people whose key roles can be documented: Announcer: George F. Putnam Music directors/orchestra leaders: Jack Joy and Leo Kempinski Producers: Edwin L. Dunham, Jack Harris Producer/director: Robert Clarke Coleson "Voice of the Army": Albert L. Warner Writer/producer: Wyllis Cooper Besides those regularly employed on the program, speakers included Army officers (many of them generals) and United Nations officials. Logistics Locations Unlike most radio programs, in which the activity was controlled in a studio, material for The Army Hour came from far and wide -- "as 'global' as the war itself." An article in Radio Guide magazine reported:"Army Hour" producers travel the United States by every known means of Army transportation. They pop up at morning mess with the parachute infantry; they ride the armored force's tanks; they sweat out an artillery problem with a jackass battery; not long ago one had to bail out of an airplane over a Mississippi swamp -- but he made his broadcast. William Burke Miller of NBC wrote in a trade publication, "The outstanding feature of the hour-long Sunday program is its elaborate use of remote broadcasts." In the program's first nine months, international pickups had come from locations that include Chungking, Panama, New Delhi, Cairo, London, Leopoldville, Moscow, Melbourne, Algiers, Ireland, Iceland and the Caribbean. The extent of The Army Hour'''s use of remotes was quantified in a Western Electric publication when an article noted that in its first 18 months of broadcasting, the program's signals logged "a grand total of 1,621,000 miles traveled during the 78 hour-long broadcasts." An NBC executive wrote that each domestic remote broadcast "requires an announcer, a production director, one or two engineers, at least one microphone, a 'remote' outfit, a field phone direct to Radio City, Army passes for the proper people, plus all the advance arrangements so that the right soldiers and equipment will be at the right place." Jamming of signals In addition to challenges with regard to production, technicians with The Army Hour had to deal with jamming (intentional interference with transmitted signals). Jamming affected not the final AM transmissions in the United States but the shortwave signals that were used to connect remote sources to the main studio. A 1942 newspaper article reported that a Nazi radio station in Germany featuring "a pianist [who] played as loudly as he could" tried to jam a shortwave signal from Dutch Guiana. Columnist Drew Pearson noted another