 1984:
        Entity: WAYN
        Head officer: Robert Hicks
        Location: 672 Putnam
    Winter 1985:
        Entity: WAYN
        Head officer: Benita Alexander
        Location: 672 Putnam
    Fall 1985:
        Entity: WAYN
        Head officer: Benita Alexander
        Location: 672 Putnam
    Winter 1986:
        Entity: WAYN
        Head officer: Benita Alexander
        Location: 6001 Cass Avenue
    Fall 1986:
        Entity: WAYN
        Head officer: Benita Alexander
        Location: 6001 Cass
    Winter 1987:
        Entity: WAYN
        Head officer: Benita Alexander
        Location: 6001 Cass
    Winter 1988:
        Entity: WAYN
        Head officer: Donna Patrosso
        Location: 6001 Cass
    Fall 1988:
        Entity: WAYN
        Head officer: Todd Wilkerson
        Location: 6001 Cass
    Fall 1989:
        Entity: WAYN
        Head officer: none listed
        Location: 6001 Cass
    Winter 1993:
        Entity: WAYN
        Head officer: Frank V. Castronova
        Location: 6001 Cass
    And that ends my listing from the four websites about student organizations at Wayne State University.
    [Note: On Tuesday, June 4, 2019, at 12:21 p.m., I received an email from Tom Coleman, who was a member of the station for a while in the 1960s, and he passed along this material as an addendum to this section of the document--"I may be able to clear up a minor discrepancy in your WAYN Hall of Fame.  I was at Wayne State studying Mass Communications from 1966-1968.  J. Douglas, who appears as a faculty sponsor, was an instructor in the department at the time I was there.  John was primarily involved with TV and WDET, and I didn't know him very well.  John wound up as a columnist at the Grand Rapids Press, and I exchanged emails with him while he worked there.  He died in 2015.  M. Breen was our wild Australian Mass Comm. instructor.  Suffice it to say that Myles was 'a character'.".]


    This bibliography is not much of a bibliography; that is, I did not gain much information for this document from the articles.  The articles are really a number of articles that I have stored in my files. Most of the articles are from "The South End," which was and is the student-produced newspaper of the university.  "Wayne Report" was a publication of Wayne State University, which it seems was sent out to former members of the university at least, and it was sort of like a glossy newsletter.

Broadcasting, 9 April 1951, p. 51.

Detroit Free Press, 15 December 1937, p. 2

Detroit Free Press, 13 February 1938, p. 44

Detroit Free Press, 29 October 1939, p. 26.

Detroit Free Press, 22 May 1956, p. 22.

Detroit Free Press, 13 September 1985, p. 39.

Detroit Free Press, 16 October 1987, p. 49.

NAB Reports, 14 April 1939, p. 3424.

NAB Reports, 12 May 1939, p. 3476.

NAB Reports, 15 March 1940, p. 4102.

Wayne Report, campus article, XXXVII, No. 15, 22 April 1976. p. NA.

Advertisement.  Detroit Free Press, 20 March 1944, p. 12.

Advertisement.  Electronics, 17 May 1965, p. 128.

"Alvin's hosts musical benefit for WAYN Radio."  Detroit Free Press, 30 January 1992, p. 17.

"Book Cadillac and Webster Hall Hotels, Costing $18,000,000 with 1834 Tooms, to be Open Christmas."  Detroit Free Press, 5 October 1924, p. 86.

"Campus News."  Billboard, 31 March 1971, p. 24.

"Classroom Profile."  The Michigan Alumnus, 2 December 1950, Vol. LVII, No. 9, page 179.

"Detroiter injured near Ann Arbor."  Detroit Free Press, 23 December 1946, p. 14.

"Detroiters Remember Doctor King's Assassination 50 Years Later." wdet.org, 6 April 2018.

"Early Bird Rises to Apex."  Broadcasting, 15 February 1936, p. 30.


"FM Highlights."  Detroit Free Press, 15 May 2918, p. 80.

"General and Special Experimental Stations Licensed by FCC."  Broadcasting, 1 February 1936, p. 50.

"Get Down Disco For WAYN."  The South End, X. No. 110, 23 February 1977, p. 1.

"Gobble A Go-Go: WAYN-AM."  Detroit Free Press, 11 November 1986, p. 15.

"High Frequency Broadcast Stations."  Radio Annual for 1939, p. 430.

"High Frequency Broadcast Stations."  Radio Annual for 1940, p. 573.

"Jim Nabors to Make Movie; Glenn Ford to Do Special."  Detroit Free Press, 27 May 1970, p. 18.

"Master's Degree in Broadcasting Offered at Wayne University." Broadcasting, 15 March 1938, p. 68.

"Radio Goes to School."  Detroit Free Press, 9 January 1949, p. 106.

"Station Breaking In."  Detroit Free Press, 19 December 1948, p. 6.

"Storm Snarls Traaffic as City Digs Out."  Detroit Free Press, 22, December 1946, p. 1.

"Traffic Accidents."  Detroit Free Press, 4 December 1931, p. 18.

"WAYN."  The South End, 26 May 1976, p. 5.

"Wayne U. Is Offered Radio Station by UAW."  Detroit Free Press, 2 April 1952, p. 3.

"Wayne U. Names Radio Manager."  Detroit Free Press, 8 November 1952, p. 8.

"WAYN RADIO presents The first annual Wayne State University Marathon. June 14 through June 28...." (advertisement).  The South End, 8 June 1976, p. 6.

"WAYN Sets a Marathon."  Billboard, 10 June 1972, p. 24.

"Wayne State's WAYN-AM Like a Commercial Station."  Billboard, 23 April 1977, p. NA.

"What's Happening."  Billboard, 22 May 1971, pp. 27 and 33.

"WWJ's 'Apex' Station."  Broadcasting, 1 February 1938, p. 48.

Baily, Marie. "Students At WAYN May Face New Department Guidelines." The South End, X, No. 44, 3 November 1976, p. 1.

Bukowicz, Colette.  "Planned 'battle of the bands' could start campus war."  The South End, 17 November 1977. p. NA.

Cezat, Liz.  "Concert promoters squabble over rights to campus." The South End, XI, No. 57, 18 November 1977, p. 1.

De Marco, Tony.  "Students protest change in WSU radio policies." The Detroit News, 11 September 1978, p. 2-B.

Deland, Michelle.  "WAYN Hosts Fund Raising Marathon."  The South End, IX, No. 129, 19 April 1976, p. 8.

Fritz, Mark.  "Hey Gobblers! Turkeys trot tomorrow."  The South End, XI, No. 59, 22 November 1977, p. 1.

Giumbruno, A.G.  "Reporter plays dj, finds radio different." The South End, 16 November 1977, p. 5.

Glassenberg, Bob.  "Campus News."  Billboard, 14 August 1971, p. 20.

Glassenberg, Bob.  "What's Happening."  Billboard, 24 March 1971, p. 30

Glassenberg, Bob.  "What's Happening."  Billboard, 10 April 1971, p. 22.

Glassenberg, Bob.  "What's Happening."  Billboard, 15 May 1971, p. 35.

Glassenberg, Bob.  "What's Happening."  Billboard, 5 June 1971, pp. 27 and 28.

Glassenberg, Bob.  "What's Happening."  Billboard, 19 June 1971, p. 39.

Glassenberg, Bob.  "What's Happening."  Billboard, 16 October 1971, p. 27.

Glassenberg, Bob.  "What's Happening."  Billboard, 23 October 1971, p. 26.

Glassenberg, Bob.  "What's Happening."  Billboard, 13 November 1971, p. 30

Glassenberg, Bob.  "What's Happening."  Billboard, 27 November 1971, p. 18.

Glassenberg, Bob.  "What's Happening."  BillBoard, 4 December 1971, p. 27.

Glassenberg, Bob.  "What's Happening."  Billboard, 22 January 1972, p. 45.

Glassenberg, Bob.  "What's Happening."  Billboard, 5 February  1972, p. 33.

Glassenberg, Bob.  "What's Happening."  Billboard, 12 February 1972, p. 19.

Glassenberg, Bob.  "What's Happening."  Billboard, 19 February 1972, p. 26.

Glassenberg, Bob.  "What's Happening."  Billboard, 10 June 1972, p. 24.

Gormley, Mike.  "Ghettos Gain If the Beatle Tour."  Detroit Free Press, 3 October 1969, p. 46.

Jakub, Gregory, and Philip Sherman.  "Mass Comm. Major Not Required To Work at Student Radio WAYN."  The South End, X, No. 61, 30 November 1976, p. 1.

Manos, Charley.  "A Super Play lottery ticket goes to the dog almost." The Detroit News, 11 June 1976, p. 8-G.

Manos, Charley.  "Wedding ballads for bride and groom strike sad note." The Detroit News, 25 June 1976, p. 8-G.

Metivier, Signa.  "Rock promoters try campus test concerts." The South End, 16 November 1977, p. NA.

Nirkind, Bob.  "College Radio Reps Come to Wayne."  The South End, 7 March 1972, p. 12.

Pietrzyk, Chris.  "SAC office blocks WAYN campus concert." The South End, XI, No. 61, 28 November 1977, p. 1.

Ritter, Debbie.  "Credit May Be Offered For Students Workings at WAYN."  The South End, X, No. 63, 2 December 1976, p. 1.

Solis, Benjamin M.  "What next for college radio?"  Detroit Metro Times, 24 August 2011, p. NA.

Stevenson, Roberta.  "Station Manager, Many Students To Leave WAYN Next Quarter."  The South End, X, No. 59, 24 November 1976, pp. 1 and 3.

Sutherland, Sam.  "Campus News: What's Happening."  Billboard, 11 March 1972, p. 26.

Sutherland, Sam.  "Campus News: What's Happening."  Billboard, 9 March 1974, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 23 December 1971, p. 21.

Sutherland, Sam.  "What's Happening."  Billboard, 22 April 1972, p. 34.

Sutherland, Sam.  "What's Happening."  Billboard, 5 May 1973, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 12 May 1973, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 9 June 1973, p. 26.

    Note: In June 2018, I came across--in digital form--a yearbook related to Wayne State University--it was the third of three for 1957--and it was called "spring", and the book was called the Tartanic.

    Note: On September 18, 2018, I did research at the Walter P. Reuther Library at Wayne State Univesity.  There, I found a document entitled Wayne University Radio Club  A Brief History, which was dated November 2, 1955 and which was written by George Thome and supervised by Dr. Jerry Sevick; it was about the amateur-radio club.  I also found a document entitled History of the Wayne State University Radio Club, which had no production date; it was about the amateur-radio club.

(pertaining to "THE BUILDING AT 672 PUTNAM")

Advertisement [for Married Life].  Detroit Free Press, 10 May 1885, p. 10.

Advertisement [for a girl].  Detroit Free Press, 1 June 1903, p. 6

Advertisement [House for sale].  Detroit Free Press, 12 March 1905, p. 30

Advertisement [for a stage show].  The Evening Star, 6 December 1902, p. 23.

Title unknown.  Detroit Free Press, 2 July 1881, p. 6.

Title unknown.  Detroit Free Press, 11 May 1885, p. 3.

Title unknown.  Detroit Free Press, 1 September 1892, p. 4

Title unknown.  Detroit Free Press, 5 June 1898, p. 11.

Title unknown.  Detroit Free Press, 17 July 1898, p. 19.

Title unknown.  Detroit Free Press, 16 August 1898, p. 4.

Title unknown.  Detroit Free Press, 22 February 1904, p. 3.

Title unknown.  Detroit Free Press, 23 February 1904, p. 4.

Title unknown.  Detroit Free Press, 23 February 1904, p. 6.

Title unknown.  Detroit Free Press, 14 April 1908, p. 5.

Title unknown [obituary for John C. Shaw].  Detroit Free Press, 24 January 1911, p. 5.

"About Plays Players and Playhouses."  The Omaha Daily Bee, 22 November 1903, p. 14.

"Amusements."  The Daily Evening Telegraph, 1 January 1866, p. 3.

"Amusements."  The Daily Evening Telegraph,  27 April 1867, p. 6.

"Amusements."  New York Herald, 7 April 1874, p. 9.

"At the theatre."  The Argus, 28 November 1903, p. 12.

"Bills of the Week."  New-York Tribune Illustrated Supplement, 27 January 1901.

"Bird, Seaman L."  Detroit Free Press, 9 February 1928, p. 22.

"Death Claims Seaman L. Bird."  Detroit Free Press, 4 February 1928, p. 1.

"Hit or Miss."  Detroit Free Press, 4 January 1904, p. 4.

"The Lyceum Comedy Company."  The Indianapolis Journal, 21 January 1894, p. 10.

"Owen Fawcett is Dead."  Pullman Herald, 27 February 1904, p. NA.

"Personal and social."  Detroit Free Press, 28 January 1906, p. 29.

"Radio Personalities--Owen F. Uridge."  Radio Daily, 18 March 1938, p. 7.

"R.H. Traver's New Partner."  Detroit Free Press, 5 November 1903, p. 3.

"Seaman L. Bird's Estate $800,000."  Detroit Free Press, 8 March 1928, p. 7.

"Telegraph: A Coming Company."  Salt Lake Daily Herald, 29 July 1882, p. 7

"The Theaters.  'Charley's Aunt' is a Laughing Success." The Morning Call, 4 September 1894, p. 10.

"Theatricals."  Daily National Republican, 19 August 1864, p. 1.

"To Rent - House."  Detroit Free Press, 31 July 1896, p. 8

Fawcett, Owen.  "A Season of Barnstorming."  Detroit Free Press, 16 August 1903, p. 34.

    Note: I found an article called "Store Changes Completed November 15", which was about Traver-Bird Co. making changes to the building.  The article was in a trade publication called Boot and Shoe Record.   The date was November 5, 1913, and the page number was 124.

    Note: On June 1, 2018, I received an article from Mr. Sean Marshall, who was associated with the Burton Historical Collection of the Main Branch of the Detroit Public Library system.  The Burton Historical Collection focuses on Detroit history, having photographs and articles and such.  On that day, through email, he sent some information.  He sent a graphic image, which was a Sanborn Fire Insurance Map, and it came from a book entitled Polk's Detroit City Directory of 1920, and the image showed that "672 Putnam" in Detroit was originally called "152 Putnam".  In addition, he sent a clipping, which was a newspaper article from the Detroit Free Press entitled "New Number Plan Effective Aug. 1 ("New Number Plan Effective Aug. 1."  Detroit Free Press, 16 April 1920, p. 7.), and the article noted, for one, the new building-numbering system was to take effect on August 1, 1920.

    Note: I came across through an Internet search an article entitled "FIFTY YEARS ON THE STAGE".  It was published in The Detroit Free Press.  The article was not dated, and I could not find the article through a word search of the Detroit Free Press archives.  The article was about Owen Stanley Fawcett, and since the article was about Owen Stanley Fawcett's fifty years on the stage, the article must have been published around December 1903/January 1904.

    Note: I used the "1940 Census" website to see who was living at "672 Putnam" around the time the 1940 was taken, and  I found that "672 Putnam" was listed on page twenty of a document entitled "ED 84-166".

    Note: On the Internet, I saw the "Internet Broadway Database," particularly a page focusing on Owen S. Fawcett and his appearances on "Broadway."

    Note: I came across through an Internet search a document entitled "Historical Resources of the University-Cultural Center: Partial Inventory--Historic and Architectural Resources in Phase II Project Area", which was on a form called "National Register of Historic Places Inventory--Nomination Form."  It was received by the United States Department of the Interior, National Park Service on March 19, 1986, and it was filed on May 1, 1986.  The document had 36 pages, and it seems the document was submitted by (overall) Wayne State University, which was about to tear down some buildings on the campus of the university and build new structures.

    Note: I looked up information about the Detroit Opera House that existed in Detroit in the late 1800s and very early 1900s, and I found a webpage entitled "Detroit Opera House (First)" that had been written by Dan Austin, who was tied to historicdetroit.org.

    Note: I found a number of advertisements in the Detroit Free Press between 1898 and 1910, and the advertisements were looking for a "girl" or "good girl" or "cook" or someone to do housework at "152 Putnam" (and not do any washing or ironing).  Some articles that I found were repeats of days previous articles.  Here are dates of some that I took note of--February 19, 1898 (page 8), September 20, 1899 (page 8), May 1, 1902 (page 6), September 8, 1905 (page 6), and May 21, 1910 (page 10).

    Note: I found on page 171 and page 172 in Detroit in Nineteen Hundred and One: Chronological Records of Events (Both Local  and State) information about John C. Shaw.  It told about his connection to the Detroit Boat Club and The Cadillac.  The book was compiled and the copyright was held by The Evening News Association, and the book had a 1902 copyright date.

    Note: I came across a publication (a group in a volume) called Forest and Stream, which was, at least in 1899, a weekly of "Journal of Rod and Gun."  It had information about John C. Shaw and the Detroit Boat Club (which was found in 1899).  The issue of the publication used was for June 4, 1904, and the page was page 446.

    Note: I used information from a publication called The Michigan Alumnus for October 1902-July 1903.  The Michigan Alumnus was a publication of the University of Michigan, Ann Arbor, Michigan, and it was like a glorified newsletter about the university and people who were at it or had been at it.  On page 454, there was information about John C. Shaw.  The publication was published by the Alumni Association of the University of Michigan Publishers (University Hall, Ann Arbor) in 1903.

    Note: I used several editions of Dau's Blue Book [I use the informal name], which I was able to find in full form and digital form on the Internet.  Dau's Blue Book seems to have been published in at least the late 1800s and early 1900s on a yearly basis, and the publication--the editions focusing on the Detroit or the Detroit area or the Detroit area and a new other cities in Michigan--gave information about people who could be called prominent people, and it even had addresses for people.  I looked at the edition for 1911 (page 34) and 1912 (page 35).  The publications were from Dau Publishing Inc. (40 West Thirty-Third Street, New York City, New York, and 222 Moffat Block, Detroit, Michigan).  To date, I have yet to see full copies of other editions--probably only available in paper form--that might give me more information about, for instance, who lived at "152 Putnam" at a particular year between 1894 and 1920.  I was also available to get the Internet to cough up a bit of information from the 1917 edition of Dau's Blue Book, which gave me an indication of where Seaman L. Bird lived in about 1917.

    Note: I came across a book (in digital form through the Internet) entitled The Book of Detroiters, 1908.  It was edited by Albert Nelson Marquis, and it came from A. N. Marquis & Company of Chicago, Illinois.  On page 61, I came across information about Seaman Leggett Bird, such as a bit of his history.  Other editions of The Book of Detroiters may exist, but I have yet to see them.  If other editions exist, I may be able to discover information about more persons who lived at "152 Putnam" or "672 Putnam".

(pertaining to the Wayne University Broadcasting Guild)
(the section added on July 6, 2021)

Detroit Free Press, 29 January 1962, p. 19

"'A Fable of Fools,' Jewish Community Center News Editorial, to Be Broadcast Over WMBC Next Friday."  The Detroit Jewish Chronicle and The Legal Chronicle, 14 April 1939, p. 5.

"Activities in Society."  The Detroit Jewish News, 15 October 1943, p. 9.

"Central Alumnus Wins Role In 'Male Animal.'"  The Detroit Jewish Chronicle and The Legal Chronicle, 4 December 1942, p. 13.

"Charles Chabensky...."  The Detroit Jewish News, 3 March 1944, p. 11.

"Community Chest Work  Is Depicted In WXYZ Series."  The Detroit Jewish News, 16 August 1946, p. 16.

"Elaine Hyman's Eighth Year in Show Business."  The Detroit Jewish News, 4 July 1952, p. 7.

"Ex-WDET Editor Appears on TV Show."  The Detroit Jewish News, 6 April 1956, p. 16.

"Honor Society Taps 12 Wayne U. Juniors."  The Detroit Jewish News, 21 January 1949, p. 16.

"Jack Schwartz Portrays Lead Role in Wayne Play."  The Detroit Jewish News, 13 December 1946, p. 18.

"Junior Service Group Seeking More Workers."  The Detroit Jewish News, 4 April 1947, p. 7.

"Local Brevities."  The Detroit Jewish News, 12 October 1945, p. 19.

"Richard Stein Wins Broadcasting Guild Award."  The Detroit Jewish Chronicle and The Legal Chronicle, 15 March 1940, p. 5.

"Stein Broadcast on WMBC Friday."  The Detroit Jewish Chronicle and The Legal Chronicle, 17 November 1939, p. 6.

"Three Detroiters Open Production Firm."  The Detroit Jewish News, 26 March 1958, p. 21.

"Wayne Broadcasting Guild Featred At Junior Division Report Meeting." The Detroit Jewish News, 9 May 1947, p. 7.

"WSU Coed Elected, 'Miss Broadcasting.'"  The Detroit Jewish News, 28 October 1960, p. 9.

"Young Artists Concert To Feature Stashefsky."  The Detroit Jewish News, 6 June 1947, p. 12.

"Youth Groups."  The Detroit Jewish News, 12 December 1947, p. 18.

Cooper, Mary A.  "Mary Go-Round."  The Detroit Jewish Chronicle, 30 April 1948, p. 13.

Rothschild, Phil.  "Round 'n' Round with Phil Rothschild." The Deteroit Jewish Chronicle, 8 August 1947, p. 14.


    The heyday of affecting Detroit area broadcasting and even national broadcasting by persons associated with Wayne University or Wayne State University was from 1937 to about the middle of the 1970s, starting with the Wayne University Broadcasting Guild and ending with WAYN-AM when it was at 672 Putnam.  During the period, students from Wayne University or Wayne State University did things, instead of doing nonsense radio, such as doing nothing more than talk about lesbianism and social justice.  This document has already shown some of what students of Wayne University or Wayne State University did while at the school (and even after leaving the school), and now I have a bit more history about what people in the early times of the Wayne University Broadcasting Guild did.
    The Wayne University Broadcasting Guild was formed in September 1937.  It was first headed by Garnet Garrison, who at the time headed the radio area of the school and was in charge of five radio courses at the school.  The guild was set up to train students in radio and the goal was to--at first--audition students to be involved in originating radio programs, writing radio programs, and producing radio programs weekly for Detroit-area commercial radio stations, and, by the way, at the time, the school already had a radio program called The Contemporary Series on WXYZ-AM [Note: I add the "AM" part to make it clear what the station was, but in the 1930s, an AM radio station was identified without the "AM" extension, given, for example,  there was no FM radio.]
    One of the first students to be involved with the Wayne University Broadcasting Guild was Frank Telford.  Generally speaking, once Frank Telford left the school, he went to New York City, New York, and he got involved in producing radio shows and even television shows, especially network television series.  [Note: Here is where my expertise in television history comes into play.]  In 1948, Frank Telford produced the first episode of a live series for NBC-TV entitled The Bigelow Show (which was sponsored by a company called Bigelow-Sanford Carpets), and the series featured, for example, Dunniger (an illusionist) and Paul Winchell (a ventriloquist), who worked with a dummy called Jerry Mahoney.  Frank Telford was involved in producing and directing The Silver Theater for CBS-TV in 1949 and 1950, and that work was done in New York City, New York.  Basically, Frank Telford was in Hollywood making filmed series in the 1950s, 1960s, and 1970s, many of which are famous series today.  Here is information from an old edition of Broadcasting ("MASTER'S DEGREE In Broadcasting Offered by Wayne University."  Broadcasting, 15 March 1938, p. 68.], and it was noted that the school now offered a master's degree related to radio, and Frank Telford, who was now the continuity writer for the Detroit Board of Education, started his thesis under Garnet Garrison last summer, and Frank Telford was involved in adapting the novel known as A Tale of Two Cities into a radio production, and he produced the program.  Here is another short piece of text from Broadcasting ("RADIO AND SCHOOLS."  Broadcasting, 15 July 1938, p. 50.]--"WAYNE UNIVERSITY Broadcasting Guild opened a summer series of half-hour dramatic broadcasts over WWJ, Detroit, July 9 with The Cat Man, written by Frank Telford.  Directed by Garnet Garrison, Wayne University radio chief, the series features students from the summer radio courses.".
    It can be said that students of the Wayne University Broadcasting Guild were busy in 1938.  Consider the text from another edition of Broadcasting ("RADIO AND SCHOOLS."  Broadcasting, 15 June 1938, p. 32.)--"DETROIT'S Wayne University Broadcasting Guild, coordinating unit for student radio activities, has sponsored 3 programs since organization last September and Guild members have appeared in 41 programs sponsored by other groups.  Three summer radio classes, beginning July 5, will present four student programs each week--two speaking and two dramatic--over Detroit stations.  The Guild has worked over WMBC, WSXWJ, WJBK, CKLW, and NBC network.".  Maybe, because the Wayne University Broadcasting Guild did material for NBC (the radio entity) in 1938, people at NBC-TV were sort of familiar with Frank Telford, and that helped him end up doing work for NBC-TV in 1948.
    Now I have a somewhat long article to present from Broadcasting ("PHONELESS HOMES Are Surveyed in Detroit by Adcraft Club."  Broadcasting, 15 July 1938, p. 56.):

    "CASTING light on a listener group heretofore neglected--families with no phones--Wayne University developed 'listening tables', to be filled out at homes by families with school children, and carried on a survey for the Detroit Adcraft Club. Only 36.9% of the families checked had phones.
    "Conducted by Garnet R. Garrison, director of the Wayne University's Broadcasting Guild, 1,369 'listening tables' were studied and tabulated.  They indicated that 1,156 families or 5,126 persons listened at some time during the check.  Students of Wayne University, three high, three intermediate and seven elementary schools were given tables by their teachers, instructed to take them home and keep them by the radio.  As members of the family listened, they recorded the program received.
    "It is estimated that an equivalent coincidental telephone survey would have required 98,000 calls to achieve the same scope--72 quarter-hours each for 1,139 families.  The study also showed which station enjoyed the largest listening audience any one day."
    Now what I present in this paragraph is sort of an aside, since it is not information about something done by the Wayne University Broadcasting Guild.  This material was in Broadcasting on November 15, 1938 ("RADIO AND EDUCATION."  Broadcasting, 15 November 1938, p. 58.)--"DEMONSTRATION and lecture on production technique was given in the auditorium studio of WWJ, Detroit, recently before a special meeting of 200 Wayne University students taking radio work by C.L. Menser, NBC production manager, Chicago.  Mr. Menser traced the steps in an actual production, from casting through rehearsals, explaining the techniques as he progressed.  His appearance was arranged by Dr. Preston H. Scott, chairman of the speech department, and Garnet Garrison, radio director at Wayne U.".  Although the material does not show what students of the Wayne University Broadcasting Guild did, the material shows some interesting history.
    Many people--students and others--who were involved with the Wayne University Broadcasting Guild are unknown to me, as are many members of WAYN-AM.  I found an article in Broadcasting ("Radio and Education."  Broadcasting, 1 March 1939, p. 62.) that has a few names of people involved with the Wayne University Broadcasting Guild in the early years.  Here is the text--"PRIZEWINNERS in the first annual Wayne University Broadcasting Guild script-writing contest, recently announced by Garnet Garrison, Guild director, include Ralph Nottingham, who won first prize of $25 in the undergraduate division for his script, 'The Quick and the Dead'; Earl Gormaine, $10 second prize for 'Mr. Smith and the Infinite'; Robert Deisley, first prize in the graduate division for 'A Story of Tycko Brahe'; and Morris Weiss, second prize for 'With Kid Gloves.'  Judges selected from the staffs of Detroit radio stations, included Eric Howlett, production director of WJR; Geraldine Elliott, WJR education director; Charles Livingston, WXYZ dramatics director, and Myron Golden, WWJ education director.  The scripts are to be broadcast on regular Guild programs.".
    I have to report here that at some point between 1967 and September 1971 (when I showed up at WAYN-AM as a staffer), broadcasters on WAYN Radio were promoting the idea on the air that the station had an FM signal and an AM signal, but the Wayne University Broadcasting Guild did not have an actual broadcasting signal, and it looks as if members of the Wayne University Broadcasting Guild did at least live broadcasts from studios of commercial radio stations and used studios at Wayne University to make recorded programs (transcriptions or records).  An article in Broadcasting for February 1, 1940 ("Radio and Education." Broadcasting, 1 February 1940, p.87.) noted that, in January 1940, WCAR-AM, Pontiac, Michigan, began to carry a new dramatic series that highlighted the lives of people who made contributions to mankind but were rather unknown, and the program was the third program coming from the fairly new studios at Wayne University, and it was noted that, at the time, WMBC was carrying a dramatic series made at the studios and WXYZ-AM was carrying Short Story Time.  Maybe--just maybe--some programs were sent down telephone lines from the school to commercial radio stations, but I cannot prove that here.
    Here is a little note in Broadcasting ("Ohio Education Institute Awards....."  Broadcasting, 15 May 1940, p. 56), and it was tied to "For general use by children.  Any type of out-of-school children's program."--"Honorable Mention--'World of Music.'  From series World of Choral Music.  Planned and produced by the Wayne University Broadcasting Guild, Detroit.".
    And I have one article from Motion Picture Daily ("Homes Minus Phones Listen More to Radio."  Motion Picture Daily, 5 July 1940, p. 8.):
    "Families without telephones listen to the radio on average 3.9 hours daily, while those with telephones devote an average of 3.5 hours a day to broadcasts, according to a survey of metropolitan Detroit families made by the Wayne University Broadcasting Guild and released by the CBS division of research.
    "Thursday, with an average of 4.5. hours, is the peak listening day.  Saturday is the lowest, with 3.2. hours, the survey shows.
    "The inquiry determined that WJR, the CBS outlet, and WWJ, the NBC-Red affiliate, received 71.5 per cent of the listening time, with eight other stations sharing the remaining 28.5 per cent.
    "Of the daytime script serials covered, eight of the most popular were on CBS and two on NBC-Red.  In the evening, 14 CBS shows, nine NBC-Red, one NBC-Blue and one Mutual program led the field, according to the survey.
    "The University made the study through the Detroit school system, checking the listening habits of 1,988 families.  This is the equivalent of 900,000 coincidental checkups, officials said."
    And that is that!


    What happened with WAYN-AM from the summer of 1977 to today is mostly unknown to me.  I can report a few things.  From about early 1986 to at least the winter of 1993, the station was located at 6001 Cass.  On November 26, 1986--the station was now broadcasting on 1200 AM--the staffers held a fund-raising event called the 9th Annual Turkey Trot, in which turkeys were put in a race.  On September 13, 1985, St. Andrews Hall (which was located at 431 East Congress, Detroit) was the site for a fund-raising event for the radio station, and the performers scheduled to appear were Second Self, Shy Boy, and Missing Links.  On January 31, 1992, there was a fund-raising event at Alvin's (which was located at 5756 Cass, Detroit) for the radio station, and the scheduled performers were Trustfund, Weeping Rachel, Red C., The Hope Orchestra, and Mrs. Jones, and at this time, the station was airing at 1180 AM.  In the fall of 2010 and in the spring of 2011, I looked at a website for what is now considered "WAYN Radio" (which was based in Suite 21 of the Student Center Building), and WAYN was then some type of Internet-based radio entity, which had programming available seven days a week.  I found evidence that the radio station became an Internet entity around 2007, and instrumental in making the radio station an Internet entity was Kevin Piotrowski, a faculty member of Wayne State University and the advisor to the radio entity [Note: Kevin Piotrowski's history on the staff of the university goes back to 1993.].  To me, WAYN-AM and WAYN Radio of today as an Internet entity are really loosely connected, and when WAYN became a Internet-radio entity, it became nothing more than like a carrier-current radio station, and the heyday of the "WAYN" was gone, and what could be called a new heyday would probably never show up, and it is up to others to write the story about the WAYN Radio that exists today or that has existed since 1985.  [Special note: Anyway, WAYN Radio is more of a place for kids to teach socialistic propaganda and nonsense to kids than a place to learn radio, as, for example, I was teaching in the 1970s and others had been done before I showed up at Wayne State University.  Around 2015, the WAYN Radio had this slogan--"Where the real world is introduced to diversity."  That slogan is one piece of evidence that the radio entity is a socialist political entity, not really involved in teaching radio or entertaining, such as with good music--it is pushing idiocy.  In 2018, I looked at the "facebook" site for the Wayne Radio, and this text was offered--"WAYN Radio is directed toward enriching the experience of students at Wayne State University.  With original programming that is fair, relevant and unbiased, as well as music programming that is unique and representative of the varied interest of WSU students.  WAYN Radio is designed to give all interested students at Wayne University the experience of working in a professional broadcast environment.  WAYN Radio is committed to improving the quality of campus life by providing programming that reflects the diverse tastes, cultures, and experiences of Wayne State University students."  That set of words is more idiocy.  By the way, the second group of words, which follows the first sentence, is not a sentence, so that is an error.  I could really attack the statememts in a long piece of writing, but that will not be done here.  I note that, for instance--So the people at the radio entity really think their purpose is to "enrich the experience of students" and improve "the quality of life" for students through programming of "diverse tastes, cultures and experiences"?  It is pseudo-intellectual nonsense.  When I was at WAYN-AM, there were "whites" and "blacks" and whatever (such as a hardened black guy who had spent time in prison), and, for instance, "whites" and "blacks" and whatever played all types of music from "whites" and "blacks" and whatever, and there were no nonsense slogans and flap doodle.  Also, when I was at WAYN-AM, everyone got on the radio who wanted to get on, though each person made a audience tape so that, for example, a program director could see how bad the person was right at the start and determine what could be done to make the person better, and there was no extra fee paid to the station (beyond the tuition for classes).  I found evidence through researching in 2018 that the WAYN Radio, around August 2011, had it set up that new people had to make a $25.00 payment to the radio entity and take part in a two-day "production workshop" (covering four hours).  I get the feeling that the radio entity can be heard around the world through the Internet, but because of what the station really is, no one cares really.  Where is the fun, and where are the good tunes to entertain for the sake of good tunes?]


    Special note: I have several documents that cover some Detroit-area radio history.  A special document--a PDF-format document--about WAYN-AM with 58 photographs, eight graphic images, and two drawings (one of which shows the format of the first floor of WAYN-AM in about 1976) exists, and the document shows off what WAYN-AM looked like, and since the document has photographs (such as of the building at 672 Putnam, the studios, equipment, and persons) and other images, it is electronically very big, and a person who wishes to see the document must make a special request to have it sent out.  Also, I have put together a PDF-format document with images that looks a WDET-FM from 1949 to 1960 and more about the Wayne University Broadcasting Guild, and if you wish to see that document, you must make a special request to see it.  And I have a document about WKMH-AM/WKNR-AM, and it is available at the website for The Hologlobe Press, and I have a document that talks about, for example, helicopter-based traffic-reporting services of the Detroit area, and it is available on the Internet.
    [Note: On July 4, 2022, I added this section.  As I have noted, the PDF-format document has images of the radio station in the early 1970s, but now I add that one photograph shows a manual typewriter that was used in the news area in the 1970s at least.  That machine was an Olympia SG-3.  Something odd happened to me on July 2, 2022.  I was at a community garage sale in Ocqueoc Township, Michigan, and the event had a donated typewriter for sale (and, in fact, everything for sale was donated stuff).  The operators of the event were going to pass along some of what was left to charity entities and pass along some of what was left to trash bins.  I could not let the typewriter get thrown out, so I bought it (for $20.00, though the operators only had asked for $5.00), and I bought it even though I prefer the Underwood TouchMaster 5, four of which I have.  The typewriter for sale was an Olympia SG-3.  Crazy!  Now I have, in essence, the type of typewriter that was used at WAYN-AM in the 1970s, and the machine is in good working order.  Incidentally, in the middle of the 1970s, the radio station also had an IBM Selectric II, which was set up in the managers' office, which was on the second floor of the house at 672 Putnam.]

To see a document about WKMH-AM and
    WKNR-AM, which has information related to
    this document about WAYN-AM, use this
    link: WKMH-AM and WKNR-AM.
To see the catalog page for all the published editions
    of T.H.A.T., which have television information and
    television trivia, click on: T.H.A.T..
To go to the main page of The Hologlobe Press,
    click on: www.hologlobepress.com
To see the catalog page for Michigan Travel Tips,
    which has information about places to see in
    Michigan, click on: Travel.

Many more useful documents exist at the Web site
    for The Hologlobe Press, and to see a list of those
    documents, you should go to the Site-Summary
    Page for The Hologlobe Press, which can be
    reached by using this link: Summary.