Right: Radio's first megastars (Freeman Gosden and Charles Correll, better known as "Amos 'n' Andy") in profile, paying homage to the man at the controls---their engineer, Glenn Webster. The photo, shot by a professional, was taken in studio F in the mid-1930's.

Left: From an undated tear sheet (but probably the late 1930's). The caption reads: "Misery Loves company in the Vic and Sade Troupe. Bernardine Flynn (Sade) has her arm in a cast. Art Van Harvey (Vic) has a sprained ankle, and Glenn Webster, the control room engineer, is limping about with a broken ankle. The only member of the cast who is entirely sound of body is Billy Idelson, who plays Rush. He and announcer Bob Brown and author Paul Rhymer are knocking on wood. Miss Flynn's arm was put in the cast when a two-year-old wrist fracture began to bother her. Van Harvey fell into a darkened stage platform during a personal appearance in Indiana and engineer Webster slipped. Vic and Sade, sponsored by Proctor and Gamble, makers of Crisco, is broadcast Monday through Friday over the NBC-Blue Network at 11:30 a.m., EST, and over the NBC-Red Network at 3:30 p.m., EST."

Left: In the mid 1930's, Glenn's camera captured a few stylishly attired NBC folks taking a break on the Merchandise Mart roof adjacent to the 19th floor studios. On the left is a young Hal Peary (the future "Great Gildersleeve"). The women are Loretta Boynton and Betty Lou Gerson.

Right: Ransom Sherman, photographed by Glenn in 1938 when he was hosting "Club Matinee" in studio A. "Club Matinee", an NBC-Blue program, was designed to be an afternoon version of "The Breakfast Club." Working as a writer on the show at this point was a young man named Garrison Morfit---who later hosted the show , changing his name to Gary Moore.

Left: Glenn Webster at the mixing panel in the control room of studio E in the mid-1930's.

Right: Closeup of the standard NBC-Chicago audio control board. Identical mixers were installed in studios A, B, C, D, E and F. The faders controlled four microphones and the master output. Additional microphones could be used only by removing one from a given channel and patching in another via the jack panels installed in each studio. Engineers were generally cautioned against this 'hot switching' technique. The superb balance that was NBC-Chicago's trademark was due to careful microphone placement, not the sheer number of mikes.

Left: Engineers Royston and Clark near the Master Control panel on January 1, 1933. Notice overhead a portion of the illuminated map of the NBC networks. Changes in the network configurations punched up on the board were reflected in the colored lights on the map.

Right: Announcer Bob Brown in studio F control. Bob's show included "Vic and Sade" and "The Adventures of Mary Marlin".

Left: "Happy Jack" Turner at the keyboard in studio F in the mid-1930's. Does anybody remember anything about "Happy Jack"?

Right: Studio A in 1940, set up for the "Breakfast Club"

Left: Glenn Webster in studio D in 1938 checking the audio balance for the "Lives in Danger" broadcast.

Right: Glenn Webster, District Sales Manager for General Electric, stands as Burridge Butler, President of WLS and Prairie Farmer, signs the contract for the purchase of WLS's new 50,000 watt GE AM transmitter (mid-1950's)

Left: Glenn Webster holds the contract for the purchase of WTTW's first transmitter. On the left is John Taylor, WTTW station manager. To the right of Glenn are Edward Ryerson, Board Chairman of the Chicago Educational Television Association, and Duane Weise, chief engineer.