Chicago the program was produced at WMAQ but heard over WLS, one of three NBC Blue Network affiliates in Chicago at the time. Amos 'n' Andy was also a popular program that continued being broadcast from Chicago until 1938, when the program moved to Hollywood. Both of these shows moved production to the new NBC West Coast Radio City. Edgar Bergen was initially turned down for a radio spot at WMAQ. The station manager felt ventriloquism would not work on radio. That turned out to be a mistake. Bergen received an offer from Rudy Vallee to become a part of his radio show in late 1936. By May 1937, Bergen and his puppet Charlie McCarthy had their own show on the NBC Red Network. Radio from the Merchandise Mart centered around the many studios on the 19th floor. Only one studio, Studio F, was on the 20th. Like its Radio City Rockefeller Center counterpart, there were NBC pages (Bob Sirott was one of them in the late 1960s) and a host of staff announcers. In 1947, Hugh Downs (Today Show and 20/20), Garry Moore (I've Got A Secret) and Durward Kirby (The Garry Moore Show) were on the WMAQ staff, as was Mike Wallace, later of 60 Minutes fame. Dave Garroway (1913–1982) also arrived on the NBC airwaves via WMAQ with his 1160 Club playing big band and jazz music in the 1940s. Garroway was also responsible for organizing a series of local jazz concerts and establishing a Chicago lounge "Jazz Circuit" in 1947 which revived interest in the music genre. In 1948 and 1949, Garroway was voted the nation's top Disk Jockey by his peers in Billboard's annual poll. Garroway would eventually host a number of television shows including the Today Show. 1940s In the 1940s, radio stations like WMAQ began playing recorded music during some hours. For many years due to union constraints, all music broadcast on the network was live. Stations in large cities had to maintain full-time orchestras on their payrolls. The organ music which was a part of many of the radio "soap operas" was provided by union musicians. When turntables entered studio control rooms, the musicians were replaced by the turntable operator or "record turner". It was the job of the turntable operator (a member of the American Federation of Musicians), to play any recorded music. The Musician's Union received jurisdiction over the turntables