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Roll Call of the Radio Industry, Dec. 1, 1941

Manufacturers of radio receivers. Manufacturers of radio tubes Manufacturers of radio parts Manufacturers of test equipment.

Source: Radio Today

82 Radio-set and parts distributors.
Manufacturers' agents

7

734

51

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Retail outlets selling radios

Dealers doing 85% of radio business.
Servicemen, including dealers' servicemen.
Radio amateurs and experimenters.
Broadcasting stations.

2,100 297

59,000

14,500

40,000

95,000

912

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Operations of Broadcast Industry in U. S.

Source: Federal Communications Commission

The broadcast business in the United States (1940) | reached a new high of $154,823,787, an increase of $24,855,761, or 19 per cent, over 1939. This amount was for the sale of time only, as reported by three major networks, five regional networks, and 765 stations. The industry also derived $13,181,948 from the sale of talent and other services (1940), an increase of $1,871,696 over 1939.

In consequence, the broadcast service income (operating profit) of the entire industry increased (1940) by more than $9,000,000 over 1939, or about 39 per cent. This despite the fact that the industry's expenses increased by $13,806,089, of which $994,573 was for 62 new stations.

The three major networks (National, Columbia, and Mutual) had combined time sales of $71,919.428 for the year, about 15 per cent over 1939. They paid out $22,123,760 to stations and regional networks compared with $18,023,195 the year previous. Thus, the three major networks recorded a broadcast service income (operating profit) of $13,705,043. This came from operation of their own stations as well as their networks and constituted 41 per cent of the broadcast income of the entire industry compared with 46 per cent (1939).

There were 457 network stations and 308 nonnetwork stations operating (1940) compared with 397 and 308 respectively (1939).

The industry employed (1940) approximately 22,000 persons on a full time basis, with a weekly payroll up $107,295 from 1939. The weekly payroll was $1,020,348 for all full time employees. This

figure does not include any amounts for talent employed by sponsors, but it does include staff musicians and artists who are employed full time by networks and stations.

For a typical week 21,646 persons were so employed as compared with 19,873 (1939), or an increase of 1,773. This increase was made up of an additional 215 executives and 1,490 employees below executive grade for individual stations; 14 executives and 65 employees for regional network, and 3 executives for major networks, with the latter having 14 less employees.

The average weekly compensation for the 21,646 full time employees of the entire industry was $47.13, up $1.23 per person from 1939, including executives of the stations and of the networks. The average for the 19,326 employees of stations and networks below the executive grade was $41.68 for the week. The average weekly compensation for station executives was $84.69, while for station employees only, below the grade of executive, the average was $37.97. For major network executives the average was $251.68, while the average for major network employees below the grade of executive was $57.55.

Part time employees for the industry were 4,007 and their total compensation for the average week was $110,144. This was in addition to the full time pay roll. The stations had 3,511 part time executives and other employees with a part time pay roll of $78,917 for the week, and the major networks had 492 part time executives and other employees with a part time pay roll of $31,171.

Radio Call Letters

Source: Federal Communications Commission Under International agreement, the first letter or the first two letters of radio call signals indicates the nationality of the station.

As a general rule, land stations use three letters, ship stations four letters, and aircraft stations five letters. One or two letters and a single figure followed by a group of not more than three letters identify amateur stations and commercial stations.

The Federal Communications Commission now has approximately 65,000 active radio call letter assignments outstanding, exclusive of Government stations. Licensing of both radio stations and operators is now according to a definite plan. This is in contrast to the early days of radio when there was little or no system.

At the turn of the century it became apparent that wireless stations should bear certain designated letters in order to avoid confusion. The Berlin International Radio Convention of 1906 proposed such a system, effective in 1908. This procedure of assigning call letters was adopted by the United States when it ratified the convention in 1912.

Ratification of the Berlin convention gave the United States use of three initial letters-N, K, and W. Hence the domestic assignment of combinations beginning with these letters. These are allocated by the Federal Communications Commission as follows: Call letters beginning with N are reserved for the exclusive use of the United States Navy and the United States Coast Guard. Call letters beginning with K are assigned to stations located west of the Mississippi River and in the territories of the United States. Call letters beginning with W are assigned to stations east of the Mississippi River. Call letters beginning with KH followed by various combinations of three

letters are reserved for aircraft radio stations. Any existing call letter assignment not in accordance with this policy is due to the fact that the station was licensed before the allocation plan was adopted.

Though limited to the use of K or W as the initial letter, the Commission has provided distinctive calls for FM broadcast stations by adopting a system of letters with interposed numbers. Between the initial letter and supplemental letter (or letters) two numbers are used. These numbers indicate the frequency assignment. This is possible because all FM stations are on the odd hundreds of kilocycles in the 42000-50000 kilocycle band. Thus, the first figure and the last two figures of the frequency assignment can be dropped. In addition, the city or area is indicated by the second letter or a combination of second and third letters. Thus, Boston stations terminate with B, with stations in New York City terminate with NY. Example: W41B would indicate an FM station in Boston operating on 44100 kilocycles. By the same token, K43SF would apply to an FM station in San Francisco using 44300 kilocycles.

There is no international bar to the use of this FM identifying system. A like principle is followed for broadcast stations in Chile. Its domestic use will not disturb the approximately 15,000 remaining four-letter call combinations now being assigned at the rate of 40 to 50 a week. Under international treaty, ship stations have priority in assignment of four-letter calls.

Prior to radio regulation, wireless stations used whatever call letters struck their fancy. Thus, & commercial station at Point Judith, R. I., used BJ, and one in New York City adopted NY. Enactment of the pioneer radio act in 1910 reassigned calls and did away with duplication.

William S. Paley Amateur Radio Awards

The Paley award is presented annually by William S. Paley, president of the Columbia Broadcasting System, to the individual, who, through amateur radio, in the opinion of an impartial board of awards, has contributed most usefully to the American people, either in research, technical development or operating achievement, and to be open to all amateur radio operators in the United States and Canada."

1936 -Walter Stiles, Coudersport, Pa., for supplying through his amateur transmitter the sole direct means of communication for 4,000 citizens of Renova, Pa., who were cut off from the outside world in the Allegheny River floods, March 1936.

1937-Robert T. Anderson, operator of amateur radio transmitter W9MWC, Harrisburg, Ill.,. for his efforts in the January, 1937, flood emergency when he worked for four days with only ten hours' sleep to obtain means for the evacuation of 1,500 inhabitants of Shawneetown, Ill., which was threatened with inundation by the Ohio river. 1938 Wilson E. Burgess, amateur radio operator

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Motion Picture Arts and Sciences Awards

The Academy of Motion Picture Arts and Sciences confers Awards of Merit annually to recognize outstanding achievements in motion pictures during the Awards year, which is the period between January 1 and December 31 of the following year.

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1929-30

Actress: Norma Shearer. "Divorcee."
Actor: George Arliss, "Disraeli."

Production: "All Quiet on the Western Front." Universal.

Direction: Lewis Milestone, "All Quiet on the Western Front."

Art Direction: Herman Rosse. "King of Jazz." Cinematography: Willard Vander Veer and Joseph T. Rucker, "With Byrd at the South Pole." Writing: Frances Marion, "The Big House." Sound Recording: Metro-Goldwyn-Mayer Sound Department, "The Big House."

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Mayer.

Direction: Frank Borzage, "Bad Girl." Art Direction: Gordon Wiles. "Transatlantic." Cinematography: Lee Garmes, "Shanghai Express " Writing: Original story: Frances Marion, "The Champ." Adaptation: Edwin Burke, "Bad Girl." Short Subjects: Cartoon: "Flowers and Trees," Disney Productions. Comedy: The Music Box," Roach Studios. Novelty: "Wrestling Swordfish," Mack Sennett, Inc.

Sound Recording: Paramount Sound Department. Scientific Awards: Technicolor Motion Picture Corp. for Color Cartoon Process. Eastman Kodak Company for Type 11-B Sensitometer. Special Award: To Walt Disney for creation of Mickey Mouse.

1932-33

Actress: Katharine Hepburn. "Morning Glory." Actor: Charles Laughton, "The Private Life of

The Awards to date are:

Henry VIII."

Production: "Cavalcade." Fox Film Corp.
Direction: Frank Lloyd, "Cavalcade."

Art Direction: William L. Darling, "Cavalcade."
Cinematography: Chas. Byrant Lang, Jr. "A

Farewell to Arms."

Writing: Original story: Robert Lord, "One Way Passage." Adaptation: Sarah Y. Mason and Victor Heerman, "Little Women."

Short Subjects: Cartoon: "Three Little Pigs," Disney Productions. Comedy: "So This is Harris," RKO Radio. Novelty: "Krakatoa," Educational Studios, Inc.

Assistant Direction: Wm. Tummel, Fox; Chas. Dorian, Metro-Goldwyn-Mayer; Chas. Barton, Paramount; Dewey Starkey, RKO Radio; Fred Fox, United Artists; Scott Beal, Universal; Gordon Hollingshead, Warner Bros.

Sound Recording: Paramount Sound Department for A Farewell to Arms."

Scientific Awards: Electrical Research Products. Inc. for Wide Range Recording and Reproducing System, and RCA-Victor Company for High Fidelity Recording and Reproducing System. Fox Film Corp., Warner Bros. and RKO for their development and effective use of the Transluscent Cellulose Screen in Composite Photography.

1934

Actress: Claudette Colbert, "It Happened One Night."

Actor: Clark Gable, "It Happened One Night." Production: "It Happened One Night." Colum

bia.

Direction: Frank Capra, "It Happened One Night."

Art Direction: Cedric Gibbons and Fredric Hope. "The Merry Widow."

Cinematography: Victor Milner, "Cleopatra." Writing: Original story: Arthur Caesar, "Manhattan Melodrama." Adaptation: Robert Riskin, "It Happened One Night."

Short Subjects: Cartoon: "The Tortoise and the Hare," Disney Productions. Comedy: "La Cucaracha," Pioneer Productions. Novelty: "City of Wax," Stacy and Horace Woodard.

Music: Best Song: "Continental," Music by Con Conrad; Lyrics by Herbert Magidson. Best scoring: "One Night of Love," Columbia Pictures Corp.

Assistant Direction: John Waters, "Viva Villa." Film Editing: Conrad Nervig, "Eskimo." Sound Recording: "One Night of Love," Columbia Pictures Sound Department.

Scientific Awards: Electrical Research Products, Inc., for their development of the Vertical Cut Disc Method of recording sound for motion pictures. Columbia Pictures Corp. for their application of the Vertical Cut Disc Method to actual studio production, with the recording of the sound on the picture. "One Night of Love." Bell and Howell Company for development of Bell and Howell Fully Automatic Sound and Picture Printer. Special Award: Shirley Temple, for outstanding contribution to screen entertainment.

1935

Actress: Bette Davis, "Dangerous." Actor: Victor McLaglen, "The Informer." Production: "Mutiny on the Bounty." MetroGoldwyn-Mayer.

Direction: John Ford, "The Informer."

Art Direction: Richard Day, "The Dark Angel." Cinematography: Hal Mohr, "A Midsummer Night's Dream."

Writing: Original story: Ben Hecht and Chas. MacArthur, "The Scoundrel." Adaptation: Dudley Nichols, "The Informer."

Short Subjects: Cartoon: "Three Orphan Kittens," Disney Productions. Comedy: "How to Sleep," Metro-Goldwyn-Mayer. Novelty: "Wings Over Mt. Everest," Gaumont-British and Skibo Productions.

Music: Best Song: "Lullaby of Broadway," Music by Harry Warren; Lyrics by Al Dubin. Best Scoring: "The Informer." RKO Radio Pictures Music Department.

Dance Direction: Dave Gould, "I've Got a Feeling You're Fooling" from "Broadway Melody of 1936" and "Straw Hat" from "Folies Bergere."

Assistant Direction: Clem Beauchamp and Paul Wing. "The Lives of a Bengal Lancer."

Film Editing: Ralph Dawson, "A Midsummer Night's Dream."

Sound Recording: "Naughty Marietta," MetroGoldwyn-Mayer.

Music: Best song: Harry Owens for "Sweet Lelanie" from "Waikiki Wedding." Paramount. Best Scoring: "One Hundred Men and a Girl," Universal.

Dance Direction: Hermes Pan, "Damsel in Distress," RKO Radio.

Film Editing: Gene Havlick and Gene Milford, "Lost Horizon."

Scientific Awards: Agfa-Ansco Corp. for develop-| Goldwyn-Mayer. ment of Agfa-Ansco Infra-Red Film. Eastman Kodak Co. for development of Eastman PolaScreen. Metro-Goldwyn-Mayer for development of anti-directional negative and positive development by means of jet turbulation. William A. Mueller. Warner Bros., for method of dubbing. Mole-Richardson Co. for development of "Solarspot" spot lamps. Metro-Goldwyn-Mayer for automatic control system for cameras and sound recording machines and auxiliary stage equipment. Electrical Research Products, Inc. for study and development of equipment to analyze and measure flutter. Paramount Productions, for design and construction of Paramount Transparency Air Turbine Developing Machine. Nathan Levinson, Warner Bros.. for new method of intercutting variable density and variable area sound tracks.

Special Award: David Wark Griffith for distinguished creative achievements as director and producer and lasting contributions to progress of motion picture arts.

1936

Actress: Luise Rainer, "The Great Ziegfeld." Actor: Paul Muni, "The Story of Louis Pasteur." Actress (supporting role): Gale Sondergaard, "Anthony Adverse."

Actor (supporting role): Walter Brennan, "Come and Get It."

Production: "The Great Ziegfeld," Metro-Goldwyn-Mayer.

Direction: Frank Capra, "Mr. Deeds Goes To
Town."

Art Direction: Richard Day, "Dodsworth."
Cinematography: Tony Gaudio, "Anthony Ad-

verse."

Writing: Original story: Pierre Collings and Sheridan Gibney, "The Story of Louis Pasteur," Screen-play by Pierre Collings and Sheridan Gibney, "The Story of Louis Pasteur."

Short Subjects: Cartoon: "Country Cousin," Disney Productions. Color: "Give Me Liberty." Warner Bros. 1-reel: "Bored of Education," Roach Studios. 2-reel: "The Public Pays," Metro-Goldwyn-Mayer.

Best

Music: Best Song: Jerome Kern and Dorothy Fields for "The Way You Look Tonight." Scoring: Warner Bros. Music Department for "Anthony Adverse."

Dance Direction: Seymour Felix, "A Pretty Girl Is Like a Melody" number from "The Great Ziegfeld," Metro-Goldwyn-Mayer.

Assistant Direction: Jack Sullivan, "The Charge of The Light Brigade."

Film Editing: Ralph Dawson, "Anthony Adverse." Sound Recording: "San Francisco," Metro-Goldwyn-Mayer.

The

Scientific Awards: Douglas Shearer and MetroGoldwyn-Mayer Sound Department for development of practical Two-Way Horn System and biased Class A Push-Pull Recording System. E. C. Wente and Bell Telephone Laboratories for multicellular high-frequency horn and receiver. RCA Manufacturing Co. for Rotary Stabilizer Sound Head. RCA Manufacturing Co. for development of method of recording and printing sound records. Electrical Research for ERPI "Type Q" portable recording channel. RCA Manufacturing Company for furnishing practical design and specifications for non-slip printer. United Artists Studio for development of practical efficient, and quiet wind machine.

Special Awards: To March of Time for its significance to motion pictures and for having revolutionized one of most important branches of the industry-the newsreel. W. Howard Greene and Harold Rosson for color cinematography in "The Garden of Allah."

1937

Actress: Luise Rainer, "The Good Earth." Actor: Spencer Tracy, "Captains Courageous." Actress (supporting role): Alice Brady, "In Old Chicago."

Actor (supporting role): Joseph Schildkraut, "The Life of Emile Zola."

Production: "The Life of Emile Zola," Warner

Bros.

Direction: Leo McCarey, "The Awful Truth."
Art Direction: Stephen Goosson, "Lost Horizon."
Cinematography: Metro-Goldwyn-Mayer, "The
Good Earth.'

Writing: Original story: Wm. A. Wellman and
Robert Carson, "A Star is Born." Screen-play:
Norman Reilly Raine, Heinz Herald and Geza
Herczeg, "The Life of Emile Zola."

Assistant Direction: Robert Webb, "In Old Chicago," 20th-Fox.

Sound Recording: Thomas Moulton for "Hurricane," Goldwyn.

Scientific Awards: To Agfa Ansco Corp., for supreme and ultra speed pan motion picture negatives. To Walt Disney Productions for design and application of Multi-Plane Camera. To Eastman Kodak Co. for fine-grain duplicating film stocks. To Paramount Pictures. for development of Dual Screen Transparency Camera Setup. To MetroGoldwyn-Mayer Sound Department for method of varying the scanning width of variable density sound tracks. To Metro-Goldwyn-Mayer Camera Department for improvement of semiautomatic follow focus device and its application. To Columbia Sound Department for application of Bi-Planar Light Valve to motion picture sound recording. To United Aritists Sound Department for application to motion picture sound recording of volume indicators. To RCA Manufacturing Co. for introduction of modulated high-frequency method of determining optimum photographic processing conditions for variable width sound tracks. To Paramount Pictures for application of acoustic principles to the sound proofing of gasoline generators and water pumps. To Metro-GoldwynMayer Sound Department for design of film drive mechanism as incorporated in ERPI 1010 Reproducer.

Spcial Awards: Mack Sennett for lasting contribution to comedy technique of screen. To Edgar Bergen for outstanding comedy creation, Charlie McCarthy. To W. Howard Green for color photography of "A Star Is Born," Selznick, United Artists. To The Museum of Modern Art Film Library for significant work in collecting films dating from 1895 to the present and for the first time making available to the public the means of studying the historical and aesthetic development of the motion picture as one of the major arts. Irving G. Thalberg Memorial Award: To Darryl F. Zanuck.

1938

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Writing: Original story: Dore Schary and Eleanore Griffin, "Boys Town." Screenplay: George Bernard Shaw, "Pygmalion." Adaptation: W. P. Lipscomb, Cecil Lewis and Ian Dalrymple. "Pygmalion."

Short Subjects: Cartoon: "Ferdinand the Bull," Disney. 1-reel: "That Mothers Might Live,' Metro-Goldwyn-Mayer. 2-reel: "Declaration of Independence," Warner Bros.

Music: Best Song: Ralph Rainger and Leo Robin for "Thanks for the Memory," from "Big Broadcast of 1938." Best original score: Eric Wolfgang Korngold, The Adventures of Robin Hood." Best Scoring: Alfred Newman, "Alexander's Ragtime Band."

Film Editing: Ralph Dawson, "The Adventures of Robin Hood."

Sound Recording: Thomas T. Moulton, "The Cowboy and the Lady."

Scientific Awards: RKO Sound Department for application of compression to variable area recording in motion picture production. To Byron Haskin and Special Effects Department of Warner Bros. for pioneering development, and for first practical application to motion picture production, of triple head background projector.

Irving G. Thalberg Memorial Award: To Hal B. Wallis.

Special Awards: To Oliver Marsh and Allan Davey for color cinematography of "Sweethearts." To Deanna Durbin and Mickey Rooney for sigShort Subjects: Cartoon: "The Old Mill," Disney nificant contribution in bringing spirit and perProductions. Color: "Penny Wisdom,' Metro- sonification of youth to screen. To Harry M. Goldwyn-Mayer. 1-reel: "Private Life of the Gan- Warner in recognition of patriotic service in the nets, 20th-Fox. 2-reel: "Torture Money," Metro-production of historical short subjects. To Walt

Disney for "Snow White and the Seven Dwarfs." To Paramount Studio for outstanding achievement in creating the Special Photographic and Sound Effects in "Spawn of the North." To J. Arthur Ball for his outstanding contributions to advancement of color in motion picture photography.

1939

Actress: Vivien Leigh, "Gone With the Wind." Actor: Robert Donat, "Goodbye, Mr. Chips." Actress (supporting role): Hattie McDaniel for "Gone With the Wind."

Actor (supporting role): Thomas Mitchell for "Stagecoach."

Production: "Gone With the Wind," Selznick International.

Direction: Victor Fleming. "Gone With the Wind."

Art Direction: Lyle Wheeler, "Gone With the Wind."

Writing: Original story: Lewis R. Foster, "Mr. Smith Goes to Washington." Screenplay: Sidney Howard, "Gone With the Wind."

Special Effects: Fred Sersen and E. H. Hansen, "The Rains Came."

Cinematography: Black-and-white: Gregg Toland, "Wuthering Heights." Color: Ernest Haller and Ray Rennahan, "Gone With the Wind."

Sound Recording: Bernard B. Brown, "When Tomorrow Comes.'

Film Editing: Hal C. Kern and James E. Newcom, "Gone With the Wind."

Music: Best Original Score: Herbert Stothart, "The Wizard of Oz," Metro-Goldwyn-Mayer. Best Scoring: Frank Harling, Richard Hageman, John Leipold, and Leo Shuken, "Stagecoach," Wanger. Best song: E. Y. Harburg and Harold Arlen, "Over the Rainbow" from "The Wizard of Oz,' Metro-Goldwyn-Mayer.

Short Subjects: Cartoon: "The Ugly Duckling,' Disney. 1-reel: "Busy Little Bears." Paramount. 2-reels: "Sons of Liberty," Warner Bros.

Irving G. Thalberg Award: David O. Selznick. Special Awards: To Douglas Fairbanks, recognizing his unique and outstanding contribution to international development of motion pictures. To Technicolor Company for successfully bringing three-color feature production to the screen. Motion Picture Relief Fund acknowledging outstanding services to the industry. To Judy Garland for outstanding performance as screen juvenile.

To

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Actress: Ginger Rogers, "Kitty Foyle." Actor: James Stewart, "The Philadelphia Story." Actress (supporting role): Jane Darwell, "The Grapes of Wrath."

Actor (supporting role): Walter Brennan for "The Westerner.' Production: "Rebecca," Selznick International. Direction: John Ford, "The Grapes of Wrath." 20th Century-Fox.

Art Direction: Black-and-white: Cedric Gibbons, Paul Groesse, Associate. "Pride and Prejudice." Color: Vincent Korda, "The Thief of Bagdad."

Cinematography: Black-and-white: George Barnes, "Rebecca." Color: George Perinal, "The Thief of Bagdad."

Writing: Original story: Benjamin Glazer and John S. Toldy. "Arise, My Love." Screenplay Donald Ogden Stewart, "The Philadelphia Story." Original screenplay: Preston Sturges, "The Great McGinty."

Sound Recording: Douglas Shearer, "Strike Up the Band."

Short Subjects: Cartoon: "Milky Way." MetroGoldwyn-Mayer. Rudolph Ising Series. 1-reel "Quicker'n A Wink." Pete Smith Specialty, MetroGoldwyn-Mayer. 2-reel: Teddy, The Rough Rider," Warner Bros., Gordon Hollingshead, producer.

Film Editing: Anne Bauchens, "North West Mounted Police."

Music: Best Original Score: Leigh Harline, Paul J. Smith and Ned Washington, "Pinocchio." Best scoring: Alfred Newman, Tin Pan Alley.' Best song: Ned Washington and Leigh Harline, "When You Wish Upon a Star," from "Pinocchio." Special Effects: Lawrence Butler and Jack Whitney, "The Thief of Bagdad."

Special Awards: To Bob Hope in recognition of unselfish services to motion picture industry. To Colonel Nathan Levinson for outstanding service to industry and Army. To 20th Century-Fox Films for design and construction of 20th Silenced Camera. To Warner Bros. Art Department and Anton Grot for design and perfection of Water Ripple and Wave Illusion Machine.

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The distress call "SO S" famous to radiotelegraphy was first officially adopted for international use at the 1906 International Radio Conference at Berlin, although prior to that date the calls "C Q" and "C Q D" had been employed during certain periods after 1900 when the Marconi International Marine Communications Co., Ltd., began equipping ships for radiotelegraph communication.

A distress call for use in radiotelephony was proposed by the British delegation at the Berlin conference, and the word "Mayday," corresponding to the French pronounciation of the expression "m'aider" (meaning "help me"), was first officially approved for international use in radiotelephony at the International Radiotelegraph Convention held at Washington in 1927. Guiding factors in the choice of the spoken word "Mayday" for the purpose mentioned were its similarity in meaning to the S O S used in radiotelegraphy, and the prevalence of the use of the French language.

"SOS" does not mean literally "Save Our Souls" or "Save Our Ship" as is sometimes claimed, any more than the previous international distress call "CQD" meant "Come Quick Danger." All such calls are based on the speed and clarity with which they can be transmitted.

There was no special wireless call for sea emergency prior to the turn of the century. About that time the Marconi company began equipping ships for radiotelegraph communication. In doing so it adopted "C Q." which had been in use in wire telegraph as a "general call for many years, as a precedence signal for any ship desiring to communicate with another ship or shore station.

Century

The need for a common distress call was recognized at the preliminary International Radio Conference held at Berlin in 1903. Here the Italian delegation suggested that in emergency a ship should send at intervals the signal "SSSDDD." No action was taken at this conference.

In 1904 the British Marconi Co. instructed its ship radio stations to substitute "C D" for "C Q." Subsequently, the "D" was inserted in the old "C Q" call. At the 1906 International Radio Conference at Berlin, however, "S O S" was formally adopted. This combination was the outgrowth of "SO E" (. .) which had been used by German ships but which was somewhat unsatisfactory because the final dot was easily obliterated by interference.

Even so, "C QD" was so firmly established with some operators that its use was continued for some years thereafter. A notable example was its employment in summoning aid for the steamship Republic in 1909. "C Q D" finally passed from the sea calls when the international radio conferences continued to approve "S O S."

In the World War "SSSS" was adopted by the Allies and was not used by neutrals, and to that extent was not, strictly speaking, an international signal, whereas "S O S was recognized for the shipping of all nations. In the World War "SSSS" was not used as a call of distress, but a warning to other ships that a submarine was near by or actually threatening the vessel sending out such a call. It was the understanding that even were the ship sinking because of the submarine, the internationally recognized "S OS" would be used to summon aid.

George Foster Peabody Radio Awards

The George Foster Peabody Radio Awards were made for the first time in 1940 and are for "outstand-
ing meritorious public service." The regents of the University of Georgia authorized the awards.
Networks Columbia Broadcasting System.
Large Stations-WLW of Cincinnati, O.
Medium-sized Stations-WGAR of Cleveland, O.

Small Stations-KFRU of Columbia, Mo. Reporter-Elmer Davis, CBS.

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