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R
MEMBER ALL
the grim talk a
few years ago about the sup–
posedly imminent death of
radio? Television was to have been
the broadcast medium of the future.
No one in his right mind would
want to listen when he could be
watching.
Happily, the funeral was never
held. Today the average American
family owns at least two radios, not
including the one in the car. And as
far as programming goes, radio now
offers something for everyone. That
means more than music and news.
Of special interest to
Plain Truth
subscribers is
The World Tomorrow
broadcast, Garner Ted Armstrong's
daily analysis of news trends in the
light of biblical truths.
The existence of the radio broad–
cast may be a surprise to those fa–
miliar only with the Garner Ted
Armstrong television program. Ac–
tually, Ted Armstrong is a relative
newcomer to television. He began
broadcasting in radio during the
mid-fifties, assisting his father,
Herbert W. Armstrong. Herbert
Armstrong made the first
World To–
morrow
broadcast on January 7,
1934. At that time
it
was called the
Radio Church of God,
aired initially
on a mini-powered 100-watt station
in Eugene, Oregon. The program
gradually evolved into its current
format.
During the late fifties and sixties,
The World Tomorrow
became one of
the most widely heard radio pro–
grams in the U. S. A. In fact, a cross–
country traveler had only to spin the
dial to pick up the program at
nearly any time.
In the late sixties and early sev–
enties, Garner Ted Armstrong and
the producers of
The World Tvmor–
row
broadcast began gearing up for
what was to become the weekly -
and eventually daily - television
version of the program. Radio was
temporarily relegated to "second
place" in priority, though listener
interest was still as high as ever.
But producing a high-quality
daily television program in addition
to a daily radio broadcast is prac-
PLAIN TRUTH September 1974
TUNE IN TO
GARNER TED ARMSTRONG
DAILY ON RADIO
tically an impossible task for one
man. The demands on human en–
ergy and time are relentless.
An
interim solution to the prob–
lem was to make use of the TV
soundtracks on the radio. That's not
as simple as it sounds. lt means edit–
ing out al! the verbal references
aimed at the viewer rather than the
listening audience, plus retaining
reasonable continuity.
This dubbing and splicing did
produce an acceptable product. But
there was one obvious and unfortu–
nate drawback. The spontaneity,
impact and timeliness of a daily ra–
dio
broadcast was extremely diffi–
cult to ach ieve. Now, however, there
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