Dick Clark had a groundbreaking career in both radio and television.
Radio Career: He began in 1945 at WRUN in Utica, NY, and later worked at WFIL in Philadelphia, where he hosted a record-hop show that led to American Bandstand (1956). He founded United Stations Radio Networks, syndicating shows like Rock, Roll and Remember and Countdown America, reaching thousands of stations. He was inducted into the Radio Hall of Fame in 1990.
(Courtesy: Classic Posters dot Com)
Concert Tours: From 1959 to 1966, Clark produced Dick Clark’s Caravan of Stars, featuring top rock and R&B acts like Bobby Vee, Paul Anka, and The Supremes.
Television & Production: As host of American Bandstand, he introduced new music artists to national audiences. He launched Dick Clark Productions (1957), producing American Music Awards, Golden Globe Awards, and various TV specials. He created New Year’s Rockin’ Eve (1972) and hosted game shows like The $10,000 Pyramid, winning multiple Emmys.
Dick Clark passed away on April 18, 2012, at 82, after a heart attack, following complications from a 2004 stroke.
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WHN, a historic New York City radio station, debuted on March 18, 1922, at 833 kHz before settling at 1050 kHz. Initially offering a mix of music, news, and drama, it underwent several ownership changes, including a lease by Loew’s Theatre Organization. Renamed WMGM in the late 1940s, it shifted to a rock & roll format in the late 1950s and later became a leading country music station in the 1970s and 1980s. In 1987, it transitioned to sports radio as WFAN, the first all-sports station. Today, it operates as WEPN (1050 ESPN), affiliated with ESPN Radio.
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AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
CHICAGO — A crowd estimated at 15,000 flocked to the Tabernacle Baptist Church on the South Side Thursday night, December 17, to pay last respects to the late Sam Cooke, who was shot and killed in Los Angeles on December 11 (last year).
Only a third of the crowd could be accommodated in the church and 50 policemen were called to shepherd the overflow which milled about in near zero weather for several hours until permitted to file past Cooke’s casket after the church emptied.
Earlier in the day heavyweight boxing champion Cassius Clay viewed Cooke’s body at the A. R. Leak Funeral Home, where he laid in an open coffin in three-quarter view, shielded under a protective glass cover.
A New York Daily News account on the death of Sam Cooke, Saturday, December 12, 1964. (Click mouse or tap over image for larger view)
The RCA recording artist was fatally shot in Los Angeles by a woman hotel manager who said Cooke had burst in her office threateningly and a scuffle ensued between the two. After the police conducted their investigation the shooting was ruled as justifiable homicide. The report concluded the hotel proprietor had acted accordingly in self-defense during an attack allegedly perpetrated by Cooke.
Tearful and poetic eulogies were intoned by several Negro ministers who knew Cooke from the days he and his seven brothers and sisters formed a gospel singing group called the Child Singers. This was shortly after the family moved to Chicago from Mississippi.
A January 1965 Jet Magazine account detailing death of Sam Cooke.(Click-mouse or tap over image for largest detailed view.)
Cooke graduated to the Highway’s QC’s, winning a wide and divided and devoted gospel-mode following in the great Chicago ghetto. In 1949, he joine the Soul Stirrers, and led the troupe from the church circuit to the Copa.
“The world is better because Sam Cooke lived,” eulogized the Reverend Lewis Rawls. “He inspired many youths of all races and creeds.”
E. Rodney Jones, representing WVON radio station owner Leonard Chess, said: “As long as music exists, Sam Cooke will live.” WVON broadcast the entire memorial service.
Cooke was buried at Forest Lawn Memorial Park Cemetery in Glendale, California. He was 33.END
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Credit, information and news source: Billboard, January 2, 1965
USARM Note: This post was previously published and archived by Motor City Radio Flashbacks on January 08, 2013
USARM Addendum: There has been several variations and accounts on what actually took place on December 11, 1964, the morning Sam Cooke died at the Hacienda Motel in Los Angeles.
For more on the career, untimely death of Sam Cooke, go here. And, the official Sam Cooke Facebook page today, here.
Bud Davies began his career at CKLW in 1942, starting in the mailroom before taking on additional roles as a transcription operator and staff announcer. After serving in the Royal Canadian Navy during World War II, Davies returned to CKLW, where he began hosting early “Platter and Chatter” shows and quickly gained a following among younger listeners.
By the early 1950s, Davies had become one of the station’s most popular personalities with his two shows, Good Neighbor Club and Your Boy Bud. His midday programs, featuring “Battles of the Bands” and “Singers’ Choices,” allowed fans to vote on their favorite records, solidifying his appeal with the youth audience.
By the mid-1950s, Davies had developed a strong teen following, becoming one of CKLW’s biggest stars. In 1956, he was hosting split shifts—two hours in the afternoon (1:30–3:30 p.m.) and an additional hour and a half in the evening (7:30–9 p.m.). During the break between shifts, he also hosted Top Ten Dance Party on CKLW-TV 9. That year, he introduced Elvis Presley on stage at the Fox Theater when the King of Rock first performed in Detroit.
CKLW Bud Davies, July 1956 (Photo credit: Ray Tessier)
By early 1961, Davies had moved to the late afternoon slot at CKLW, attracting a more mature, crossover audience with his mix of current hits and his popular Shafer Bread Quickie Quiz segments. At the time, CKLW aired a country music program, Sounds Like Nashville, in the evening. In May 1963, Davies replaced Toby David as the station’s new morning host, with David transitioning to a full-time role at TV 9. Dave Shafer took over the afternoon shift previously held by Davies.
After 29 years at CKLW, Bud Davies was unexpectedly let go in August 1966, though the reasons behind his departure were never fully explained. After retiring from radio and relocating to Florida, Davies (b. March 25, 1928) passed away on October 20, 2006. Davies was 78.
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A USARM Note: Much of the above information source provided here, in part, is credited to David Carson. He is the renown Detroit radio historian who authored the book, “Rockin’ Down The Dial,” published in 2000 by Momentum Books LTD. Thank you, David! 🙂
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This article/advertisement courtesy freep.com newspaper archive. Copyright 2025. Newspapers.com
Originally printed in black and white, the featured Detroit Free Press ad was digitally re-imaged, colorized, and was entirely restored by USA Radio Museum.
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A USARM Note: Special THANKS to our friend, John Bartony (a.k.a. Jukebox John) St. Clair Shores, Michigan, for providing the above Detroit Free Press CKLW ad (March 29, 1959) for this site, as featured today.
A special thank you to our senior consultant Greg Innis, of Livonia, MI., for contributing the Newspapers.com archives (Detroit radio related) articles, ads, and images we have provide on this page since 2016.
Thank you, Greg Innis, for making these historic Detroit radio newsprints possible. 🙂
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USARM Note: The featured aircheck was Gary Steven’s very last show on WKNR, Saturday, April 3, 1965.
Gary Stevens had a remarkable career in radio, starting from his early days in Buffalo, New York, and eventually becoming a prominent figure in the industry. Here’s a comprehensive bio of Gary Stevens:
Early Career Gary Stevens began his broadcasting journey at WWOW in Conneaut, Ohio, while on vacation from college. He later attended the University of Miami, where he worked at several stations, including WCKR and WAME. His career quickly progressed as he moved to WFUN in Miami, where he stayed until 1961.
WIL St. Louis In 1961, Gary Stevens joined WIL in St. Louis, where he worked alongside notable personalities like Ron Lundy, Dan Ingram, Roger Barkley, and Gary Owens. He hosted the evening show from 7 PM to midnight, gaining a strong following and honing his skills as a Top 40 disk jockey.
WKNR Keener 13, Dearborn, MI In November 1963, Mike Joseph hired Gary Stevens to join WKNR in Dearborn, MI, a suburb of Detroit. WKNR, known as “Keener 13,” was a powerhouse in the Detroit radio market, and Gary quickly became one of its most charismatic and popular DJs. His show was known for its energetic style and engaging personality, helping WKNR climb to the top of the Detroit radio charts within an incredible span (after WKMH transitioned to WKNR) of just under 2 months by January of 1964.
WMCA New York City In April 1965, Gary Stevens moved to New York City to join WMCA, where he became part of the “Good Guys” lineup. At WMCA, Gary continued to build his reputation, playing the hits and engaging with listeners through his 7-11 PM shift. His time at WMCA further solidified his status as a top radio personality.
Later Career and Legacy Gary Stevens’ success in radio eventually led him to a career in broadcasting management. He became the president of Doubleday Broadcasting, one of the fastest-growing chains of radio properties in America. His journey from a night-time Top 40 disk jockey to a successful executive is a testament to his talent and determination.
Gary Stevens’ contributions to radio have left a lasting legacy, and he is remembered fondly by radio fans and broadcasting colleagues alike.
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NEW! A special THANK YOU to John Troll, of Danbury, CT. (and sole owner of this Stevens, WKNR aircheck), and Ted Smucker, of Cassopolis, MI., for both having contributing this fabulous, Gary Stevens, WKNR 1965 audio memory. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
USARM Note: The featured aircheck was Gary Steven’s very first show on WMCA, Wednesday, April 7, 1965.
Gary Stevens was one of the popular “Good Guys” on WMCA in New York City during the 1960s. He joined WMCA in April 1965 after leaving Detroit’s WKNR (Keener 13). Gary was known for his engaging personality and his 7-11 PM shift, where he played hit music and interacted with listeners. He was part of the team that made WMCA one of the top-rated radio stations in New York City during that era from the time of his arrival there, through the station’s formidable Top 40 years WMCA were still tops with teen listenership in 1965, 1966 and 1967.
When Gary Stevens joined WMCA in April of 1965, the station was already well-known for its “Good Guys” format. WMCA had established itself as one of New York City’s top radio stations, playing a tight rotation of the most popular songs of the day. The station was famous for its team approach, where all the DJs worked together to promote the music, the station, and the excitement of the era.
The “Good Guys” lineup at the time included Joe O’Brien, Harry Harrison, Jack Spector, Dan Daniel, B. Mitchel Reed, and Johnny Dark. Gary Stevens joined this team and quickly became a beloved part of the station.
WMCA was known for its energetic and engaging DJs, and it played a significant role in popularizing the Beatles in New York City (along with competitor WINS and Murray the K). WMCA’s Good Guys were also featured at both of the Beatles’ concerts at Shea Stadium on August 15, 1965, and August 23, 1966. The station was also a fierce competitor with Top 40 WABC, and it consistently ranked as one of the top-rated stations in the city during the mid-1960s.
Gary Stevens’ last show on WMCA was on September 18, 1968. After leaving WMCA, Gary Stevens (and his wife) moved to Europe, where he worked in radio in Sweden for a couple of years before eventually transitioning into radio management and executive roles.
WMCA was a top 40 station from late 1960 until 1970. This era, especially from 1963 through 1965 when the legendary B. Mitchell Reed was there, those years was considered the station’s glory days, as it reached the baby boomer generation at their teenage peak and achieved high ratings.
In 1970, WMCA transitioned from its successful “Good Guys” top 40 format to a full-time talk radio format called ‘Dial-Log Radio.’ This shift marked the end of the “Good Guys” era, but the station continued to thrive with the new format. WMCA featured a variety of talk shows, including sports talk with Jack Spector, conservative talk with Bob Grant, and overnight talk with “Long John” Nebel.
In the 1980s, Gary Stevens became the President and CEO of Doubleday Broadcasting, a company he helped grow significantly. Under his leadership, Doubleday Broadcasting expanded its radio station portfolio, including the purchase of WLLZ-FM in Detroit, formerly the Christian/religous-formatted station, WBFG. Gary Stevens was instrumental in transforming WLLZ into a successful classic rock station, which became known as “Detroit’s Wheels.”
Gary Stevens’ career in radio management and executive roles showcased his ability to build and manage successful radio properties, having left a lasting impact on the broadcasting industry, at the time, while Doubleday Broadcasting was under his CEO directorship and control.
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NEW! A special THANK YOU to John Troll, of Danbury, CT. (and sole owner of this Stevens, WMCA aircheck), and Ted Smucker, of Cassopolis, MI., for both having contributing this fabulous, Gary Stevens, WMCA 1965 audio memory. We’ve added this aircheck to the USA Radio Museum’s aircheck repository.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
LONDON — Motown’s Four Tops took London by storm, Sunday, January 13 (Note: actual date was November 13, according to Adam White, U.K. Motown historian), with a memorable one-night-only performance at Brian Epstein’s Saville Theater.
The group gave two sold-out concerts before an audience that included John Lennon, Mick Jagger, Donovan, Jane Asher, Eric Burdon, Georgie Fame, and EMI chief Sir Joseph Lockwood.
The fantastic reception the Four Tops were accorded should assure Epstein of boom box-office takings when the group undertakes a nationwide tour of Britain for him in January.
As the group’s stage debut marked the launching of the Saville — previously a legit theater — as a London showcase for pop talent. Following unsuccessful stage venues including Ron Moody’s musical “Joey, Joey,” Epstein has announced that he will concentrate on staging the world’s top pop talents at his West End venue.
In the words of Decca’s promoter Tony Hall, who hosted Sunday’s show, Epstein plans to turn it into the Apollo of Shaftesbury Avenue. Little Richard is expected to give a one-nighter there later this year, and Epstein has scheduled a Christmas show starring Georgie Fame and Julie Felex.
The concert acclaim for the Tops sets the seal on their British chart success with “Reach Out (I’ll Be There),” which has climax a magnificent 1966 for Tamla-Motown here during time it has had up to six and seven acts simultaneously in the top 50 — a fantastic achievement for a U.S. label.
The Four Tops, Brian Epstein, back-stage press conference at the Saville Theater, London, November 13, 1966.
The Four Tops included three good renditions of non-Motown songs in their act, the Beatles’ “Michelle,” Tom Jones’ hit, “It’s Not Unusual,” and a great workout set on stage with “If I Had A Hammer.” They ran a number associated with their sound, “Baby, I Need Your Lovin,” and had to give two performances of “Reach Out.” They left their audience clapping, singing, and very happy — shouting, demanding more.
The quartet was backed by Bob Miller’s big pop band. Also on the bill was one of Epstein’s most professional acts, Cliff Beznett and the Rebel Rousers, whose strong act included their Beatles-penned British hit, “Got To Get You Into My Life,” and an Australian group called the Easybeats, currently scoring here with “Friday On My Mind.” END
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Credit, information and news source: Billboard,November 26, 1966
USARM Note: This post was previously published and archived by Motor City Radio Flashbacks on January 27, 2012
The Four Tops greets Beatles’ manager Brian Epstein, Tops UK promoter, with Del-Shannon at the Royal Albert Hall in London.
The Series 29 “Go Go” jingle package by PAMS, Inc. was issued to many radio station across the country in 1965.
The Series 29 “Go Go” jingle package by PAMS, Inc. was quite popular and influential in the mid-1960s. Here are some key points:
1. The package featured an all-male group with high soprano vocals and fast-paced, energetic backgrounds. The style was very much in line with the “au go go” craze, which was sweeping both Europe and America at the time.
2. The lyrics were designed to be catchy and reflect the vibrant, upbeat nature of the “au go go” movement. They often included phrases like “Go-Go with [Station Name]” and “Radio Au Go-Go”.
3. This package was used by many radio stations to create a lively and modern image. It helped stations connect with the youth culture of the time and was a significant part of radio advertising in the 1960s.
As featured in this presentation, KXOK 630 AM in St. Louis used the Series 29 “Go Go” jingle package, as well. Their version was quite unique because, unlike the standard all-male group vocals, KXOK’s jingles featured a mix of male and female vocals. This gave their jingles a distinctive sound compared to other stations using the same package.
KXOK was a prominent radio station in St. Louis in the early-1960s. KXOK was known for its Top 40 format and was especially popular among teens and young adults. The station featured many well-known radio personalities, including Ray Otis.
Ray Otis, who arrived from WKMH in Dearborn, MI., became the station’s program director in 1962 at just 24. Otis recalls how KXOK came to be a magical place. He joined a station that had been initially launched by manager Bud Connell, and his mission was to guide it through its next phase. “There was magic at KXOK like no other place I’ve seen,” Otis says. “Everything just fell together. The synergy was incredible.” The station’s home was a small grove of trees at 1600 North Kings Highway, which it affectionately named “Radio Park.”
When this aircheck was recorded, Ray Otis was heard weekdays on KXOK in St. Louis from 3 p.m. to 7 p.m.
According to the stlmediahistory.org website, KXOK was owned by Todd Storz, part of his network of AM stations known for their rock and roll formats. Thanks to station veteran Dick Ulett, we list an array of names that defined KXOK:
Mort Crowley, Danny Dark, Ron Riley, Peter Martin, Robert R. Lynn, Bob Shea, David D. Rogers, Dan Allison, Johnny Rabbitt, Don “Stinkey” Shafer, Richard Ward Fatherly, Nick Charles, Bruno J. Grunion, William A. Hopkins, Big Ears Bernard, Steven B. Stevens, Bobby Shannon, Delcia Corlew, Chickenman, News at 55, Radio Park, and the station’s slogan, “The station with the happy difference.”
The station’s building sat across from the old Parkmoor, housed in a converted old house with the studios added on. The house’s front room served as the reception area, and the rest was used for storage. Out front, facing Kingshighway, stood the green 3-foot-tall letters “KXOK,” a remnant from its previous location at the Star-Times Building downtown.
Ray Otis was at KXOK from 1962 to 1970, when he left for New York’s WNEW. Later in 1970, Otis returned back to Detroit for WCAR.
USARM Note: Most of the above information was provided by the St. Louis Media History website.
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NEW! A special THANK YOU to Mark Yurko, of Langhorne, PA., for this KXOK aircheck contribution for our USA Radio Museum repository. Featured here, we’ve archived this 1964 WXOK audio memory into our aircheck collection.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
Peter Frank Is King Of The Jingle; Richard H. Ullman, Inc., Reps WKMH in Dearborn, MI.
HOLLYWOOD — One of the most perplexing problems facing radio station management is how to come up with and perpetuate a distinctive “sound”. . . one which will set his station apart from the others.
This problem is particularly acute in the multiple-station market where there are several stations programming the same type of music.
During the past decade radio stations have been mushrooming by the hundreds with no apparent slowdown — until the most recent FCC freeze.
The result of this uncontrolled “growth” to cite just a few examples are: Portland, Oregon — the 28th radio market with 11 metropolitan outlets, and Denver, Colorado — the 26th radio market with 16 AM metropolitan outlets.
The newcomers to a market were the first to implement their programming and promotion with jingles on a large scale. The custom-made jingle packages soon became “the thing” for the driving rock and roller seeking to make its niche with a Top 40 sound in their respective market.
Today, jingles are virtually being used by every radio station — no matter what the format or operation is to facilitate in attaining that all-elusive distinctive radio “sound. One of the people greatly responsible for the overall acceptance of radio jungles is Peter Frank, president of Richard H. Ullman, Inc., a “senior-statesman” of radio station services and musical sales messages in advertisement and commercials.
Richard H. Ullman, Inc., boasts providing the industry’s most complete service to stations and advertisers. Their “Ullmanac” of sound numbers 40 different packages ranging in price — according to type and market size — from $360 to $31,000.
The Ullman station services are categorized under four main packages: “Big Sound,” “Dimensional,” “Formatic,” and “SOP!” Offered within these four groups are production and programming aids such as “Calendar Girl,” 365 musical jingles giving the exact date, day and month with a musical pad for time and temperature — all personalized with the station’s call letters; “City Songs,” a salute to the station’s city or town with a specially written song, words and music included. Also made available is printed sheet music of the city song with the station’s call letters emblazoned thereon along with a 45 record — featuring an instrumental and vocal version — in a color sleeve with the lyrics printed on the back.
Even More
And there’s more: “The Exciters,” “Golden Era,” (a compilation of take-offs with emphasis drawn on the “big band” sound), “Happy Holidays,” “Hip” (top tunes intros, based on Billboard’s “Hot 100”), “Indelible ID’s,” . . . just to name a few.
Peter Frank’s organization has available a series of 15 personalized musical productions designed for the promotion of the “softer sell” broadcaster. Another series entitled “Velvet Touch” is programmed in stereo for FM-stereo band operations.
“You’ve got to keep ahead on the trends in this exciting business to be successful,” says Peter Frank.
Frank’s organization in Hollywood, Dallas and New York keeps ahead with a concept called “Telstar.” Of primary importance these days are the country and western formatted stations; Ullman also provides of their product in a C&W service package for them as well.
Among the many new services in the organization featured is Ullman’s acquisition of world-wide distribution rights to Gordon McLendon’s “The Old Scotsman’s Scrapbook,” a total of 316 five-minute vignettes featuring an actual recording of a history-making event, speech or statement.
Demand Up
“There has been an increasing demand form our subscribers for help in how best to utilize the production and programming aids we sell them. This year we’ve added a broadcasting and consulting division,” Frank remarked.
In a business complicated with many varied formulas for pricing, the station manager and program director is frequently shaken by the jingle jungle.
Frank is adamant in his criticism of the fly-by-nighters that have invaded the field and has, in his terms, created a plethora of confusion in who would best represent a client’s interest in any given market.
“Untold damage has been done to the many legitimate jingle producers by some sellers of radio and musical jingles who establish prices and make deals that run from the sublime to the ridiculous. Extremely few businesses can have their products so loosely and variably priced. I can list a dozen ‘here-today-gone-tomorrow’ operations. . . one-shot, no follow-up people that would only take their money and not be heard from again,” Frank stressed.
Frank, whose motto is “Caveat Emptor” (let The Buyer Beware) is sure of the product turned out guaranteed by his producers in the studios here, also elsewhere in New York and in Dallas, while naming Bill Bell and Will Scott under the management of Morton J. Wagner. Meanwhile, Frank invites the buyer to check around. Ultimately, he will expect they’ll eventually will choose Richard H. Ullman, Inc., a division of the Peter Frank Organization. END
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SOURCE: Information, credit, and news source: BillboardApril 27, 1963
USARM Note:This post was previously published and archived by Motor City Radio Flashbacks on August 6, 2012
WKMH 1310 in Dearborn, Michigan, was launched on December 29, 1946, by Fred Knorr, William McCoy, and Harvey Hanson. Initially, it operated during daytime hours with 2,000 watts of power at 1540 kilocycles on the AM radio dial.
In the late 1940s, Robin Seymour joined WKMH and became a significant figure in its programming. By 1955, he was known for his engaging style and for being one of the first DJs to ask listeners for their opinions on new records. And he became one of the first disk jockeys in the Motor City to heavily play rhythm and blues recordings on his show. Seymour’s show, “Bobbin’ with Robin,” quickly gained popularity.
On October 31, 1963, WKMH changed its call letters to WKNR and rebranded as “Keener 13”. This change marked a significant shift in the station’s format and approach, leading to a rapid rise in popularity. WKNR became known for its tight playlist, creative promotions, and energetic announcers, making it one of the most popular stations in Detroit during the 1960s.
PAMS (Production, Advertising, Merchandising Service) in Dallas provided jingles for WKMH during the period of 1960-1961. PAMS was known for creating memorable and catchy jingles for many radio stations across the United States during the 1960s. These jingles played a significant role in establishing the station’s identity and enhancing its appeal to listeners.
The presented 1961 WKMH jingle package is from the PAMS designated Series 18.
In 1961, PAMS also released the “Series 18” custom series, also known as the “Sonosational” package. This was notable for being the first jingle package to utilize the Sonovox, a (voice altering) device that made any sound/voice source seem to be speaking or singing. It was quite innovative for its time and added a unique touch to the jingles.
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Dick Clark had a groundbreaking career in both radio and television.
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WHN, a historic New York City radio station, debuted on March 18, 1922, at 833 kHz before settling at 1050 kHz. Initially offering a mix of music, news, and drama, it underwent several ownership changes, including a lease by Loew’s Theatre Organization. Renamed WMGM in the late 1940s, it shifted to a rock & roll format in the late 1950s and later became a leading country music station in the 1970s and 1980s. In 1987, it transitioned to sports radio as WFAN, the first all-sports station. Today, it operates as WEPN (1050 ESPN), affiliated with ESPN Radio.
AUDIO REMASTERED! This audio recording was digitally enhanced by USA Radio Museum.
