Jack Sharpe and WEBR’s Trafficopter

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


After attending Nichols and serving in World War II, Jack Sharpe returned home to start a career in journalism as a Buffalo Evening News copyboy in 1948.

Jack Sharpe behind the wheel of WEBR’s mobile transmitter

He joined WEBR Radio in 1952. Seven years later, he combined his love for on-the-scene reporting with Buffalo’s place at the center of the aviation industry by initiating Buffalo’s first airborne traffic reports in the WEBR Traffic Copter. He became Buffalo’s “flamboyant, outspoken eye in the sky.”

Jack Sharpe (right) with Jack Prior of Prior Aviation. Buffalo was the second city in the country to carry airborne traffic reports on the radio. 

Sharpe (right) with WNY Safety Conference President Gordon Trank, kicking off Buffalo Safety Week 1962.

Sharpe would scold motorists and highway planners while reporting breakdowns and delays. After one big snowstorm, he saw that instead of attacking the road conditions– a half-a-dozen city plows were parked outside a restaurant.

“If you’re wondering why your streets aren’t plowed,” he said in a live traffic report, “it’s because all the plows are parked at Your Host!”

He kept the helicopter hovering so he could watch the drivers scurry away from their grilled bow ties and back out onto the road.

Sharpe spent 14 years flying over Buffalo’s highways until he ran for office in 1973. He’d spent five terms as Supervisor of the Town of Amherst, overseeing that community’s continued transformation from a farming community to a suburban population center.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Western Connections

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


For 20 years, Sunday nights in many households across the country meant an episode of “Gunsmoke” before the late local news. For 19 of those years, a woman who attended Hamburg Junior High and Amherst Central was one of the stars of the show.

Long before Amanda Blake played Miss Kitty, the saloon-owning love interest of Marshall Matt Dillon from 1955-74, she grew up in Western New York.

Born at Millard Fillmore Hospital on Delaware Avenue, the young “Miss Kitty” began her elementary schooling at Kenmore’s Lindbergh Elementary, also living in Hamburg and Amherst until 1946, when her father’s job at Curtiss-Wright took the family to California.

A 1960 promotional trip was the actress’s first trip back to Western New York since moving out west—but it wasn’t her last. She stayed in regular contact with old friends and relatives, and visited several times—including to attend her 40th high school reunion– before her death in 1989.

Amanda Blake surrounded by her Gunsmoke co-stars, including a young Burt Reynolds, who played Deputy Quint Asper on the show for three seasons. Blake was on Gunsmoke for all but the final season of the show’s 20-year run.

Gene Barry starred as Bat Masterson for three years on NBC and Ch.2. On a promotional visit to Buffalo, he was interviewed by Helen Neville on WGR-TV and Dan Neaverth on WGR Radio.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Dick Lawrence brings Top-40 to Buffalo

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


A young program director with a big mouth, big ideas, and a big appetite for promotion rock ‘n’ rolled his way into Buffalo in 1957, and Dick Lawrence permanently etched his taste for music and in-your-face radio into the taste and expectations of Buffalonians.

Even if they came along kicking and screaming. Buffalo’s newspaper radio critics reflected the feelings of most Western New Yorkers past the age of 16, with regards to the new sounds coming out of their radios.

Dick Lawrence

Sturgis Hedrick of the Buffalo Evening News recalled Lawrence on the pages of the paper as “the energetic young man who brought the raucous, jangling—and alas, moderately successful—sound of ‘modern radio’ to Buffalo.”

 The original WBNY Top-40 line-up included Lawrence, who appeared on the air as Felix with his pet parrot Fernando.

“A sound of hoopla and noisy disc jockeys went into full swing night and day,” said the Courier-Express’ Jack Allen. “Most 15-minute newscasts, a tradition at the station, were dropped and Gene Korzelius’ sportscasts were reduced. The fast-paced schedule eventually also did away with the Grosvenor Library Classical Music Show…The top-40 format with the rock ‘n’ roll beat was in to stay.”

The theme is pretty clear. It was also echoed by J. Don Schlaerth.

“Station WBNY, described as ‘the friendly voice of Buffalo’ seems to have given in to the noisy bounce of rock ‘n’ roll and Elvis Presley to ‘keep up with 1957 musical tastes.’ Not long ago semi-classical music and standard favorites predominated on WBNY. Then there was no room for an Elvis.”

Henry Brach was a newsman and deejay at WBNY and as ‘BNY’s news director, gave Danny Neaverth his first job in Buffalo radio. He moved over to KB and spent more than 20 years there as the station’s gruff uncle and the butt of the jokes of untold numbers of disc jockeys.

If you tuned to WBNY in the late 50s, you were likely to hear the voice of Daffy Dan Neaverth, Fred Klestine and Henry Brach. At WBNY, Neaverth would pull a rooftop like event similar to Guy King’s, throwing candy out to passersby. Neaverth, perhaps with his boyish good looks and demeanor, evaded arrest for his stunt.

Daffy Dan Neaverth, WBNY. Neaverth left WBNY for WKBW, inspiring the rath of Dick Lawrence—who made firing Neaverth one of his first acts when he became boss at KB. Neaverth went to work at WGR until returning to 1520 for a 26-year run at the station.

It was fast tempo music, fast tempo talk, fast tempo musical station IDs. It was also the only programming on the station. Rock ‘n’ roll could be heard elsewhere on the dial, but nowhere else was it the only music a station played.

Love it or hate it, the tiny 250-watt station– which could barely be heard outside of the city’s boundaries– was the talk of Western New York.

Other radio stations hated more than radio critics and parents of teens combined.

Four months into Dick Lawrence’s reign at WBNY, WGR announced that it is no longer in the rock ‘n’ roll business.

“Radio station WGR, after taking an impartial music survey among local housewives, has decided to go off the ‘hot’ music path into the relaxing realm of ‘good music,’” reported The Courier-Express. “It will let other Buffalo stations divide the rock ‘n roll spoils.”

The survey named Perry Como as favorite male vocalist followed by Pat Boone and Bing Crosby.

The next day, the paper printed reactions from local radio programmers and called Lawrence’s response “violent.”

“I’ve seen this policy tried before,” Lawrence said. “It doesn’t work and I’ll be a pallbearer at their funeral.”

WGR went to the extreme, but most other stations had some rock music at some point during the day. The only station that didn’t, was WBEN.

“The changing styles in music have never affected the WBEN program policy of providing music, news, drama and public service for all members of the family,” a station official told the Courier-Express.

Other radio stations might not have embraced the music, but after six months, they were beginning to lose revenue. 50,000-watt WKBW Radio was losing to a 250-watt station.

WKBW General Manager Al Anscombe told the Courier-Express that the sound being put out by Dick Lawrence was “slightly wacky” – but the trends were there. KB could die on the vine, or go all in.

And did KB go all in. The station owned by a preacher with call letters standing for “Well-Known Bible Witness” hired away the young programmer and promoter who sent a donkey around downtown Buffalo wearing a sign that said, “Everybody is listening to the new WBNY but me, and you know what I am!”

Lawrence christened KB as Futursonic Radio, rock ‘n’ roll had a new home on Buffalo’s radio dial, and KB would begin a dominance that would last a generation.

Within a year of the change to a Top-40 format on July 4, 1958, WKBW Radio was taking out full-page ads in Buffalo’s newspapers touting their status as Buffalo’s most listened to radio station.

One of the most famous disc jockeys to spin tunes on WBNY only lasted about a month at the station– but would go on to a legendary career in syndicated radio and voice work.

Before he became the voice of “American Top 40” and Shaggy on “Scooby-Doo,” Casey Kasem was “Casey at the Mic” on WBNY in 1960. Shortly before his arrival, he set a record at WJW in Cleveland for what he called “world’s longest on-air kiss,” after laying an 85-second smooch on starlet Diana Trask.

Much later, Kasem would admit to “screwing around too much” during his short time in Buffalo. He’d land in San Francisco, and was well on his way to forever having his feet in the ground while reaching for the stars.

Early group shot of The Even Newer WKBW Futursonic disc jockeys, including Jim Taylor, Ted Hackett, Tom Shannon, Don Keller, Dick Braun, Gene Nelson, Bob Diamond, and Russ Syracuse.

Dick Biondi at a record hop in 1960, just before leaving KB for Chicago.

Dick Biondi was the first nighttime voice of the rock ‘n’ roll era on WKBW.

He referred to himself as “a screamer,” and often told the story about how he was fired from KB because he was too loud. He also claimed to have been fired from KB because he played an Elvis song that wasn’t approved.

What really happened: he told listeners that one of KB’s managers was driving down Main Street in an Impala convertible. “If you see him,” he said, “Throw a rock!”

Someone did—through the boss’ windshield. Maybe he was too loud.

Dan Neaverth, WKBW

Irv Weinstein joined the WKBW Radio news staff in 1958, ultimately becoming the station’s news director. He was responsible for creating a news sound that reflected the music and personalities on the station. He walked across the parking lot to become Ch.7’s news anchor in 1964.

When WNIA officially signed on in 1956, the station was promised to be “as revolutionary to radio as color was to television.”

More than just Top-40, the record library at the Genesee Street studios boasted more than 10-thousand recordings.

But there was still plenty of room for rock ‘n’ roll. From early on, 1230am was “a home for top tunes” as J. Don Schlaerth put it in the pages of the Courier-Express, who wrote, “as a new station with lots of peppy music, the ratings began to jiggle.”

In 1957, Gordon Brown, owner, WNIA, told The Courier-Express, “We play the top 100 tunes half of the time and the old standards the other half of the time. I think people like the sweet popular music as well as rock ‘n’ roll. We’ve had terrific results in the popular music field. We also like to play some soft music to help the housewife work around the house.”

WNIA signed-on in 1956, and doubled its power in 1962.

While the power changed, what didn’t was the disc jockey’s names. For more than two decades, when you turned on the radio in the morning, the deejay identified himself as Tommy Thomas— even though it might have been a different guy with a different voice calling himself Tommy Thomas the day before.

Just like with Guy King at WWOL, station founder Gordon Brown insisted that the disc jockeys at the radio stations he owned use those on-air handles instead of their own.

He felt the stock jock names gave a more consistent sound even as the DJs changed rapidly, it was always Mike Melody and Jerry Jack.

WNIA saw itself as a more staid (and cheaper!) version of WKBW. KB wasn’t mentioned by name in one 1963 ad, but anyone reading it would have known what was being implied.

“As far as wild banshee, screaming announcers, wild nonsense gimmicks and promos… NEVER on WNIA.”

At 1080am, WINE was perhaps the least remembered of the handful of radio stations which tried to break in on the Rhythm music scene in late 1950s Buffalo.

“WXRA has changed their call letters along with their programming,” wrote Danny McBride in his column in the Blasdell Herald in 1957. “The new call is WINE, along with crazy sounds like the new WBNY.”

The WINE call letters didn’t last very long. In 1960, WINE became WYSL at 1080am.

1080am was then sold to WUFO, and the WYSL call letters moved to 1400am, displacing the old WBNY.

Before WXRA became WINE, Tommy Shannon had his first radio job there.

Hernando was the morning man at WXRA, and stayed on at WINE. The mic flag in this photo was edited from saying WXRA to WINE.

Hernando went on to do the all-night show on WGR, after the station “gave up” on giving up rock ‘n’ roll.

Greyt Scott appeared on other Buffalo stations as Charlie Griggs. Tap Taplin had been a regular on WEBR for at least a decade before moving to WINE, and Jimmy Lyons was Buffalo’s first full-time, regularly featured African-American deejay.

The WINE mobile unit—a Volkswagen van—always turning heads.

Disc jockeys joined forces to raise money for charity at a game at the Bishop Timon gym in 1959. Standing: Charlie Griggs (Greyt Scott) WINE, Rog Christian WBNY, Tom Shannon WKBW, Terry Mann WWOL, Dan Neaverth WGR, Danny McBride WEBR, Jack Kelly WKBW, Rick Bennett WWOL. Sitting: Bud Stiker (Jerry Jack) WNIA, Dick Carr WBNY, and Don Fortune WBNY.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Guy King ushers in bad boy Rock ‘n’ Roll

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


It was the moment that ushered in Buffalo’s rock ‘n’ roll era; the craziest radio prank to date in Buffalo and Tom Clay– who was one of many men who used the air name “Guy King” on WWOL Radio– kicked it off in style… and with a visit from the cops.

July 3, 1955 saw a broadcast event that wouldn’t even raise an eyebrow 65 years later, but caused fire trucks to be dispatched and a disc jockey arrested in the heart of Downtown Buffalo.

Leading into the Independence Day holiday, “wearing Bermuda shorts and waving a microphone,” wrote Buffalo News radio critic Anthony Violanti years later, Guy King “climbed out the window of WWOL and sat atop a billboard, 75 feet above Shelton Square in downtown Buffalo,” yelling to the cars below to blow their horns while he played Bill Haley & The Comets’ “Rock Around The Clock” over and over.

Tom Clay was arrested after spending time perched atop the WWOL billboard in Shelton Square. Traffic was snarled for hours in what was then considered “Buffalo’s Times Square” because of the lights and action. Today, the area little more than MetroRail tracks in front of the Main Place Mall.

Buffalo Police and Buffalo Fire didn’t appreciate the prank, and Clay spent part of the night in the clink, but not before Clay turned the mic on and broadcast a scuffle with police—who had earlier promised he wouldn’t be arrested if he climbed down.

Despite having done a similar event a few months earlier to raise money for polio research with the blessing of police, this time Clay was charged with two penal code violations: disorderly conduct and creating a disturbance. He was released into the custody of  WWOL owner Leon Wyszatycki, but when Clay left the station in the days following his arrest, he was re-arrested and couldn’t post the $500 bond. He spent two more nights in jail.

From The Buffalo Evening News

“I didn’t intend to disturb the peace, I sincerely believed I was doing something to entertain my listeners,” Clay told the judge as he pleaded guilty and was fined $25.

“I am not going to punish you very much but this should serve as a warning to others,” said Judge Casimer T. Partyka in handing down the sentence.

It should be noted that 16 years earlier on WGR, an upstart disc jockey named Clinton Buehlman would hang out of the window of the Rand Building, and encourage motorists to drive by and honk.

At the time, the Courier-Express reported lightheartedly on Buehlman’s exploits.

“Clinton Buehlman is not bothered by fear of high places; he recently perched on the ledge of the eighteenth floor parapet of the Rand Building while his picture was being taken.”

Meanwhile, The Buffalo Evening News summed up Clay’s time at WWOL as having “created near riots with car parades, worked his audience into a frenzy by playing the same R & R number for long periods of time and… def(ying) police.”

Tom Clay in 1959, as he was fired from a Detroit radio station after admitting to accepting payola. Trouble followed him, as he was also run out of town after asking listeners to send a dollar to join a Beatles Fan Club. 80,000 kids sent a buck—most got nothing back.

Clay is best remembered, however, for his 1971 song “What the World Needs Now Is Love”/”Abraham, Martin and John,” featuring a blend of the two songs interspersed with audio actualities featuring John Kennedy, Robert Kennedy, and Martin Luther King, Jr.

Once Clay left the station, immediately there was a new “Guy King” on WWOL. The name was the “house name” for the afternoon drive host on the station, and several men used the name on the air.

WWOL, 1956 ad, featuring Fred Klestine, Vic Bell—who’d later broadcast at WKBW as Jack Kelly, and Frank Ward as Guy King.

Guy King #3, Frank Ward, was the man who replaced Clay. He was also known to climb out on billboards— but by the time he was doing it in 1957, law enforcement didn’t seem to mind.

Ward and and his fellow WWOL deejay Fred Klestine would climb on top of the Aero Drive-In movie screen during appearances at the Union Road, Cheektowaga location.

Before he was known as Guy King, Frank Ward was popular on WKBW.

WGR-TV, Buffalo’s Ch.2

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


From a full-page ad on Ch.2’s first day of broadcasting in 1954, showing the hosts of some of the new station’s featured live audience programs:

1. Breakfast for Two with Helen Neville, Monday-Friday at 9am.

2. Cookin’ Cues with Charlotte McWhorter, weekdays, 1pm.

3. For M’Lady with Mari and Gilbert Bass from The Park Lane, Tue & Thur at 2:30pm

4. Mary Lawton as Mother Goose, Saturdays at 11am

5. Outdoors Inn with Ollie Howard, Tuesdays at 7pm

6. Dollar Derby with Bill Keaton, Wednesdays at 2:30pm

Even with UHF stations coming and going, there were no fewer than four competing interests who had applied to the FCC for the license to operate Ch.2.  Several of those interests combined to form a new WGR Corporation, which was awarded the license in 1954.

 “A bright new channel of television service and entertainment opens up for Buffalo and Western New York today as WGR-TV takes to the air on Channel 2,” reported the Evening News on August 14, 1954, with the sign-on of Buffalo’s second UHF station.

“Televiewing,” reported The Buffalo Evening News,” was now a “staple fare” in most homes along the Niagara Frontier. The cost of television sets had dropped precipitously since Ch.4’s 1948 sign-on, and having a second reliable station to watch was enough to make many holdouts into television owners.

Longtime Buffalo radio personality Billy Keaton welcomed viewers to the new station—which unlike the other two stations that had signed on the year before, every single one of the 430,000 TV sets in the Buffalo area could watch Ch.2 without a UHF converter box.

Longtime WGR Radio veteran Billy Keaton emceed the opening broadcast ceremonies on WGR-TV, Ch.2.

From a full-page ad that ran in the Courier-Express and The Evening News on the day Ch.2 signed on. Newsmen Roy Kerns and Pat Fagan as well as sportscasters Roger Baker and Bill Mazer were in the spotlight on nightly news and sports programs, and Ollie Howard brought his outdoors show from radio to TV as well.

Authoritative. Respected. Those were the types of adjectives thrown around when describing Roy Kerns, the anchor of Ch.2’s early newscasts for most of the station’s first decade on the air. “Mr. Kern’s polished presentation… is the enjoyable habit of many thousand Niagara Frontier viewers,” said a 1956 ad. Kerns left Buffalo for his native Oklahoma City in 1967.

 NBC’s Chet Huntley and David Brinkley were a heavily marketed part of WGR-TV’s news team, so much so that Brinkley visited Ch.2’s Barton Street studios to help dedicate a new set in 1964. Here, he’s joined by Chuck Poth.

Pat Fagan was a Ch.2 news anchor, as seen here in the early 60s, but he was also the host of the station’s Teen Dance Party. Fagan left Buffalo in the mid-60s for an ABC-TV staff announcer position. He began his career at WBNY in 1948. He also worked at WEBR and made appearances as an actor in Ch.4’s dramatic series “The Clue.”

Checkers & Can-Can was a kid’s show produced by Ch.2, airing mornings at 9:30. The actors behind the clown and the “tin-can man” were Philadelphia TV veterans Ed McDonnell, who had been Philly’s “Flying Sorcerer,” and Joe Earley who had played “Mr. Rivets” on WPTZ-TV Ch.3.

Fantasy Island General Manager Clyde Farnan played Buckskin Joe on a TV version of the park’s Wild West Show. He was joined by Marshall Rick, Annie Oakley, Little Bo Peep, and bad guys like Cactus Pete and Black Bart– played by Fantasy Island’s business manager Harvey Benatovich.

Bob Lawrence was one of the original cast of announcers when Ch.2 first signed on—his primary job until he left the station 13 years later was as a weatherman.

From the very beginning, however, he was one of the station’s kiddie show hosts, first as Captain Atom during the local breaks on the Colonel Bleep cartoon show, and then as Captain Bob during Popeye cartoons and The Mickey Mouse Club.

When the station first signed on, Ch.2’s signal was weak into the Southern Tier—so the station’s programming was also broadcast on Ch.6 in Jamestown. The problem was later fixed when Ch.2 moved its transmitter facility from Buffalo to the Town of Wales in southern Erie County.

Aside from entertaining the kids and hosting cartoons, Bob Lawrence was Ch.2’s lead weather personality through most of the station’s first decade.

From 1954 to 1968, Jack Mahl—with his pleasantly deep voice—was another of Ch.2’s weathermen. He would go on to anchor radio newscasts on WYSL, WEBR, and WBUF through the 70s and 80s. His rhyming TV sign-off became famous, as he said, “That’s all from Mahl” with a salute.

WGR-TV Atlantic Weatherman John Lascalles.

Helen Neville stands in the background as Polish dancers get ready to perform outside the Ch.2 studios on Barton Street.

“Bill Mazer is as good as there is in his chosen profession of reporting interestingly and enthusiastically, sports of all sorts.”

After a hitch in the army at the end of World War II, Mazer came to Buffalo in 1947, working first at WKBW and then WGR. During his 16 years in Buffalo, Mazer is best remembered in Buffalo for his long association with the baseball Bisons at Offermann Stadium, but he also called the action for the hockey Bisons and Canisius College basketball from the Aud, as well as Buffalo Bills football from the Rockpile during the All-America Football Conference days in the late 40s.

Along with Roger Baker, he was one of the WGR-TV’s original stable of sportscasters when the station signed on in 1954.  In 1955, he also hosted the “Watch the Birdie” program, sponsored by Kaufman’s Rye Bread on Ch.2. As “Uncle Bill,” he made phone calls to kids, giving way prizes between Woody the Woodpecker cartoons.

Born in Ukraine, Mazer grew up in Brooklyn—and returned home to become a beloved New York City sports broadcasting fixture starting in 1964. He was also seen on network broadcasts for CBS and Fox, and played a role as a reporter in the epic 1980 film ‘Raging Bull.’

After leaving WEBR, Bob Wells joined the staff at WGR-TV to emcee a handful of popular shows. While Frank Dill was the orginal host of Pic A Polka, Wells hosted with bandleader Frank Wojnorowski for most of the show’s run.

 Bob Wells also was the original host of Yankee Doodle Time when the show premiered on WGR-TV in 1961. It was the only television show hosted live five days a week in a Buffalo department store. 

Jack Tapson was an editor and photographer, who knew– as it was unfolding– that he was watching something important unfolding in front of him daily.

He started at Ch.4  as a lover of photography and teen technician in the 1940s and moved onto Ch.2 where he started the news film department in the mid-1950s.

For decades, these jobs put him on the front lines of some of the really amazing things that were happening in what was then America’s 15th largest city, as well as behind the scenes at Buffalo’s big TV stations.

Over the period of several years, he shared his memories and photos with next-generation storytellers Marty Biniasz and Steve Cichon.

While The Buffalo Evening News did a tremendous job capturing the story of the WBEN stations in photos, Jack’s behind the scenes candid shots from the first 15 years of WGR-TV offer a look at the station which would have otherwise been lost to history. You’re enjoying many of these photos in this book because he cared enough to take pictures… and then cared enough to share them.

The WGR-TV mascots were a pair of mischievous elves named Iris and Earis, according to research done by Marty Biniasz for Forgotten Buffalo’s website. He reports they were first drawn by Ch.2  art director Frank Wahl as the station signed on.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

“The Calm Before the Storm”– WKBW

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


WKBW’s ultra-modern Radio Center was actually a refaced barn which stood next door to the Churchill Tabernacle building. It was built out in 1951 in the parking lot of Tabernacle—which by the end of the decade was destined to become the home of WKBW-TV Ch.7.

As songs like “Rock Around The Clock” by Bill Haley & His Comets hit number one on the charts, Elvis Presley was still receiving second billing to Slim Whitman and Andy Griffith in stage shows around the south.

“Rhythm and blues” was still working its way into “rock ‘n’ roll,” and it was still a little time before Elvis started to become recognized first as “the hottest hillbilly attraction” and “the king of western bop.”

Young people were paying attention, but society— not yet.

Even though The Hound was on KB in 1955, his sound was not reflective of the station by any means.

In fact, The Hound’s lead-in show six nights a week was Stan Jasinski’s Polka Beehive.

The programs and talent that WKBW Radio was promoting in 1956– only a matter of months before rock ‘n’ roll Top 40 would change radio forever– looks much more like KB did in 1930 than it would in 1960.

WKBW, Buffalo’s Most Powerful Radio Station, mid-50s letterhead.

Dorothy Ireland was on the air daily as Kay B. Cooke with interviews and homemaking tips. Wally Wagoner was WKBW’s Farm Director.

Carroll Hardy, who would go on to become one of WEBR’s legendary jazz deejays, was one of the many men who served as WKBW’s Clock Watcher, broadcasting live from the front lawn of the radio station on Main Street near Utica every morning.

Among the others on KB’s deejay staff in the mid-50s were Herb Knight, George “Hound Dog” Lorenz, and Larry Brownell.

Remembered as one of Buffalo’s most beloved sports broadcasters, Stan Barron was also a disc jockey through most of his time in Buffalo radio, including his turn as WKBW’s Clock Watcher. Here he’s on KB’s lawn with Clint Churchill Jr., WKBW General Manager Al Anscombe, KB Polka Beehive host Stan Jasinski, salesman Jim McGrath and Roger Baker—who, after returning to KB from WBES-TV, dabbled in sports but focused on sales.

Stan Barron calling play-by-play action at Memorial Auditorium on WKBW. Through the years, he called Canisius and Niagara basketball, Buffalo Bisons baseball and Buffalo Bisons hockey. He was also the color man on Buffalo Bills broadcasts alongside Van Miller.

Frank Frederics, who also anchored newscasts on WBUF-TV, reads the news on WKBW as engineer William Routh looks on.

Lee Forster brought the sounds of Western music and folk music to KB, as he had also done on Ch.4’s Barn Dance show.

 From 1958 to 1988, Al Lafler had his hand on the rudder of the production sound that allowed KB to stand head and shoulders above the rest. His more famous co-workers will tell you, his credo “Good enough isn’t good enough,” helped give KB such a great sound over the years.

Gospel musician and evangelist Elder Charles Beck ran his network of 30 stations from WKBW. Nicknamed The Singing Evangelist, The Encyclopedia of America Gospel Music calls Beck “a seminal figure in the formative years of modern African-American gospel music.” His shows aired Sunday nights on KB.

Verne Stevenson played the best in rhythm and blues on Saturday nights on WKBW.

    Michael Brocia hosted music and news in Italian on Saturdays on WKBW.

Chief Engineer Leroy Fiedler, left, was at WKBW from the very beginning in 1926, and was still with the station through the 60s. Dan Lesniak, right, with Cassie Lanzalaco, was a KB salesman who founded one of the stations that helped usher in the FM era of Buffalo radio as the owner of WADV-FM.

Al Anscombe was a sports announcer under Roger Baker at KB before serving in the Air Corps in World War II. In 1950, he replaced Baker as KB’s general manager.

It was under the direction of Al Anscombe that the mostly staid, conservative, WKBW would up-end radio not just in Buffalo but around the country when, as their ad campaign said, “KB Goes KA-BOOM!” introducing a Top-40 style rock ‘n’ roll format which debuted 19 months after the 30th anniversary of Doc Churchill’s WKBW was celebrated in 1956.

Legacy of the Seneca-Babcock Boys’ Club

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


For many kids and teens of the Eisenhower era, the different kinds of sounds coming out of radios gave them something of their own to listen to while doing their homework or on a transistor radio snuck under a pillow after bedtime.

There are also those who listened to deejays like The Hound and Lucky Pierre and were inspired to spend the next 60 years entertaining the world.

For example, Buffalo radio legends Sandy Beach and Jefferson Kaye, both of whom grew up in Massachusetts, listened to the Hound over KB’s powerful signal as youngsters and cited him as an inspiration.

But right here in Buffalo, a handful of the boys who’d be the broadcast Pied Pipers of their generation got their radio start in an old brick building in South Buffalo’s Seneca-Babcock neighborhood.

A group of friends from St. Monica’s grammar school on Orlando Street spent most of the rest of their free time at the Boys’ Club a couple blocks away on Babcock Street.

The club’s organized activities, mostly sports, weren’t exactly what these boys were after. “They weren’t much for boxing,” activities director Jimmy Coyle would say for years after, “they were more for talking.”

Past members of the Babcock Boys’ Club, from the Courier-Express, 1964

Danny Neaverth, Joe Pinto (who’d later become Joey Reynolds on the radio), Bill Masters (who spent 20 years on WEBR and WBEN), Danny McBride (whose local broadcasting career spanned 60 years) were all major players starting a closed-circuit radio station for the club.

Joey Pinto, center, brought his home record player to the Boys’ Club when the one in the club broke. That’s Joe Marszalak and Richard Quinn with him in a photo that ran in the Buffalo Evening News in 1956.      

The boys convinced Boys’ Club manager Gurney Jenkins to get rid of an old jukebox that played 78 rpm records for Monday night dances and replace it with a modern record player and a microphone. Once they got the green light, all the boys went to work.

WBCB could only be heard inside the Babcock Boys’ Club, but offered Buffalo the first taste of what would fill the airwaves for decades to come.

Joe Pinto sent letters to record promoters and radio stations asking for old, about to be discarded, or greatly discounted records. He walked all over the city to collect the 45s which offered a more modern beat for the Boys’ Club dances.

Neaverth and McBride wired the whole building for sound, and now the set-up was more than just for dances in the gym. There was music, news, and even commercials on a regular schedule. They boys eventually started doing play-by-play of the sporting events at the club.

And a decade before their KB Radio cross-talk between Neaverth’s afternoon show and Reynolds’ evening show became the talk of Buffalo, the same two kids became the talk of South Buffalo with their “pretend” radio station at the Boys’ Club.

While Danny and Joey were at The Boys’ Club and Bishop Timon, Tom Shannon was at Bishop Ryan High, getting one of his first on air gigs leading the school in the rosary as Fr. Rufus looked on.

Boys’ Club veteran Danny McBride serves Pepsi-Cola and hot dogs at a WEBR Record Hop.

WEBR deejays Tap Taplin, Bob Wells, Bernie Sandler, and Jack Eno prepare to broadcast live for a full week from the newest Your Host restaurant in the Sheridan Drive Plaza, Sheridan at Niagara Falls Blvd. in 1953.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Beginnings of a Teenage Revolution: The Hound, Lucky Pierre, & Hernando

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


The Hound Dog made a permanent mark on the pop culture history of America with his nightly show on WKBW from 1954-58. Starting in the late 40s, George Lorenz was known as “the Ol’man,” “Ol’Dad Lorenz,” and “Daddy Dog” before “The Hound Dog” stuck as a nickname.

Known for his hep records and jive talk, he refused to give the time and temperature on the air. When he did commercials for Mother Goldstein’s wine, he’d sample it on the air.

After spending time at a few smaller stations, in the mid-50s, The Hound took his rhythm and blues program– featuring the music which would soon be known as rock ‘n’ roll– to 50,000-watt WKBW Radio.

The powerful signal allowed “The Hound” to introduce the evolving music genre to the entire northeastern United States. “The Hound” was the Godfather of rock ‘n’ roll radio, not just in Buffalo but around the country.

The Hound with Bill Haley and His Comets.

As a teenager working at a gas station, his first radio job came as an actor in dramas in the late 1930s. He got the job “because of his ability in imitating various dialects,” the Courier-Express reported, adding that he’d “often been cast in the role of the slicker in the racketbusting plays.”

A decade later, he was doing his Hound Dog routine on Niagara Falls’ WJJL. By the mid 50’s, Lorenz’s hip daddy style, and the fact that he was spinning soulful records from the original black artists — not the sanitized crooner re-sings heard elsewhere on the radio — made him an institution.

An unlikely hero of Buffalo teenagers, “The Hound” made it about the music and bringing rhythm and blues to a wider audience. It went beyond the records. Events promoted by Lorenz usually included black and white artists playing together at a time in the mid-50s when that wasn’t always the case. Those audiences were also mixed racially.

A Hound Dog record hop at the Hadji Temple, 118 E. Utica Street, with both black and white teens in attendance. The Hound’s secretary, Betty Shampoe, is to the left on the stage. This photo is from her collection.

When his voice came through the speaker on your radio, you knew you were hearing something you weren’t going to hear anywhere else. He was rock ‘n’ roll even before the phrase rock ‘n’ roll existed.

Ironically, the man who introduced Elvis at Memorial Auditorium was out at KB when the station went rock ‘n’ roll full-time in 1958. Lorenz wanted nothing to do with a Top-40 format, and was known to give the time and temperature at the beginning of his show, and told listeners to “set their clocks and thermometers, because that was the last time they were going to hear that for the next four hours.”

Elvis Presley and George “Hound Dog” Lorenz, Memorial Auditorium.

While inspiring many of the changes that came to KB and many other stations around the country, the Hound stayed true to his style and founded WBLK Radio, where he continued to uncover and spotlight new rhythm and blues artists in Buffalo and to a syndicated audience around the country.

Hernando’s Hideaway hit Buffalo radios in 1954 from the studios of WXRA, which was licensed to Kenmore, but broadcast from studios on Niagara Falls Boulevard, in a spot that was later the long-time home of Swiss Chalet (and today is a vacant lot in front of Outback Steakhouse.)

With a Spanish accent, it was Phil Todaro behind what The Buffalo Evening News called “Hernando’s delightfully fanciful nonsense.”

His show ran evenings every day but Saturday, and from the rhythm and blues music he played, to outings at Crystal Beach and serving bottles of Canada Dry and Oscar pop at his remote broadcasts, the program was clearly geared to the burgeoning teen demographic.

After making offerings on the air, Hernando received more than 3000 mailed requests in two weeks for his “Slang Slogans” dictionary of teen-age vernacular.

The one day he was off in the evening, “Hernando on Campus” was heard Saturday mornings, where “the popular DJ spotlights top tunes determined by survey of the local high schools and colleges and includes a calendar of their upcoming social events.”

He eventually made his way to evenings on WGR Radio before leaving radio for music full time. Among his musical offerings most memorable to Western New Yorkers came as co-writer of Wild Weekend with Tom Shannon. The Rockin’ Rebels hit was an instrumental version Shannon’s radio theme song.

Lucky Pierre, the back of this card says, was born in Paris in 1934, and goes on to say his “rapid rise to popularity, accomplished in the few short years since his arrival in Buffalo, is a result of his rare combination of old-world charm and modern effervescence. His refreshingly different qualities have captured the imaginations of young and old alike.”

After coming to Western New York radio in 1954 at WWOL, where he was not only a disc jockey—but as an amateur boxer and semi-pro football player was named sports director as well.

He moved on to WHLD briefly before heading to WEBR in 1955, and then WBNY before leaving town for Los Angeles, where he’d spent most of the next 60 years on the radio and pioneering the disco and dancing format in the market, as well as hosting a TV cooking show for housewives in the early 60s.

His most adoring fans were the girls and women who were spellbound by his accent and accompanying smooth style.

“Though he’s not very handsome, and he’s not very strong… in a cabin in the blizzard he’s the one you bring along!” chanted his opening song on WBNY, which continued, “I’m the man of the hour, I’m the man of the year… I’m the man that every living husband has the right to fear…. I’m Lucky Pierre!!”

1955 ad shows Lucky Pierre and a young Rick Azar before he headed to WBUF-TV. Nan Cooper spent more than two decades offering household tips on WBEN, including for the full run of “Newsday at Noon,” 1978-96.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

For the Kiddos on Ch.4

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


 In the early days on Ch.4, Woody Magnuson brought his popular “Uncle Ben” character from radio to TV. Here, he helps Shriners reward the boy who won a contest to name the zoo’s new gnu in 1950.

  Ch.4’s Uncle Jerry & pianist Aunt Annie Fadale on “Uncle Jerry’s Club.”

Uncle Jerry’s Club started on Channel 4 in 1955, and ran on Sunday morning through the rest of the decade. Jerry Brick was the floor director of “Meet the Millers” during the week, but on Sunday, he filled the Statler Hotel Ballroom with kids ready to show their talents in exchange for prizes like Parker Brothers board games and tickets to the latest Disney films.

Becoming Uncle Jerry’s next star was easy. “He holds open house every Thursday, at 4 in the WBEN studios in Hotel Statler. Jerry’s booming voice and winning smile —emanating from a 6-2, 243-pound frame—welcome all youngsters, age 6-14.”

From 1958 to 1974, husband and wife puppeteers Bob and Ellen Knechtel brought whimsy and fantasy to Ch.4’s kids shows with marionettes and puppets they’d create and perform with. The sets for shows like “Storybook Land” and “Puppet Carnival” were built and designed by Ch.4’s talented artist Ted Patton, who also built sets for Meet the Millers and the Santa show.

The Knechtels’ most famous creation was Uncle Mike’s sidekick Buttons.

One of WBEN’s most versatile and high-profile talents, Mike Mearian came to the Evening News Stations from WKBW in 1952.

An Army boxing champ and multiple Purple Heart winner during World War II, Mearian was a talented and imaginative writer and actor in both radio and television, and a warm friendly personality on the housewives-focused Luncheon programs he hosted with Virgil Booth on WBEN.

The announcer and program host is best remembered for his role as “Uncle Mike” (and later Captain Mike) on Children’s Theater, which started on Ch. 4 in 1952.

Buttons was Uncle Mike’s constant companion on those shows— the puppet was created by Ch.4’s puppetmasters Bob and Ellen Knechtel specifically for Mearian and the type of show he wanted to produce.

When he left WBEN for acting roles in New York City, some were concerned that kids might get the wrong idea about “Uncle Mike’s” first big acting gig: The spokesman for Tareyton Cigarettes. He had steady work through the 90s, when he was cast several times as a judge on “Law & Order.”

Through the years, the sets—and therefore the names—changed on Mike Mearian’s Children’s Theater. When Popeye cartoons became part of the show, he became “Captain Mike” with “Buttons the Cabin Boy.” The final set for the show before Mearian left Ch.4 was in “Uncle Mike’s attic.”

Before WBEN Program Director Bill Peters would become known to a generation of kids as “the real” Santa Claus on Ch.4, he hosted cartoons as Little Wally on Sunday mornings. Peters also frequently appeared with Van Miller’s radio show as “Norman Oklahoma.”

Like every other member of the WBEN announcer staff, Virgil Booth just about did it all on Ch.4 and the AM and FM radio stations, from disc jockey to TV and radio newscasts from the time he joined the station in 1950.

Baggage Master Virgil Booth

With Mike Mearian, Booth was the announcer on the long-running line of midday shows for housewives that were broadcast live from hotel restaurants and department store tea rooms.

News TV critic J. Don Schlaerth called him “a cheerful broadcaster with a reserved manner.” That, along with his background as an English teacher, made him the perfect man to become the host of “Fun to Learn” and programs with Clayton Freiheit at Buffalo Zoo and Ellsworth Jaeger at the Buffalo Museum of Science starting in 1951.

He had his turn at hosting kids cartoon programs, too, as “the baggage master” on “The Big Mac Show” and “Mischief Makers,” and then in the title role on the afternoon program “Mr. Bumble’s Curiosity Shop.”

Aside from Casper the Friendly Ghost cartoons—which were beckoned by Mr. Bumble’s ringing of an invisible bell, Booth would also narrate old silent-film era Our Gang shorts and other more educational short films as well.

Virgil Booth as Mr. Bumbles

Mr. Bumbles takes about 30 minutes putting on makeup and costume each Saturday afternoon,” reported The Buffalo Evening News in a profile. “He becomes a man in his 70s who uses the language of children to heighten their inquisitiveness during the 5 to 6 PM Saturday program.”

 Virgil Booth was WBEN’s Mr. Science, the soft-spoken and gentle soul who educated children while entertaining them on shows like “Your Museum of Science.”

“Fun to Learn” was an educational show that dated back to the earliest days on Ch.4. Buffalo State’s Dr. Howard Conant was one of the hosts of the show when the focus was art.

Grumbles the Elf, Santa, and the unforgettable Forgetful the Elf.

From 1948 to 1973, the children of Buffalo knew who the one, true Santa was — and it was the guy who read their letters on Ch.4.

During most of the 25 years the show aired, Hengerer’s sponsored the show to run from Thanksgiving to Christmas Eve for 15 minutes on weekdays, a little longer on Saturdays. In 1956, the show that delivered approximately 50,000 letters to Santa through its run became Buffalo’s first locally-produced show regularly presented in color.

Ed Dinsmore as Santa, with Grumbles, Freezy, and Mrs. Claus.

Two different men played Santa on Channel 4. Announcer Ed Dinsmore was the first St. Nick from the show’s inception until his death in 1954.

Station program director Bill Peters — who was also known on the Van Miller Show as Norman Oklahoma — played Santa from 1954 until the program ended with his death 19 years later.

Santa, however, was barely the star of the show.

Forgetful the Elf, played memorably by WBEN copy writer and librarian John Eisenberger, was there for the entire run of the show from 1948-73.

Not only was the elf he played forgetful, but he was silly. Most shows revolved around Forgetful trying to paint Santa’s sleigh with polka dots, or trying to convince Santa to get rid of his “old fashioned” red suit for something a bit more modern.

Forgetful helps Santa (being played by Bill Peters) map out his route for Christmas Eve.

Hundreds of times through the show’s quarter century, Forgetful was seen greasing up the reindeer’s antlers, with the hopes of making them go faster.

The show’s theme song was Leroy Anderson’s “Sleigh Ride,” which was also frequently used during the Christmas season by WBEN’s legendary morning man Clint Buehlman.

No full episodes or even short clips of this show — which ran for 25 years — are known to exist. The show was usually presented live, and recording was a more costly and difficult endeavor than it is today.

Santa and Forgetful had plenty of helpers through the years, all of whom — just like Peters and Eisenberger — had other jobs around the station.

Grumbles the Elf was played by executive director Gene Brook and then floor manager Bud Hagman. Another director, Warren Jacober, played Freezy the Polar Bear. There were countless other puppets and guest stars, but none rising even close to the popularity of Eisenberger’s Forgetful.

The show ended when Bill Peters died in 1973. Eisenberger died in 1984 at the age of 72.

John Eisenberger was truly a man of many talents. From his time as one of Smilin’ Bob Smith’s “High Hat Trio,” to acting on Broadway, to his time on WBEN playing country music as “Old Saddlebags,” Forgetful was only the tip of the iceberg.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Buffalo’s Last Staff Organist, Norm Wullen

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


His lasting fame might be as the Memorial Auditorium organist for the Sabres and the Braves, but that was Norm Wullen’s retirement job– after spending decades as one of Buffalo’s highest profile radio and TV organ and piano men.

Norm Wullen plays as the show goes on, on Ch.4

He grew up on Buffalo’s East Side as the son of a piano tuner. His music career started just after World War I  at the age of 15, behind a drum kit on the Crystal Beach boat. He soon moved on to piano, playing over the silent movies at the old Shea’s Court Street Theater. From there, he could be heard as the organ backdrop for the vaudeville circuit at the 20th Century and Shea’s Hippodrome theaters, appearing through the years with Bob Hope, Frank Sinatra, George Burns, Jack Benny and Edgar Bergen.

Teamed with his brother Charley, he gained his first radio plaudits on WBEN in 1934. “The Wullen Brothers” act was a dueling piano team.

Norm replaced Bobby Nicholson as WBEN’s staff organist in the 1940s, and was constantly heard on WBEN and seen on Ch.4. On TV, he accompanied Rollie Huff, and later Dick Rifenburg, as they did their morning exercises.

On the radio he was a fixture on the live midday “breakfast” shows that broadcast live from the restaurants and tea rooms of department stores and hotels like the Yankee Doodle Room at AM&A’s, the Turf Room at the Sheraton, and the Grover Cleveland Room at the Statler.

Dick Rifenburg, John Corbett, & Norm Wullen

By the end of the 1950s, Norm and staff musicians at all the local radio and TV stations were being squeezed out by a change in musical taste, but while he was still playing, Wullen took his task of “setting the mood” for housewives during their morning coffee break very seriously.

“I deplore rock ‘n’ roll,” said Wullen in 1957, “not because it’s riding a crest of popularity, but because it lacks any real melody.”

The News called Wullen “the flower of WBEN’s Musical world,” even as Top 40 began to take a strangle hold of Buffalo radio.

“Radio listeners dialing about in search of good music these weekday mornings have been finding their quest satisfied by nothing more tried-and-true than harmonious organ music,” said Wullen.

Even as times changed, Wullen and crew evolved. A little, anyway.

Like the time in 1962, toward the end of the Breakfast Show’s run that host John Corbett called out for “a little Twist music.”

Wullen was ready. It wasn’t Chubby Checker, but Norm’s musical meanderings fit the bill, “bouncing out pleasant notes,” if not a Twist.

Along with fellow radio pioneer Elvera Ruppel, Norm Wullen was also a Buffalo television pioneer, playing piano and accompanying the soprano on the “Miss Melody” show, Thursdays through the late 40s and early 50s on WBEN-TV. 

Elvera Ruppel and Norm Wullen on Ch.4 in the early 1950s.

Ruppel sang at Shea’s Buffalo with the BPO, with those concerts frequently sent out around the country on the various radio networks. She was a regular star of the musical programs with pianist Al Erisman on WMAK Radio through the 1920s, and as a favorite of WGR musical director David Cheskin, her voice was heard frequently on Buffalo radio through the 30s and 40s as well.

Her most critically acclaimed moments in the spotlight came when she was half of “Buffalo’s Radio Sweetheart” team, as partnered with Smiling Bob Smith—later of Howdy Doody fame—on WGR.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon