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As With the Insignia and Patches Our Fighting Forces Wear So Proudly, Here's a Selection of AFRS's Unit Patches and Logos Over the Years:

Army Broadcasting Service Medallion (Front)
Army Broadcasting Service Medallion (Front)





Army Broadcasting Service Medallion (Back
Army Broadcasting Service Medallion (Back)






Army Broadcasting Service Insignia





Cold War American Forces Network Logo
Cold War American Forces Network Logo






American Forces Vietnam Network






Armerican Forces Alaska Network (decommisioned 2001)





Far East Network Logo (Now AFN Tokyo)
Far East Network Logo (Now AFN Tokyo)





Later American Forces Network Logo
Later American Forces Network Logo





Southern Europe Broadcasting Service Logo
Southern Europe Broadcasting Service Logo





Southern Command Network Logo (decommisioned with the end of US control of the Panama Canal Zone)
Southern Command Network Logo (decommisioned with the end of US control of the Panama Canal Zone)





American Forces Network Atlantic
American Forces Network Atlantic







American Forces Network Pacific
American Forces Network Pacific






ContemporaryAmerican Forces Network Logo





American Forces Network Radio
American Forces Network Radio





American Forces Network Europe
American Forces Network Europe





American Forces Network Honduras
American Forces Network Honduras





American Forces Network Kwajalein (arguably the lonliest duty on the planet)
American Forces Network Kwajalein (arguably the lonliest duty on the planet)

AFRTS header art: The Armed Forces Radio Service

The One Network Most Responsible for Saving Golden Age Radio for The FuturePresident Franklin D. Roosevelt circa 1940
President Franklin D. Roosevelt, ca. 1940

(Editor's Note: Indulge me a preface to this brief history of The AFRS with a personal note. As a retired G.I. of 22 yrs I recognize that words alone could never accurately convey the extraordinary impact and contribution that The AFRS--and AFRTS and AFN--have made over the years to the morale and sense of connectedness to home that these services have provided. When you're on a remote--even hostile--assignment, without family, often without entertainment or diversion of any kind, and usually accompanied by a sense of isolation, even the most poorly received transmission of news, music, the American Language--even commercials--are a profoundly welcome relief. All of us--civilian and military, alike--owe these services our deepest gratitude and support for the singular--and so inadequately recognized--contributions they've made to our freedom.)

At the height of it's reach and audience, The Armed Forces Radio and Television Service (AFRTS)--simply AFRS throughout The Golden Age of Radio--was arguably every bit a rival to any of the commercial networks of the era. Borne of a vital need to support and boost the morale of our military troops abroad--and stateside--President Roosevelt directed the creation of The Office of War Information, with the express purpose of coordinating information provided by the vast array of then compartmentalized government agencies. When, shortly thereafter, The Government subsumed control and operation of all shortwave radio stations, The Office also became responsible for all stations that broadcast their signals overseas. The Armed Forces Radio Service (AFRS) was formed as a quasi-governmental organization within the Army's Special Services Division to supervise and coordinate broadcast programming for our servicemen--and those of our Allies--abroad.

Elliott Lewis, Howard Duff, and Col Tom Lewis at the Hollywood AFRS complex.

AFRS' First Radio Staff, Military Members of Colonel Tom Lewis' USA Staff, notably Howard Duff, circa 1945

With extensive recording facilities located throughout the world, the AFRS was also a major producer of programming during the latter half of The Golden Age of Radio. The primary AFRS Studios of the time were located in Hollywood, and as such, availed themselves of a great deal of local talent--military and civilian--and from major Radio and Motion Picture studios alike.

AFRS Jubilee Performance broadcast from ABC Studios near Sunset and Vine, Hollywood, CA circa 1944. Jubilee was both a ground breaking and race-barrier breaking show, being on of the first radio performances to break the long standing color-barrier in Radio. This opened the door for the subsequent Command Performance series which again showcased many talented black performers of the era.


Their Transcription Unit recorded most of the popular commercial programs of the era and shipped them overseas to military transmission facilities for rebroadcast. The transcribed programs were recorded primarily on unbreakable, 16-inch vinyl discs, each containing approximately 30 minutes of programming, 15 minutes to a side. At the height of its production, The AFRS shipped an average of just over 50,000 of these discs overseas each month, with an additional 20,000 discs sent to Navy vessels monthly. The AFRS recorded some 70-80 of these programs each week, including as much as 15-20 hours of specially produced AFRS programming. By the end of World War II, the AFRS Network encompassed nearly 800 broadcast facilities worldwide--over 50 of them in England alone. It's to this Transcription Unit that we owe our deepest gratitude, for the vast majority of the shows and episodes that have been preserved to this day.

Dedicated, Patriotic Ladies of the Air Lend Their Charm to Support the Troops Both Stateside and Overseas for AFRTS. Performing tirelessly around the clock and around the dial, these amazing Broadcast ladies lent their sex appeal, charm and fierce patriotism to the cause . . . and earned an enduring place in America's heart.

Martha Wilkerson a.k.a. G I Jill. "G.I. Jill" ca 1944, in reality Martha Wilkerson (1908 - 1999), a young mother who had worked in the Office Of War Information
"G.I. Jill" ca 1944, in reality Martha Wilkerson
(1908 - 1999), a young mother who
had worked in the Office Of War Information

Japan had it's infamous 'Tokyo Rose' (the Iva Toguri 'Zero Hour') broadcasts, but the AFRS countered with our own 'G.I. Jill', an amalgam of female radio personalities over the years, but represented by the above image which was sent to troops that requested 'her' photo. Iva Toguri's reprehensible treatment at the hands of her Japanese captors--and even more reprehensible treatment at the hands of America upon her emigration back--are recounted elsewhere. Needless to say, our own "G.I. Jill" never suffered these indignities. Beginning with about Edition No. 600, G.I. Jill's transcribed, eleven minute and fifty-five second G.I. Jive broadcasts and those of the wonderful, stateside "Reveille With Beverly" effectively answered the Axis propaganda broadcasts of the war years, and provided many lonely servicemen--both at home and abroad--a much needed, familiar female voice from Home to buoy their spirits.

Here's a contemporary article of the era from Time Magazine's Monday, February 4, 1945 issue:


Radio: G.I. Jill and Reveille with Beverly

"With G.I.s overseas, the biggest attraction on radio is a pretty, breezy blonde with a high-school-fresh voice named Martha Wilkerson. Most U.S. civilians never heard of her—but from Kodiak to Canberra, Martha is a top G.I. favorite. Last week, with her 870th broadcast, Martha Wilkerson could boast of receiving one-fourth of all the fan mail inspired by the Armed Forces Radio Service's 122 air shows.

Recording six days a week in Los Angeles, Martha Wilkerson uses the acronym, "G.I. Jill." Her transcriptions, flown out in six-day batches by A.F.R.S., are tenderly passed from one mosquito network to the next. The show also goes by short wave to Europe, Africa, Australia, the Aleutians, and war zones between and beyond. For good reason her closing line is: "Good morning to some of you, good afternoon to some more of you, and to the rest of you—good night."

G.L Jill's formula is simple: she plays jazz records by request, gives her fan-letter writers a little glib back talk, tells gags, babbles brightly on almost any subject. Sample opening to sailors: "Hiya, fellas. This is Jill again, all set to rock the bulkheads on the old jukebox and shoot the breeze to the sons of Mother Carey. . . ."

The response is tremendous. Servicemen shower her with grass skirts and invasion money; they cable money for yellow roses; they write that she is "romantic and groovey" and "my ideal." One fan, irresistibly reminded of his wife, requested that Jill simply say: "The mashed potatoes are ready."

G.I. Jill's show is an outgrowth of an OWI radio program begun in 1942 with her husband, ex-Radioman Mort Werner. As "Jack and Jill" they served up a mixture of jazz and banter called Hi, Neighbor. A.F.R.S. took over the program in the spring of 1943. Soon Jill (minus Jack) was doing a solo act called G.I. Jive (now AEF Jukebox).

As a War Department employee, Martha Wilkerson acts as a sort of counterirritant to "Tokyo Rose." Servicemen who listen regularly to both programs assure Jill that hers is superior. For one thing, Rose's records are mostly old and scratchy. But the explanation may be more basic. The fair flower of Tokyo exerts herself mightily to make U.S. servicemen homesick; G.I. Jill's trick is to make them feel at home."


G.I. Jill' and 'Beverly' weren't the only gals to lend a note of encouragement to the boys and girls overseas. Guest hosts of the era could be heard popping into G.I. Jive and other popular AFRS variety programs as impromptu hostesses, like Donna Reed, Ginny Simms and Ann Rutherford to name just a few.

Play The Victory Belles from 1941
with Lurene Tuttle and 'Beverly' Hay


Jean Hay (Beverly) at KFEL mike
Jean Hay (Beverly) at KFEL mike


The real Beverly from 'Reveille With Beverly', the beautiful 'Beverly' (Jean Ruth Hay)--then, ca. 1946
The real Beverly from 'Reveille With Beverly',
the beautiful "Beverly"
(Jean Ruth Hay)--then, ca. 1946 . . .

The Highest Compliment -- Reveille With Beverly Nose Art
The Highest Compliment -- Nose Art

Record jacket of Reveille with Beverly sound track from the 1943 movie, Reveille with Beverly, based on the life of Jean Hay. Ann Miller starred as 'Beverly Ross' in the film. Jean Hay was a consultant for the film
Record jacket of Reveille with Beverly sound track from the 1943 movie, Reveille with Beverly, based on the life of Jean Hay. Ann Miller starred as 'Beverly Ross' in the film. Jean Hay was a consultant for the film.

Ann Miller as 'Beverly' in a publicity shot for Reveille with Beverly
Ann Miller as 'Beverly' in a publicity shot for Reveille with Beverly

. . . and in 1999
. . . and in 1999

Jean Hay passed away September 18, 2004, from a stroke at 87, while gardening at her home in Fortuna, CA--one of her great passions. This wonderful woman will long be remembered for her selfless sacrifice and dedication to keeping the homefires burning stateside while tirelessly entertaining hundreds of thousands of our military in training at bases throughout the U.S., as well as providing continual messages of inspiration, hope, and optimism to anxious families throughout the long years of War. Her cheery 'Hi, Fellas' was one of our Nation's secret weapons throughout World War II.

Click here for larger image of Its a date at Reveille with Beverly
(Click for larger image)

Beverly Jean Hay (1917-2004)

Another favorite of the troops was Chris Noel (b. 1941), an aspiring movie actress, who hosted the "Date With Chris" broadcasts that ran through most of The Vietnam Conflict years. She was so effective that she had a $10,000 bounty on her head from the North Vietnamese.

Chirs Noel MGM Publicity Still, ca. 1964
Chris Noel, MGM Publicity Still, ca. 1964

Chris Noel, AFVN's "Date With Chris" host then, ca. 1966
Chris Noel, AFVN's
"Date With Chris" host then, ca. 1966 . . .

. . . and now, ca. 1999
. . . and now, ca. 1999.

These extraordinary ladies all played the latest records, read mail from the troops, and ended their broadcasts by whispering an encouraging sign-off, each in their own way, in a sultry voice that drew spontaneous oohs and aahs from their lonely military listeners at home and around the world. And believe me, I'm here to tell you, it's just the shot in the arm and note of hope and familiarity that many of us needed on occasion.

UPDATE: Chris has by no means been resting on her laurels. She's got her own website at:

http://retrobabe.powweb.com

A well deserved tribute to a very special lady.




From the March 27, 1943 issue of Billboard magazine:

Radio Section of SS Sends
80 Shows to Battle Fronts
With $50 a Weeks Army's Own

     New York, March 20.--Hidden behind the hard work and premeditated obscurity of the War Department's personnel is one of the biggest and best jobs of radio programming and production.  Each week the Radio Section of the Special Services Division of the U.S. Army produces about 80 programs for the entertainment and information of all the men of our armed forces on overseas duty, as well as those of our allies.

     Unlike the radio department of the army's Bureau of Public Relations, which concerns itself, via The Army Hour, etc., with the public, the Radio Section of Special Service concentrates on producing and distributing programs to the men overseas.  Organized about a year back, the radio section is staffed, from top to bottom, with radio men of experience and knowledge.  Producers, directors, writers and executives from the networks, local stations and advertising agencies, all in uniform, work in the New York and Hollywood offices of this unit.
     Since all of their programs are for the men overseas, the public knows only about the 30-odd network commercials which are transcribed and beamed overseas, including Command Performance, which was publicized and broadcast for domestic consumption at Christmas-time, and such programs as domestic listeners may stumble onto on the short wave band of their radio sets.
     In addition to the commercial shows, the radio section produces about 50 shows a week on its own.  These adhere closely to the desires of the men in the field and avoid any attempt at competition with the big commercial shows which, RS feels, are tops insofar as entertainment is concerned.  RS knows that the men want news, sports, music and jive.  So each week it prepares 18 sports shows; turns out a daily swing series called G.I. (government issue) jive, complete even unto a record jockey; personal albums of songs by Dinah Shore, Ginny Simms, Connie Haines, etc., but no men, since the guys in uniform don't take kindly to male crooners.  One of the most popular shows is recorded sacred music and hymns for all faiths and creeds.
     Everything is done with co-operation of the artists, unions and advertisers.  Almost everything is shortwaved from this country.  In addition, about 70 percent of the output is recorded and shipped overseas for long-wave airing on foreign stations.  For these broadcasts the army gets the required time on the basis of its program quality.  Not by purchase.
     At the moment the U.S. Army airs these programs on stations in Australia, China, India, North Africa, Iceland, Alaska; at points in the Caribbean and South Pacific and on the BBC in England, and this coverage is being expanded as fast as possible.
     For men in isolated spots the special service boys have what they call a "Box B Unit."  This contains, in addition to books, athletic equipment, etc., a portable battery radio, a portable turntable and a flock of records.  Every week the men get a fresh batch of transcribed programs by parachute if necessary.  Since the turntable can be hitched to the radio louds-speaker, the programs can be heard by a sizeable group of men.  When the radio's batteries burn out, the turntable, which operates by a hand-cranked spring, is equipped with an orthophonic arm and still plays loud enough to entertain more than a few servicemen.
     The programs are either 15 or 30 minutes, no longer.  They're designed to give the servicemen what they want, when they want it.  G.I. Jive, for example, is the sort of thing you can listen to while cleaning your rifle.  Another show, Mail Call, is a star-studded variety show aimed at the guy who hasn't been getting any mail; sort of a personal message, via song and laugh, from the folks back home.  Jubilee is an all-negro revue.  Downbeat uses a name civilian band each week and is comparable to the Fitch Bandwagon.  Another is We Who Fight, a half hour in the We, the People style only for and with servicemen.  This one uses men from all the services of all the nations and aims to keep the men in the Pacific posted on what their allies and comrades are doing on other fronts produced before an audience drawn from people with men in overseas service, uses an army band and a name emcee, who will soon be replaced by a man in uniform.  At the moment there are plans to air We Who Fight for domestic consumption.

Go to Golden Age Radio | ABC
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Go to Golden Age Radio | CBS
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Take me to Spotlight on Personalities
Go to Golden Age Radio | NBC
Take me to Spotlight on Technology

Here's an interesting two-part series on the history of the AFRTS. Part One above, part two below

AFRS Continues to Preserve and Produce Programming Content Through the Cold War Years and Beyond. Even as the Golden Age of Radio was waning, AFRS continued to produce and preserve the very best of The Golden Age
From the June 5, 1943 issue of Billboard magazine:

ARMY'S MILLION-$
TALENT

 Special Service Radio Arm
A Huge Operational Set-Up
With Staggering Statistics

15,000 Programs, 500,000 ET's to Date

      NEW YORK, May 20.--Millions of dollars' worth of talent is being contributed to the vast radio and recordings program being handled by the Radio Section of the Army's Special Service Division.  The biggest names of stage, films, radio, records and cafes have been volunteering for programs being short-waved or recorded in New York and Hollywood.  One series alone, Command Performance, drew a bid recently from J. Walter Thompson Agency, which was ready to pay $15,000 per half-hour show.  Talent appears gratis for army shows, but if sponsored most of the talent would have to decline to volunteer for the army shows because of objections from their own employers.
     More than 90 percent of the talent used in the 15,000 programs produced by SSD to date is civilian, mostly names, according to Maj. Irving Fogel, New York commanding officer of the Radio Section.  The other 10 percent consists of military bands and commentators.
           Parade of ET's and Phonos
      SSD has shipped out 500,000 12-inch transcriptions, 12,000 phonograph-radio sets and 1,500,000 phono records since its inception about a year ago.  It is beaming 100 short-wave hours a week and is sending out more than 10,000 16-inch transcriptions a month.
     It is feeding American troops abroad more than 250 hours of transmitter time each week over the 22 short-wave stations available here.  Half-hour transcriptions alone are responsible for 5,000 hours of overseas broadcasting time a month for the troops.
     SSD's overseas radio operations probably make it the biggest proposition of its kind in the world.  (The OWI's overseas radio section, on the other hand, emphasizes news rather than entertainment.  See The Billboard, May 1.)
     Special Service has moved into the transcription field in a big way, using such local and Hollywood studios as Muzak, World, NBC, WOR, National Vocarium, C.P. MacGregor, Columbia and Radio Recorders.
     Besides "denaturing" 34 network commercial shows a week (see The Billboard, March 27), the SSD also records music series by such service bands as Maj. Eddie Dunsteter and the Fort Slocum Military Band.  Also expects to have available soon bands developed by Capt. Glenn Miller and Capt. Orrin Tucker.  Capt. Meredith Wilson batons the band for Command Performance and is conductor for SSD Radio Section.
          Blanketing the Globe
     SSD transcriptions are now being used on 130 Australian and 10 New Zealand government stations, 10 army and 5 commercial stations in Alaska; the 20,000-watt station in Suva, Fiji Island, which blankets Guadalcanal; three stations in China, the government stations in India, the new stations in the Holy Land and in North Africa, and also those in the Caribbean, Newfoundland, Labrador, Greenland and all along the U.S.-to-Canada Alcan Highway.  The Army is also building "dozens" of new low-power transmitters in England and in Ireland.
     These stations are being manned by army technicians and veteran broadcasters.  Capt Andre Baruch, for example, is running the army station of Casablanca.
     SSD masters are also made available to the navy and marine corps, which lack recording and production facilities.  The disks are passed on from one station to another and also to hospital ships so that each recording is used to the fullest extent.
          The Boys Behind the SSD
     Commanding officer of the SSD Radio Section is Lieut. Col. Tom Lewis, Young & Rubicam Coast executive.  Others are Major Fogel, independent radio producer from the Coast; Maj. Mann Holiner, Benton & Bowles Hollywood office head; Capt. Meredith Wilson, musical conductor; Capt. Ted Sherdeman, Screen Guild program director and now SSD radio program director; Capt. Bert Stebbins, SSD executive officer in Washington, formerly of the Logan & Stebbins Agency in Hollywood; Capt. Austin Peterson, script editor at Young & Rubicam; Capt. Hal Berger, sportscaster, now on the way to Australia for SSD; Capt. Harry Salter, the musical director; Capt. Tom McKnight, producer of Sherlock Holmes and Blondie shows, and Capt. True Boardman, film and radio writer and director, now on his way to Alaska for SSD.
     Also, Lieut. Victor Quon, engineer; Pvt. Milton Brown, writer and producer; Pvt. Elliott Lewis, actor and "Oscar" winner; Pvt. George Rosenberg, formerly with the Screen Actors' Guild office and now in charge of talent for SSD in Hollywood; Pvt. Bob Welch, ex-producer of the Jack Benny program; Pvt. Tom McDonald, former We, the People writer; Lieut. Irving Reis, erstwhile director of Columbia Workshop; Sgt. Lloyd Shearer, scripter, now in charge of enlisted men in the New York SSD office; Pvt. Jim Fonda, Lord & Thomas exec; Pvt. Irving Taplinger, producer, and Pvt. Joe Hasel, ex-Blue Network sportscaster.


Lt Colonel Tom Lewis, USA, holding the one-millionth transcription disc cut by AFRS during World War II Mar 12,1945
Lt Colonel Tom Lewis, USA, holding
the one-millionth transcription disc
cut by AFRS during World War II,
Mar 12,1945.

AFRS pressed its one-millionth disc for shipment overseas in March 1945. Colonel Tom Lewis received the symbolic 16-inch plastic disc in a brief ceremony on the 12th. The disc contained the newest installment of "G.I. Journal" whose cast included Bob Hope, Bing Crosby, Linda Darnell, Betty Grable, and Abbott and Costello.Throughout the later years of World War II and then through the Korean War and Cold War Years that followed, AFRS, then AFRTS and AFN, continued to produce transcriptions for shipment to some of the most inhospitable and far-flung outposts on the planet, to keep up morale."The Draft" affected not only civilians destined for formal military service, but the most notable celebrities, movie stars, radio personalities, authors, and musicians of the era. They were all pressed into service at one time or another to provide their considerable talents to one--and in some cases all--of the more popular shows AFRS was producing at the time--at no cost to the taxpayers! Given the patriotism of the day, it's doubtful that any of them objected very strenuously, and indeed many of the AFRS shows served to extend even further, the reputations and careers of most of the spotlighted performers.

Frank Sinatra, Dinah Shore, and "Der Bingle" Crosby rehearsing for 'G.I. Journal'
Frank Sinatra, Dinah Shore, and "Der Bingle" Crosby rehearsing for 'G.I. Journal'

Command Performance Provides the Troop Their Choice of the Finest Talent from Stage, Screen, and Print"Command Performance" in particular, was just such a vehicle. The premise of the show was that an American fighting man could "command" the talents of any American performer. Understandably, not all entertainers appreciated the idea that they might be called at any time to appear on "Command Performance" or other AFRS shows. Of course, few entertainers dared to voice objections when called upon. Indeed, most viewed their appearances as an opportunity to contribute tangibly to the war effort. Performers of the calibre of Bob Hope, Bing Crosby, Doris Day, and Edgar Bergen soon became regulars on the program.
Command Performance U.S.A.
(Click for above for larger Image)


Here's an entertaining short from Army-Navy Screen Magazine with clips of a Command Performance episode being performed

Bob Hope and Jane Russell on Command Performance
Bob Hope and Jane Russell
Jack Benny and Dennis Day, behind the scenes for Command Performance
Jack Benny and Dennis Day
Troops line up outside CBS Studios for Command Performance
Troops Line Up Outisde CBS Studios for Command Performance
Typically, the target audience--almost exclusively military--would line up outside the CBS studios at Sunset and Gower to await the doors to open for "Command Performance," and their opportunity to either dictate the talent to follow, or enjoy the dictates of one of their comrades at arms.

Programming Highlights from AFRS Radio's Rich Broadcast HistorySince its inception, AFRS Radio has amassed an extraordinary volume (over 300,000 separate recordings in their archives) of both popular and military-themed programming; creating--or acquiring--most of the most popular and enduring programs from the latter half of Golden Age Radio History. Among AFRS' long string of military hits from the era were as follows: (AFRS shows listed first, followed by AFRTS Shows)
The Digital Deli Online Archive Holdings currently contain over 4,000 AFRS and AFRTS transcribed recordings representing 325 distinct AFRS/AFRTS-produced shows. These holdings are growing monthly since the majority of our 18,000+ Transcription E.T.s and tapes are over 80% AFRS or AFRTS content. We add as many as 30-40 newly transcribed and converted AFRS/AFRTS recordings to our holdings each month. Our ultimate goal is to grow our AFRS/AFRTS holdings to over 12,000 unique episodes by 2011.

AFRS 'Ozzie and Harriet' Transcription
AFRS 'Ozzie and Harriet' Transcription
dated Feb 6, 1955

AFRS 'Lum 'n' Abner' Transcription 453
AFRS 'Lum 'n' Abner' Transcription #453
AFRS 'Our Miss Brooks' Transcription  275

AFRS 'Our Miss Brooks' Transcription #275

Whatever the course of the AFRS and it's successors--and not discounting in the least their extraordinary contribution to our military successes through the years--their enduring contribution to Golden Age Radio are the hundreds of thousands of transcription discs and tape recordings they preserved for posterity.

The wonderful AFRS-sponsored programming alone remains a national treasure, but remember that in addition to AFRS's own content, they transcribed hundreds of thousands--if not millions--of weekly Golden Age Radio programming episodes destined for the troops. It's this vast compendium of preserved recordings that's responsible for virtually all of the original transcriptions and other recordings that have made their way into the private collections of contemporary collectors and Radio History archivists.

Try these links for more about AFRTSThis humble tribute to The AFRS doesn't even begin to scratch the surface of their contributions over the years. It really deserves a whole section of the website to showcase everything that it was and is. In the meantime, here's a collection of wonderful links to further pursue your AFRS discoveries:
Before You Leave, Sample Some of The AFRTS Shows of The Golden Era, below

Play At Ease AFRS No.0131,
'Nice Work If You Can Get It'

Play Command Performance No.162,
'Dick Tracy In B-Flat', from 45-02-15

Play G.I. Jive, with Jill No.0901,
'Tommy Dorsey's Opus One'

World War II Era Coca-Cola advertisement from 1942