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Original Anthology header art

The Anthology Radio Program

Dee-Scription: Home >> D D Too Home >> Radio Logs >> Anthology

Original Anthology mp3 cover art
Original Anthology mp3 cover art

The YMHA's first permanent facility at 92nd Street and Lexington under construction in 1900
The YMHA's first permanent facility at 92nd Street and Lexington under construction in 1900

Poet Emma Lazarus, famous for her The New Collossus which is engraved on the base of The Statue of Liberty was an educator and tutor at the early YMHA
Poet Emma Lazarus, famous for her The New Collossus which is engraved on the base of The Statue of Liberty was an educator and tutor at the early YMHA

By 1913 the 'Y' and its Boy Scout Troop 635 had formed their own amateur radio club with call sign W2MTL

An even more ambitious expansion in 1930 resulted in an extensive 9-story facility with dorms for 235 young men, two gyms, an indoor pool and an Arts Center.
An even more ambitious expansion in 1930 resulted in an extensive 9-story facility with dorms for 235 young men, two gyms, an indoor pool and an Arts Center.

Design marking the 75th Anniversary of the Y.M & Y.W. H.A.
Design marking the 75th Anniversary of the Y.M & Y.W. H.A.


With the advent of popular and readily accessible Television, Radio networks found themselves seeking more and more inventive ways to recapture some of the audience that they'd lost in stunning numbers to Television. The large networks had it both ways, benefitting handsomely from the exponential increase in Television's popularity, while at the same time dramatically decreasing programming production costs over Radio.

Conversely, the audiences still stradding both Television and Radio, as well as those who couldn't yet afford a Television receiver, were the beneficiaries of some of the finest Radio programming ever mounted by Radio networks during the Golden Age of Radio. On the face of it, this would seem a contradiction. While the trade papers of the era were both praising and damning the quality of new Television offerings, the more prestigious Radio offerings usually went begging for trade paper ink. And yet throughout the mid-1950s, the major networks continued to mount some of the most prestigious and innovative programming in Radio history.
Some of the "important" 1950s programs of note were:

The majority of these productions were either sustained by the producing networks or bankrolled by well-heeled sponsors. At the same time, networks sustaining their own prestige productions were doing everything in their power to keep the cost of the more prestigous productions below $5,000 to $7,000 per half hour. One of the more inventive ways was to introduce prerecorded music and interview clips into prestige broadcasts on a scale never before utilized in Radio.

This was a tricky proposition. Permissions and clearances to employ prerecorded musical tracks and personality interviews didn't come cheap. But by the same token, their use was far more economical than staging a completely live presentation. And of course in the case of retrospective presentations many of the personalities showcased had deceased. Clearance and permissions from their respective estates were required. CBS and NBC in particular had vast stores of prerecorded historical clips and interviews upon which to draw, utilizing them with great effect in productions such as Biography in Sound, Best of All, CBS Radio Workshop and Anthology.

Brief History of the YM and YWHA Poetry Center at 92nd Street

The YM & YWHA of 92nd Street can trace its roots to March 1874 when a group of German Jewish businessmen and professionals got together at the residence of Dr. Simon Newton Leo to form a cultural center for young men of the Jewish faith similar in concept to the worldwide Young Men's Christian Association (YMCA) founded in 1844. The YMHA sought to differentiate itself by offering--and stressing--cultural pursuits and activities with the same importance as the other physical and spiritual health aspects of both organizations. By 1878 the YMHA had obtained a dedicated facility at 110 West 42nd Street which included a gymnasium, bowling alley, reading rooms, club and classroom facilities. The YMHA also inaugurated its own Academy of Music during the intervening years.

Their downtown center, later called the Educational Alliance featured, among other luminaries of the era, the great Jewish-American poet Emma Lazarus, famous for her "The New Collossus," which became prominently engraved on the base of The Statue of Liberty:

"Not like the brazen giant of Greek fame.
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!” 

During the ensuing years, as the YMHA approached the turn of the century, it experienced several moves, the result of waxing and waning fortunes between 1878 and 1898. In 1899 philanthropist Jacob H. Schiff donated $150,000 to purchase land and construct a more permanent facility at 92nd Street and Lexington Avenue. The three-story facility was completed in 1900 and the location has served as the YMHA's headquarters from that point forward. By 1913 the Y's Boy Scout Troop 635 had formed its own Amateur Radio Club at call sign W2MTL. In 1922, Executive Director Jack Nadel undertook on an ambitious, 35-year term promoting the 92nd Street Y's role as an arts, culture, social work and community center to New York City. In 1924 the Y commemorated its 50th Anniversary with heads of the Knights of Columbus and the YMCA in attendance.

The Y's 1934 Educational Director William Kolodney inaugurated a Dance Center in 1935 and a dance and dramatic subscription series in 1936. In 1938 the YMHA purchased adjoining property on 91st Street for a Young Women's Hebrew Association facility. In 1939 the YWHA established its Poetry Center featuring, among others, the poetry of William Carlos Williams and James Baldwin. The YMHA and YWHA became the YM & YWHA in 1942, the Poetry Center subsequently known as the YM & YWHA Poetry Center of 92nd Street and a focal point of cultural arts for New York City.

WNBC and the YM & YWHA Poetry Center launch Anthology

We felt obliged to outline the YM & YWHA's Poetry Center and its history to highlight an almost perfect marriage of material, network and sponsor in the development and production of Anthology. Note that we cite only WNBC (and subsequently WRCA) as airing Anthology. This was an important cost-saving measure contributing to the enduring success of this marvelous anthology of music and poetry. At the same time, this was such a beautifully mounted production that it's quite a shame the broadcasts were only regional in nature. This production was also very much a jointly mounted effort by both NBC and the YM & YWHA Poetry Center. As illustrated above, Radio, Poetry and Music were by no means new to the YM & YWHA in 1954. Indeed, the Center at 92nd Street and Lexington had, by 1954 become a beacon of cultural influence throughout New York City.

Quite aptly named, Anthology launched as a recurring showcase of the finest, predominately American Poetry and Music ever yet assembled in one production. But that word, 'poetry' . . . As annotator Harry Fleetword noted, the word 'poetry' itself has an almost 'spinach-like' connotation to the average person. For the minority that love poetry, the series came as a long-overdue blessing. For the vast majority of the regional listening audience, however, 'poetry' was altogether like 'spinach' in many respects. As good as poetry is for the soul--and spinach for the body--the average person generally shuns any exposure to either the green, leafy vegetable or alliterative verse. Mind you, the average person also believes both spinach and poetry to be conceptually good things. But . . .

That inherent popular antipathy toward poetry is precisely what the Anthology series hoped to overcome, and in our estimation, did precisely so--splendidly. This was not a 'poetry slam' showcase, nor a dry, esoteric, ethereal series of poetry recitals. And indeed perhaps that's what kept the series from going out nationally over NBC. More's the pity. The entire series was mounted with a specific eye towards making its poetry presentations as inviting and attractive as technologically practical for the era. By mating some of the era's finest music to the poetry presentations, accompanied by documentary vignettes showcasing the poets, writers, and their work, the series became a seductively inviting experience indeed.

The series wisely avoided the then cutting edge 'beat-poetry' of the era in favor of the more classical, lyrical poetry of the previous 100 years. No doubt that election met with some disdain among poetry 'purists,' but the series' goal was to seduce a wider audience, not repel it. Had the series gone longer, one might well imagine the introduction of some of the 'hipper' poetry of the era. In the end, wiser heads prevailed and quite skillfully and enjoyably introduced an entire new generation to the beauty of classical poetry and its history.

Series Derivatives:

AFRS IED 608 'Anthology'
Genre: Anthology of Golden Age Radio Music and Poetry Recitals
Network(s): NBC
Audition Date(s) and Title(s): Unknown
Premiere Date(s) and Title(s): 54-02-28 01 Theodore Sturgeon
Run Dates(s)/ Time(s): 54-02-28 to 55-06-12; NBC [WNBC and WRCA]; Sixty-three, 30-minute programs; Sundays afternoons and evenings at varying times
Syndication: NBC Orthacoustic, recorded in Studio 9C; AFRS
Sponsors: The YM and YWHA Poetry Center at 92nd Street
Director(s): Steve White [Producer]
John Malcolm Brinnin [Director of the Poetry Center]
Principal Performers: Recorded Clips: Carl Sandburg, Edith Sitwell, Helen Hayes, Noel Coward, Orson Welles, Joseph Holland, Martin Gabel, George Coulouris, Agnes Moorehead, Jose Ferrer, Judith Anderson, John Carradine, Fredric March, Edna St. Vincent Millay, Lynn Fontanne, Elizabeth Bishop, T.S. Eliot, Mary Ann Moore, C. Day Lewis, Jill Balcon, Walter Huston, Susan Reed, Robert Blossom, Peter Finch, Claire Bloom, William Squire, Ronald Colman, Maurice Evans, John Barrymore, David Allen, Raquel Ruiz, Lynette Fisher, Noelle Guarnieri, Iris Lynn Guarnieri, Jesse Guarnieri, David Ross, Vera Lynn, Leonard Warren, Linda Sheldon, Aimee Sheldon, Randy Sheldon, Jimmy Lampe, Bruce Hamilton, Bob Hamilton, Jeff Hamilton, Susan Hamilton, Robert Culp, Elaine Carroll, Vincent Price, Moira Shearer, Stanley Holloway, Robert Helfman, Edith Evans, Mel Allen, Wallace House, William Carlos Williams, Archibald MacLeish, John Gielgud, Deems Taylor, Jim Ameche, William Faulkner, Ogden Nash, Alfred Drake, Basil Rathbone, Dylan Thomas, Judith Anderson, New England Conservatory Alumni Chorus, James Pease (baritone), Alec Templeton, Thelma Matesky, E.E. Cummings, Peggy Ashcroft, Andre Kostelanetz, Laurence Olivier, Fred Waring Glee Club, Mack Harrell, Leonard Warren, Flor Wendt (soprano), Tennessee Williams, Walter Huston, William Devon, Donald Crisp, W.H. Auden, James McKeckney, Jo Stafford, Osbert Sitwell, Edith Sitwell, Claire Bloom, Marlon Brando, Maurice Evans, Raymond Massey, Thomas Mitchell, John Ciardi, Claude Rains, Eddie Bracken, David Wayne, Carol Channing, Geraldine Brooks

Guests: Theodore Sturgeon, Tony Schwartz, William Carlos Williams, Norman Rose, Tamar Cooper, Stanley Tannen, Deems Taylor, Tom Weatherly, Tom Scott, Sandy Stewart, Barbara Cohen, Marion Roney, Peter John Stevens, Richard Davis, Walter Cyrell, Howard Reig, Sidney Smith, Alec Templeton, Thomas Hornsby Farrell, David Allen, Eugene Brock

Recurring Character(s): None
Protagonist(s): None
Author(s): None
Writer(s) Draper Lewis [Director/Writer]
Music Direction: Leith Stevens [Composer]
Howard Hanson [Conductor]
Frank Black [Composer/Conductor]
Margaret Ross [Harpist]
Musical Theme(s): "Hard Work and Horse Play" from Richard Rogers' Victory At Sea
Announcer(s): Harry Fleetwood, Gene Hamilton, Bob Wilson [Annotators]
Estimated Scripts or
Episodes in Circulation: 56
Total Episodes in Collection: 56

Hickerson Guide, the YM & YWHA of 92nd Street and newspaper listings.

Notes on Provenances:

The most helpful provenances were newspaper listings.

Digital Deli Too RadioLogIc


Quite predictably, as with much that's issued from the commercial otr community, Anthology has been utterly and miserably logged and documented for the past twenty-five years. It's the very reason we never--ever--patronize commercial otr vendors, great or small.

  • One 'important' otr dealer in particular distributes only the first half of Episode 12 from May 23, 1954, The Wasterland and BBC's 'Time for Verse,' believing the second half of the broadcast to be an unrelated BBC program, 'Time for Bert,' thus destroying, through simple ingorance, a complete episode of Anthology. The Anthology series very interestingly included, in a hands across the water gesture, two exemplars of BBC programming counterparts to Anthology: the BBC Light Programme's Time for Verse, which had been part of this Episode 12, and the BBC Light Programme, By Heart, presented in Episode 50 on February 20, 1955.
  • The same dealer--and his commercial catalog--claims that Episode 11 from May 16, 1954 was pre-empted, yet cites the availability of the first half of Poetry By Longfellow and Elizabeth Bishop. The program was clearly not pre-empted. Yet in the same log--notorious for simply glossing over pre-emptions, vacations and the occasional hiatus--the dealer ignores the announced hiatus of Sunday, May 9, 1954.
  • The same dealer, coincidentally, distributes only the first half of the final episode, while stating it's complete in his catalog. We have the complete episode, An All-Request Edition of Anthology, fully intact.
  • The same dealer distributes two AFRS-denatured editions of Anthology as non-AFRS, by simply removing the AFRS exit music, while at the same time citing no reason for the absence of a normal close in either recording.
  • The same dealer cites Episode 24, Special Back to School Anthology, presented on August 22, 1954 as having been pre-empted for a special WAVES presentation that day. As Episode 23 clearly announces, there was to be no broadcast on August 15, due to the special WAVES presentation. The 'back to school' special was to air the following week on August 22, 1954, when in fact it did successfully air.
  • The same dealer cites Episode 27, the first of two repeat performances of A Story of England - The White Cliffs of Dover, first presented on May 2, 1954 as unavailable, while referring to it as "OHMAR KAYAM". Carl Sandburg and The Rubaiyat Of Omar Khayyam, originally announced for September 12, 1954, was replaced with a repeat performance of A Story of England - The White Cliffs of Dover. Carl Sandburg and The Rubaiyat Of Omar Khayyam was eventually presented on October 24, 1954 as Episode 33. Nor was Carl Sandburg and The Rubaiyat Of Omar Khayyam a repeat performance. Episode 33 clearly announces "Poetry for the Halloween Season" as next.
  • There are innumerable other inaccuracies in this same dealer's log. We won't recite all of them here.

These are not isolated errors by 'important, highly respected dealers.' They're quite common rather than the exception. Our own logs have proven this time and time again. Caveat Emptor.

October 30, 2010 UPDATE: Recent activity on message boards and forums cited three, as yet uncirculating 'fills' for Anthology. They were bogus. The three alleged fills were as follows:

  • Anthology 54-08-29 25 Mine the Harvest [It was mislabeled, misdated, and incorrectily identified.]
  • Anthology 55-03-13 53 My Heart's in the Highlands [It was mislabeled, misdated, and incorrectily identified.]
  • Anthology 55-03-20 54 Thoughts and Stories of England [It was mislabeled, misdated, and incorrectily identified.]

Numerous dealers purport to possess previously uncirculated exemplars that are simply either intentionally or inadvertently mislabeled. We'd love to think the majority of this nonsense is simply ignorance, honest mistakes, or wishful thinking. Sadly, as of late, the vast majority are simply intentional scams. The growing preponderance of this mischief was one of our motivating factors in undertaking our Definitive collection of Radio Program articles and logs. But don't feel embarassed if you were duped. We fell for it as well--initially--until we consulted our own findings and holdings. Will this mischief ever end? Not in all likelihood--not until more collectors determine to stop this nonsense at the source, by simply deleting the bogus exemplars and not passing them along.

What you see here, is what you get. Complete transparency. We have no 'credentials' whatsoever--in any way, shape, or form--in the 'otr community'--none. But here's how we did it--for better or worse. Here's how you can build on it yourselves--hopefully for the better. Here are the breadcrumbs--just follow the trail a bit further if you wish. No hobbled downloads. No misdirection. No posturing about our 'credentials.' No misrepresentations. No strings attached. We point you in the right direction and you're free to expand on it, extend it, use it however it best advances your efforts.

We ask one thing and one thing only--if you employ what we publish, attribute it, before we cite you on it.

We continue to provide honest research into these wonderful Golden Age Radio programs simply because we love to do it. If you feel that we've provided you with useful information or saved you some valuable time regarding this log--and you'd like to help us even further--you can help us keep going. Please consider a small donation here:

We don't pronounce our Golden Age Radio research as 'certified' anything. By the very definition, research is imperfect. We simply tell the truth. As is our continuing practice, we provide our fully provenanced research results--to the extent possible--right here on the page, for any of our peers to review--or refute--as the case may be. If you take issue with any of our findings, you're welcome to cite any better verifiable source(s) and we'll immediately review them and update our findings accordingly. As more verifiable provenances surface, we'll continue to update the following series log, as appropriate.

All rights reserved by their respective sources. Article and log copyright 2009 The Digital Deli Online--all rights reserved. Any failure to attribute the results of this copywritten work will be rigorously pursued.

[Date, title, and episode column annotations in
red refer to either details we have yet to fully provenance or other unverifiable information as of this writing. Red highlights in the text of the 'Notes' columns refer to information upon which we relied in citing dates, date or time changes, or titles.]

The Anthology Program Log

Date Episode Title Avail. Notes
Theodore Sturgeon
54-02-28 New York Times
Poetry Series; Readings by Dylan Thomas, Robert Frost, others (Recorded)--WNBC (Premiere).
The Poetry of Miriam Wolfe
54-03-07 New York Times
Miriam Wolfe, Reading Poetic Works--WNBC.
Murder From the Past, Merriment From the Present
54-03-14 New York Times
Readings From Shakespeare and Ogden Nash--Orson Welles, Noel Coward--WNBC.
54-03-21 New York Times
"Façade"--Poem by Edith Sitwell. ReAd by the Author--WNBC.
Poetry In Sound
54-03-28 New York Times
William Carlos Wiliams Reads From His "Desert Music and Other Poems"--WNBC.
Poetry of the Theater, by the Theater, and for the Theater
54-04-04 New York Times
Norman Rose, Reading His Own Poetry; Recording of Judith Anderson in "Medea"; Others--WNBC.
On A Note Of Triumph
54-04-11 New York Times
Charles Laughton, Bible Readings; Norman Corwin Play in Verse--Excerpts--WNBC.
Paul Revere's Ride
54-04-18 New York Times
"Paul Revere's Ride," Read by Fredric March--WNBC.
A Memorial to Edna St. Vincent Millay
[Announces Anthology No. 8]

54-04-25 New York Times
Tribute to Edna St. Vincent Millay; Poems read by Deems Taylor, Others--WNBC.
A Story of England - The White Cliffs of Dover
54-05-02 New York Times
3-3:30--Anthology: Lynn Fontaine, reading Alice Duer Miller's "
White Cliffs of Dover"--WNBC.
No Broadcast
[No Broadcast. Program on one week hiatus]
Poetry By Longfellow and Elizabeth Bishop
[First half only]

54-05-16 New York Times
The Wasteland and BBC's 'Time for Verse'
[First half only; The BBC Presentation, Time for Verse, has been removed by the dealer, apparently believing it to be a separate production]

54-05-23 New York Times
Memorial Day Edition of Anthology
54-05-30 New York Times
3-3:30--Anthology: "
The Man Without a Country," poetic narrative, with Bing Crosby; "Barbara Frietchie," read by Agnes Moorehead; "The Star Spangled Banner"--Halen Hayes; Others--WNBC.
Contemporary American Poets
54-06-06 New York Times
Judith Anderson reading; Marianne Roney, guest--WNBC.
Parable Of Death
54-06-13 New York Times
3-3:30--Anthology: Lukas Foss's "
Parable of Death," read by Vera Zorina; Louisville Symphony Orchestra; others--WNBC.
Domestic American Verse
[Announces Anthology 17]

54-06-20 New York Times
Tom Scott, Folksinger; Todd Duncan, Vardi Strings, A Capella Choir--WNBC.
Shakespearean Festival Part 1
[ End Clipped]

54-06-27 New York Times
Excerpts from "Romeo and Juilet" and "Julius Caesar," with Orson Welles, Alan Badel, Claire Bloom, others--WNBC.
A Tribute To Our Armed Forces
54-07-04 New York Times
Poetic Salute to the Armed Forces--Ronald Colman, Tyrone Power--WNBC.
Shakespearean Festival Part 2
54-07-11 New York Times
Sir Laurence Olivier, in Scenes from "Henry V"--Recorded; Maurice Evans in "Richard II"; Voice of John Barrymore, from "Richard III"--WNBC.
Shakespearean Festival Part 3
54-07-18 New York Times
Scenes from "Hamlet" and "Macbeth," with Sir Laurence Olivier, John Gielgud, Pamela Brown and Alec Guiness--WNBC.
Shakespearean Festival Part 4
54-07-25 New York Times
Excerpts from "Othello" and "Hamlet," with Jose Ferrer and others--WNBC.
Ogden Nash and Carl Sandburg
[Announces Anthology 21]

54-08-01 New York Times
Carl Sandburg and Ogden Nash, reading their own poetic works--WNBC.
Bilingual Edition of Anthology
54-08-08 New York Times
Selected readings from French and Puerto Rican poetry--WNBC.
54-08-15 New York Times
3-3:30--WAVES Anniversary Program: Mrs. Mildred McAfee Horton; others, from San Francisco--WNBC.
Special Back to School Anthology
[Back to School Weekend Special]

54-08-22 New York Times
Children of WNBC Personnel Reading their Favorite Poems; David Ross, Reading From Alice in Wonderland--WNBC.

A Memorial to Edna St. Vincent Millay
[ Repeat of broadcast from A Memorial to Edna St. Vincent Millay, 54-04-25]

54-08-29 New York Times
3-3:30--Anthology: "
Memorial Tribute to Edna St. Vincent Millay"--Recorded readings of her works by the poetess and Deems Taylor--WNBC.
The Tragical History of Dr Faustus
54-09-05 New York Times
3-3:30--Anthology: "
Tragical History of Dr. Faustus," with Robert M. Culp and Elayne Carroll--WNBC.

54-09-13 Time Magazine
Radio: The Week in Review
Most daytime radio and TV shows seem aimed at ten-year-olds. But on Sunday the rules change.
Instead of soap operas and giveaways and cosmetic hints, the Sunday audience is considered grownup enough to hear—as they did this week —readings from Christopher Marlowe's The Tragical History of Dr. Faustus (on NBC's Anthology) and to enjoy an appraisal of Ralph Waldo Emerson by the University of Southern California's Professor Frank Baxter (CBS), who pretends to be nothing more or less than an interested and interesting teacher.

Announces The Rubaiyat of Omar Khayyam as next and
the return of Harry Fleetwood
A Story of England - The White Cliffs of Dover
[ Rebroadcast of 54-05-02]

54-09-12 New York Times
3:00-WNBC--Anthology: Lynn Fontaine, Reading
the White Cliffs of Dover
Keats and A Midsummer Night's Dream
[Harry Fleetwood returns]

54-09-19 New York Times
Poetry of John Keats, read by Vincent Price; William Butler Yeats' poetic play for masked dancers, with Paula Bauersmith; others WNBC.

Poetry Americana as next
An Anthology Retrospective
[ Time changes to 1:30 p.m.; Fleetwood announces Anthology No. 30]

54-09-26 New York Times

Poetry Americana as next
Poetry Americana
[ Fleetwood announces Anthology No. 31]

54-10-03 New York Times
Archibald MacLeish, reading his own poetic works; Dr. Howard Hanson, conducting the Eastman Symphony and School of Music Chorus.
A Program of Classic English Verse
54-10-10 New York Times
Poets, Present and Past--WRCA.

A Tribute to Edna St Vincent Millay as next
A Tribute to Edna St Vincent Millay
54-10-17 New York Times
1:30-2--Anthology: "
In Honor of the Late Edna St. Vincent Millay"--Judith Anderson, Guest--WRCA.

Carl Sandburg and The Rubaiyat of Omar Khayyam as next
Carl Sandburg and The Rubaiyat Of Omar Khayyam
54-10-24 New York Times
Carl Sandburg reads from his poems; Jim Ameche, reading excerpts from "The Rubaiyat of Omar Khayyam"--WRCA.

Poetry for the Halloween Season as next
Poetry for the Halloween Season
54-10-31 New York Times

The Story of Caedmon Records as next
The Story of Caedmon Records
[ Fleetwood announces Anthology No. 36]

54-11-07 New York Times
Readings by Judith Anderson, Alfred Drake, Basil Rathbone and Ogden Nash--WRCA.

Welsh Poetry as next
Poetry From Wales
[ Fleetwood announces Anthology No. 37]

54-11-14 New York Times
Readings from the poetry of Wales--WRCA.

Poetry for Thanksgiving as next
Thanksgiving Day Edition

[ Fleetwood announces Anthology No. 38]

54-11-21 New York Times
6:30-7--Anthology: "
Poetry for Thanksgiving"--Agnes Moorehead, Fred Waring Glee Club, others--WRCA.

Poetry and The Dance as next
Poetry and the Dance
[ 1st Half Only]

54-11-28 New York Times
Walter Sorrell discusses the relationship between poetry and the dance--WRCA.
Poetry by Robert and Elizabeth Barrett Browning
54-12-05 New York Times
6:30-7--Anthology: "
The Poetry of Robert and Elizabeth Barrett Browning"--Alec Templeton and Thelma Matesky, soprano, guests--WRCA.

A Salute To American Jewish Book Month as next
A Tribute to Jewish Book Month 1954
[Pre-Empted over WRCA]
Salute to Jewish Book Week
54-12-12 New York Times
6:30WRCA, WQXR: U.N. Concert; Boston Symphony Orchestra; Charles Munch, conductor; Eelco van Kleffens, Guest; Irmgard Seefried, soprano

Announces Poetry For Christmas as next
Poetry for Christmas

[ Christmas program; Fleetwood announces Anthology No. 42]

54-12-19 New York Times
6:30-7--Anthology: "
Poetry of Christmas"--WRCA.
The Old and The New
[Pre-Empted over WRCA]
54-12-26 New York Times
Voices and Events--1954

Announces Anthology 1954 - A Radio Review as next
Anthology 1954 - A Radio Review
[ AFRS begins recording and denaturing Anthology for transcription]

55-01-02 New York Times
6:30-7--Anthology: Poets, Present and Past--WRCA.

Poetry Set to Music as next
Poetry In Song
55-01-09 New York Times
1:00WRCA: Anthology

Everyman Starring Burgess Meredith as next
55-01-16 New York Times
1:00WRCA: Anthology
Edgar Allan Poe and Thomas Hornsby Ferril
Thomas Hornsby Ferrell
[AFRS Only]

55-01-23 New York Times
Thomas Hornsby Ferril reads and comments on his poetry; Basil Rathbone reads form the works of Edgar Allan Poe--WRCA.
Hy Sobiloff and Wallace Stevens
Hy Soloff and Wallace Edwards
55-01-30 New York Times
Wallace Stevens reads from his poems; Hy Sobiloff reads form his bood of verse "Dinosaurs and Violins"--WRCA.

David Allen and Tennessee Williams as next; Announces Poetry Society of America Gold Award to Brinnin and a February 2nd Reading by Arthur Miller at The Poetry Center.
David Allen and Tennessee Williams
My Little Boy
55-02-06 New York Times
Tennessee Williams reads from his poems; David Allen reads from the works of Shelley, Grey and Donne--WRCA.

the first of two special programs celebrating the birthdays of Abraham Lincoln and George Washington as next with a tribute to Lincoln on February 13th
A Salute To Lincoln
55-02-13 New York Times
1:00WRCA: Anthology

a Celebration of the Birthday of George Washington as next
BBC's 'By Heart' and Davenport's 'My Country'
A Salute to George Washington
[ A Salute to George Washington was apparently cancelled. Fleetwood mentions 'this week, February 22nd marks the birthday of George Washington']

55-02-20 New York Times
1-1:30--Anthology: "
Patriotic Poems," read by Helen Hayes, Bing Crosby, others--WRCA.

a celebration of Anthology's first year on the air [February 28, 1954] and a tribute to Henry Wadsworth Longfellow as next. Also The Sheild of Achilles.
Longfellow, W. H. Auden and Birthdays
The Shield of Achilles
[ Fleetwood announces the 52nd Edition of Anthology "we're one year old". Also announces, "today, February 27th". Ending Clipped]

55-02-27 New York Times
1-1:30--Anthology: W.H. Auden reads from his new book, "
The Shield of Achilles"; Donald Crisp reads from Longfellow's poems--WRCA.

My Heart's In The Highlands as next
My Heart's in the Highlands
55-03-06 New York Times
1-1:30--Anthology: James McKechnie reads
Scottish Border ballads; Jo Stafford sings the songs of Robert Burns--WRCA.

The White Cliffs of Dover as next
A Story of England - The White Cliffs of Dover
[ 2nd rebroadcast of 54-05-02; Generic close]

55-03-13 New York Times
1-1:30--Anthology: Lynn Fontanne reads Alice Duer Miller's "
The White Cliffs of Dover"--WRCA.
Poems About Spring
55-03-20 New York Times
Poems about Spring, read by Ogden Nash, Edna St. Vincent Millay, Judith Anderson, others (Recorded)--WRCA.
Sir Osbert and Dame Edith Sitwell
55-03-27 New York Times
Sir Osbert and Dame Edith Sitwell read their own poetry--WRCA.

A Celebration of Caedmon's 3rd Anniversary as next
Caedmon Records' 3rd Anniversary
Abraham and Isaac
Children's Poetry
55-04-03 New York Times
1-1:30--Anthology: "
Children's Poetry"--WRCA.
55-04-10 New York Times
1-1:30--Masters' Golf Tournament, from Augusta, Ga.; also 3:30-4 and 5-5:30--WRCA.

55-04-09 Indiana PA Evening Gazette
The Art of Ruth Draper
55-04-17 New York Times
1-1:30--Anthology: Ruth Draper in "
Three Generations in a Court of Human Relations"--WRCA.

A Celebration of the Birthday of William Shakespeare as next
Commemorating the Birth and Death of William Shakespeare
Shakespeare Excerpts
Shakespeare - Romeo and Juliette
[AFRS Only]

55-04-24 New York Times
Excerpts from five of Shakespeare's plays, with Sir Laurence Olivier, Marlon Brando, Alec Guiness, Pamela Brown--WRCA.
Poets' Gold - Readings of Familiar Verse
55-05-01 New York Times
1-1:30--Anthology: "
Reading of Familiar Verse," with Raymond Massey, Helen Hayes and Thomas Mitchell; Mr. Massey will be interviewed by Fleetwood--WRCA.

the second of three weeks of Poets' Gold series as next with Verses of Today
Poets' Gold - Verses Of Today
55-05-08 New York Times
"Verses of Today"--Geraldine Brooks reads the poetry of W.H. Auden, T.S.Eliot, Robinson Jeffers, Dorothy Parker and Dylan Thomas--WRCA.

the third of three weeks of Poets' Gold series, the 3rd and 4th volumes as next
Poets' Gold - Childrens' Verse
[ Bob Wilson stands in for Harry Fleetwood]

55-05-15 New York Times
1-1:30--Anthology: "
Children's Verse," read by Helen Hayes, Raymond Massey and Thomas Mitchell (Recorded)--WRCA.

Phono-tapes as next
Phono-Tapes - The Literature and Language of Learning
[ Harry Fleetwood returns]

55-05-22 New York Times
1-1:30--Anthology: John Ciardi reads his translation of Dante's "Inferno"; University Players read Edgar Lee Masters' "
Spoon River Anthology"--WRCA.

Builders of America Memorial Day Celebration as next
Poetry for Memorial Day 1955
[ Memorial Day was May 30th in 1955]

55-05-29 New York Times
1-1:30--Anthology: "
Builders of America," a cantata based on a poem by Edward Shelton; Claude Rains, narrator--WRCA.

Archy and Mehitabel as next
Archy and Mehitabel - A Back-Alley Opera
55-06-05 New York Times
1-1:30--Anthology: "
Archy and Mehitabel," recorded excerpts from the George Kleinsinger opera, with Eddie Bracken and Carol Channing; David Wayne, narrator--WRCA.

An All-request Edition of Anthology as next.
An All-Request Edition of Anthology
55-06-12 New York Times
1-1:30--Anthology: Judith Anderson reads three sonnets by Edna St. Vincent Millay; Dylan Thomas reads his "
A Child's Christmas in Wales"; others (Recorded)--WRCA.
55-06-19 New York Times
1:00*WRCA: Monitor

The AFRS IED 608 'Anthology' Program Log

Date Episode Title Avail. Notes
Edgar Allan Poe and Thomas Hornsby Ferril
Commemorating the Birth and Death of William Shakespeare

The Anthology Radio Program Biographies

Leith Stevens

Stage, Radio, Television and Film Music Director and Composer

Birthplace: Mount Moriah, Missouri, USA

Education: Horner Institute, Kansas City, Missouri, USA; Conservatory of Music
at the University of Missouri-Kansas City

1937 Saturday Night Swing Club
1937 Columbia Workshop
1938 No Help Wanted
1938 Men Against Death
1938 American School Of the Air
1939 Arch Oboler's Plays
1940 Big Town
1941 The Free Company
1945 The Doctor Fights
1945 Rogue's Gallery
1945 Request Performance
1946 Academy Award
1946 Encore Theatre
1947 Lights Out
1949 Escape
1949 Yours Truly, Johnny Dollar
1949 Suspense
1950 The Miracle Of America
1950 The George Burns and Gracie Allen Show
1952 The Black Book
1952 Action Eighty
1952 The Judge
1953 Hallmark Hall Of Fame
1954 Anthology
1955 Biography In Sound
1956 CBS Radio Workshop
Leith Stevens fine tunes a score in 1936
Leith Stevens fine tunes a score in 1936
Caption: Leith Stevens is another ex-[Mark] Warnow arranger turned maestro (1938)
Caption: Leith Stevens is another ex-[Mark] Warnow arranger turned maestro (1938)

Leith Stevens circa 1939
Leith Stevens circa 1939

Leith Stevens circa 1944
Leith Stevens circa 1944

Leith Stevens obituary
Leith Stevens obituary

Leith Stevens was already a musical child prodigy at the age of 5. By the age of 14 he was making his performing debut. At the age of 16, he was Madame Schumann-Heink's accompanist and mentor to her own students. At the age of 21, the Columbia Broadcasting System wisely scooped him up as a network vocal arranger and within three more years he was a CBS composer/conductor for many of the network's top recurring programs.

From the Star-News - July 24, 1970, Pasadena, California:

Fatally Stricken
When Told Wife
Killed in Crash

HOLLYWOOD (UPI) — Leith Stevens, director of television music at Paramount Studios, was called to an extension telephone to take an emergency long distance call.

The party on the other end advised him his wife, Elizabeth, 40, had been killed when her car plunged over a 150-foot cliff in the Santa Rosa Mountains near Palm Springs.

Stevens, 60, nominated three times for Oscars for songs or movie scores took the telephone call about his wife on a Hollywood studio phone, put down the receiver, walked across the room and slumped in death Thursday, witnesses said.

Stevens was a composer and a conductor during his long career. He was nominated for an Academy Award three times. He was founder and first president of the Composers and Lyricists Guild of America in 1954.

Stevens' wife was driving with her three pet dogs when she was killed. The accident occurred on California 74, the co-called "Palms to Pines Highway," near where Jimmy Durante simulated an accident in the movie "Mad, Mad, Mad, Mad World. The dogs escaped with minor injuries when the vehicle rolled over and landed upside down.

Oscar nominations were accorded Stevens' movie scores for The Five Pennies and A New Kind of Love. His melody Julie was given an Oscar nomination as Best Song.

What is the function of a director of television music at a studio producing many hours of video entertainment every week for the consumption of millions of viewers?

Does he select the composer? How closely does he supervise the work during writing? How much of his personal touch is reflected in the finished piece?
Leith Stevens, the bearded Director of Television Music at Paramount Studios, is eminently qualified to answer these questions regarding the writing of music lor television.

A child prodigy, Stevens took his first piano lesson from his father when he was five years old. He made his piano debut at 14, and when he was 18 he was a coach for the students of the legendary Madame Schumann-Heink. He subsequently went on tour with the contralto as her accompanist.

He was 21 when he joined CBS as a vocal arranger and three years later he was made a composer and conductor for many of the network's top radio shows. In 1941 he began composing for motion pictures--he had been nominated three times for an Academy Award--and when television came along he entered that field.

Stevens said that assigning a composer is like casting an actor for a part. "A composer is chosen whose particular talents fit certain dramatic problems." he explained. "This is usually done in conjunction with the series producer, who has specific ideas about what he wants the music to accomplish. My chore is to guide the composer right and see that he follows through."

"Bruce Geller has strong instincts in this area and almost without exception selects the composer for his productions of Mission: Impossible and Mannix." Bruce chose Lalo Schifrin, a comparative newcomer to the business, to write the theme for Mission four years ago. "Schifrin's ability to provide the right music in the right context is why Bruce also had him write the music for Mannix."

Stevens points out how it is possible to angle music several different ways, giving mysteries as an example. "A producer may wish to highlight the romance in a whodunit and play down the mystery." And then he may wish to go the other way. "I usually check the score while it is in progress and supervise the recording.", Stevens said. "But I try to keep my personal touch out of the work. I don't want our composers sounding like Leith Stevens. A composer's stock in trade is his own personal sound which gives a distinctive quality to his music and I wouldn't want to take that away from him."

Summing up his role as music director, Stevens said: "My function is not to have musicians do something I want them to do but to make sure that what the composer does is in his own style and that the result is right for the show."

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