Detroit Record Distributors Play Down Chart Value in Sound-Alike Market
DETROIT — While local record merchandisers claim that area radio “Top 40 Charts” are highly inaccurate, they say they are able to live with the situation because no one in the Motor City market uses radio charts as a buying guide.
This lack of direct chart influence on record sales, according to dealers, is due to the relatively high number of competing “Big Beat” radio stations in the area — all offering slightly different formats and none having a clearly dominant influence in effect in the Detroit pop market.
WKNR-AM radio survey, Detroit, September, 1966 (click image for larger view)
Sam Press, co-owner of Ross Music Shops in Detroit, said that “There are actually three influential rock stations — WKNR and WXYZ here (Detroit) and one, CKLW, in Windsor, Canada, competing for the kids’ attention, plus two very strong R&B stations, WCHB and WJLB (Detroit). You have to remember that because of Motown, R&B (or Soul music) is a stronger product here than it might be in other markets. So what you have is kids constantly switching dials between all these stations and not being dominate by any of them. A (WKNR) ‘Keener’ chart might have some of the most popular songs in the area on it but it will be invariably late in listing a big English hit which the kids have been hearing on CKLW of Windsor, and will likewise be late in list a hot R&B number that has been exposed by one of the other stations.”
“What this means,” he said, “is that teen-agers choose the best of several stations. For this reason we don’t have to buy according to any one station’s charts. The independent dealers in this town wait until they start getting requests before they will order anything — except something by a very hot artist.”
Asked if his customers would not seek out a competitor who already had the hits in stock, Press said: “The racks are even slower in getting current singles out — we can move faster than our competition.”
NOT USED AS GUIDE
WXYZ-AM radio survey, Detroit, September, 1966 (click image for larger view)
Lou Salesin, a 35-year veteran of the business who owns Munford Music Shop, said he also does not use “radio charts as buying guides. I must ignore WKNR and the other lists; they are inaccurate for a number of reasons. Some of these inaccuracies could be eliminated — and I would like to see that happen, just for the principle of the thing.”
Sol Margolis, owner of the Ross Music Stores, told Billboard: “I only order what I get calls for, plus a minimum of new releases by established artists. To my knowledge, no Detroit dealers uses radio charts as any kind of a buying guide. We know better than to trust what these sheets say.”
Another dealer, who did not wish to be identified, said that “you simply cannot believe what the radio charts list. The problem is there are too many pop records being released. I think the manufacturers are working on some sort of percentage planning. They just keep churning the records out, hoping that 4 per cent or more will make money for them.”
“As far as local charts are concerned,” he added, “we often see a record that hasn’t been shipped already on the sheet. Other times, we see stations keeping numbers on the charts long after they have stopped selling. They do this, apparently because they got on a record too late, and then refuse to admit that their influence hasn’t been able to keep it a hot seller. There are many complicating factors, but the end result is inaccurate charts. All the dealers know this, and they depend on requests and their own experience in the business to tell the how to buy.”
CKLW-AM radio survey, Windsor, October 1966 (click on image for larger view).
Chet Kajeski, of Martin and Snyder, one-stop in Detroit, told Billboard: I find frequent discrepancies on the radio charts. As far as I am concerned, they hurt jukebox operators in the area. By failing to list, and expose on the air, what is a legitimate ‘adult’ hit, they can cut down play on the boxes. This happens when a record sells very well in the area, deserves to be listed on the charts, but doesn’t get listed because such a record does not get the additional push of air play, its life on the jukebox is sometime shortened.
“I don’t believe,” Kajeski added, “that many record dealers are affected by the charts in the Detroit area. By being inaccurate, these charts defeat their own purpose.” END
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(Information and news source: Billboard; September 3, 1966)
Joseph Also Recalls Radio History In Detroit 20 Years Ago — WKNR ‘Keener 13’
Second of two articles profiling consultant Mike Joseph, the man behind the “Hot Hits” format.
NEW YORK — In March, 1960, WABC was not a factor in New York radio. “They had tried Top 40 two years earlier in 1958,” recalls Mike Joseph. Their night man was Alan Freed. But it didn’t take. It wasn’t believable against WINS, WMGM and WMCA, so they went middle of the road opposite WNEW. That didn’t work either, so they had gone right out of the book.
“I went in and started working with Hal Neal, who had just come in from WXYZ in Detroit. From March on, he and I used to spend our weekends together, coming up with our promotion, marketing and sales brochure, our format, techniques, contests, jingles, staff connections. When I finally got into the station, we put everything together and hit with that sound on December 7.”
The original WABC lineup included Herb Oscar Anderson from WMCA doing mornings, WAKR Akron’s Charlie Greer and WHK Cleveland’s Farrell Smith in mid-days, St. Louis legend Jack Carney in afternoons, Chuck Dunaway in early evenings, and Scott Muni doing nights.
“Six months later there were three very important changes. Sam Holman came in a mid-morning man he became the first program director — there had been no program director when I was on the scene. And in afternoon drive and early-evening, two legends. Dan Ingram and Cousin Brucie.”
Joseph’s WABC success led to his consulting the rest of the ABC chain, which became one of his greatest challenges. “It was extremely difficult for an ABC owned station to do top 40 at that time because of all the network commitments you had, bringing you one inconsistency right after the other, like ‘Don McNeil’s Breakfast Club’ for an hour every morning, or an hour’s news block at night between six and seven. It was really contrary to top 40. And the ABC-owned stations in San Francisco and Los Angeles not only had the ABC national network, they also had ABC West. The Western network was completely different from the rest of the country, and they had to carry them both.
So there was no way that either KGO of KABC could make it as a legit 100% music operation. They found this out both in top 40 and in middle of the road. And so the Ben Hoberman decision to go talk turned out to be extremely smart, and of course you see where KABC is today.”
From there, Joseph dealt with beautiful music in St. Louis, top 40 in his hometown of Youngstown, Ohio, and then he met the challenge at WLAV Grand Rapids, which led to his success at WKNR ‘Keener 13’ in Detroit.
“It was the worst signal in the market, literally, an AM at 1310 down the dial, station was situated in suburb, Dearborn, 12 miles from downtown Detroit,” Joseph recalls. “You couldn’t hear the station in downtown Detroit. There were three major rockers at that time, all owned by major corporations, and here was this little company owned by Mrs. Nellie Knorr, this little tin can going up against these three giants.”
Joseph describes his WKNR game plan in two words: “Hot Hits.” “Young, ambitious jocks, another legendary team. It was the freshness, the vibrancy, the promotion, 31 hits over and over again. Strong countdowns at the right times. That’s a very important part of this thing: where I place the countdowns. At that particular time I did a top 30 countdown opposite the breakfast club, I did countdowns whenever CKLW was in a long newscast, and at that time they had half-hour news blocks because of their Canadian commitments.
“Detroit was at that time into the same disease that is afflicting the broadcast industry today: a lot of laid-back radio. They were afraid to play black music, they were very cluttered, uncontrolled, everybody doing his own thing. One of the key things I emphasize in my formatics is discipline. That’s one of the reasons that this sound takes over. It’s extremely disciplined and structured, and with everybody doing what they’re suppose to do, when they’re suppose to do it, it works. And that was the case in Detroit. We we were all on target, everything was right, and the station was unbeatable for seven years.”
Beating the unbeatable is one of Joseph’s specialties. Case in point: WFIL Philadelphia, where Joseph put together another legendary staff which instantly succeeded. “Jim Hillard was my first program director and I believe we won because WIBG got trapped in their own ego. They used to tell me they couldn’t be beaten. Whenever that happens they turn out to be their own worst enemies.”
From there Joseph went to all-news in Denver, all-talk in Minneapolis and Spanish “Hot Hits” in Puerto Rico. “Musically, the elements are the same. Going back to the ingredients and success of ‘Hot Hits,’ the two things you must have are the constant beat and the melody.” Then came mellow rock in Sioux Falls, and, in 1972, “the beginning of the current phase of ‘Hot Hits’ on FM, which started with ‘Super Hits’ on the Malrite station in Milwaukee, WZUU.
“WZUU was really the station that broke the hold of WOKY and WRIT, and I feel the same things that are beating our competitors today are the things that beat those two stations back then. They were all deep in all the no-no’s at that time. George Wilson was program director and Jack McCoy was involved in Bartell radio, which was totally into gold research, and the young maverick, WZUU came along and knocked them off.”
“WZUU was strictly current, 29 currents. The only mistake was running with such a tight playlist and still dayparting with 30 records. My playlists are much more loose and bring in a lot more new material and turn over much faster than ten years ago.”
One element that has not changed is Joseph’s strong belief in dayparting. “It’s very important. And this is a knack that’s very difficult to master, because you got to know the audience flow and the comings and goings of every single person in that territory. You’ve got to know the start and end times of all the schools and the factories. You’ve got to know the lunch breaks, the traffic patterns, and the exact age of who is where at what time.
“The audience flow changes from hour to hour, market to market, and I’ve got not one clock for a station, I’ve got 24 clocks, and it takes me one week to figure out the clocks for a market. And every market is different, but they all add up and determine the energy of the sound, the music, what I play when, combined with the counter-programming I do from my monitor sheets, monitoring each major station for 20 hours a day.”
A Mike Joseph ‘Hot Hits’ (Billboard) two-part article. First published in Billboard, weeks February 19 – 26, 1983.
While Joseph admits “Hot Hits” is primarily targeting ages 12 to 24, he maintains it is truly a 12-plus format. ” ‘Hot Hits’ appeals to everybody. It’s the mix, and obviously the more mass appeal an artist is, the better I like it and the higher my ratings are going to be. Give me the Diana Rosses and the Kenny Rogerses and the Dionne Warwicks and I’ll put them on a fast rotation any time of the day or night. But I will not put a Joan Jett on a fast rotation because I know that she appeals to a narrow age group.”
Unlike most broadcasters today, Joseph is quite vocal about that narrow age group. “One of the worst things that has happened to the future of our industry is the withdrawal of ages 12 to 24 from the radio dial. Reps, agencies, owners, research people are dictating that the only buys out there are 25 to 54. They see 12 to 24 listeners in radio as absolutely useless. If the movie industry would say the same thing, there would be no movie business today.
“Take away the teenagers from television, what would happen to your all your nighttime sitcoms, your afternoon drive shows, your weekend programming? Let’s put up a rule in the baseball parks that nobody 12 to 24 is to see the Los Angeles Dodgers or the San Francisco Giants. Where would they be?
“How many millions are we throwing away because we’ve outlawed youth programming on radio? No other business would do this. And they are our future. You have got to constantly bring in the growth population.
“So what I do with ‘Hot Hits’ is to keep recycling the teenagers into those stations year after year, and at the same time, we keep the adults. It’s no different than it was 25 years ago. The audience will always be there. The only ‘Hot Hits’ type stations that has disappeared over the years gave their audience away. They threw off their teens, and as a result, they gave their future to someone else.”END
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(Information and news source: Billboard; February 26, 1983)
DETROIT — WLLZ-FM, Detroit’s “Rockin’ Best” was born in November, 1980. In the winter ’81 Arbitron book, it debuted at 9.2 share, second only to WJR-AM. Its secret is simple according to program director John Larson: “We play whatever listeners want.”
Owned by Doubleday & Co., the station employs a strategy developed by Bobby Hattrik, corporate vice-president of programming. The station make 800 to 1,000 phone calls a week, asking listeners what they want to hear. Larson says, “Songs they like, we play; songs they don’t like, we don’t play. It’s that simple. The listener request line gets about 500 calls a day.These requests clue Larson and music director Joe Urbiel to tunes they hadn’t thought of adding.
The playlist changes frequently, at least twice a week. The process is ongoing. Current hot numbers include “Tom Sawyer” by Rush, AC/DC’s “Problem Child,” Rainbow’s “No Release” and the new Moody Blues record.
Prior to WLLZ taking to the airwaves, the frequency was occupied by WBFG, a 50-kilowatt religious station. Doubleday also owns WDWB-AM-FM Minneapolis and St. Louis’ KWK-AM/WWWK-FM. These also employ listener-determined playlists. Larson says “This strategy mirrors local taste. Their playlists are not the same as WLLZ’s. In St. Louis, for example, they play more Southern music.”
Larson came to the station from Rockford, Illinois. In the course of seven years in radio, he developed a similar listener-determined playlist. “The station’s personality is the music,” he claims. “We have news, but news director Jeff Young spotlights stories the listeners consider important. “No blood and guts.”
Among the station’s many requests, Van Halen is a particular favorite. The Who, Boston, Bob Seger and Bad Company figure prominently. “Over-saturation causes an artist to go out of fashion. They come back, though its like eating chocolate cake every day. Eventually you get tired of even your favorites,” Larson says.
WLLZ hasn’t done any print advertising since it first broke into the market. Promotion concentrates on giving people things, especially money, because “it’s something everybody can use,” Larson continued. There are no contests involved. A station staffer roams the streets of Detroit, asking pedestrians and drivers with radios what station they’re tuned to. If the answer is WLLZ, the staffer hands the lucky listener $1,000. Understandably, the promotion is highly popular.
Larson reported little action with record companies, except a CBS album giveaway at Cedar Point Amusement Park in Ohio. The station co-promotes concerts with Brass Ring, recently Rainbow/Krocus, Pat Travers and REO. Two local retailers, Harmony House and Musicland, handed out WLLZ bumper stickers. “It helped them with trafficto be mentioned on the air,” Larson says.
For the 4th of July, Larson ran an eight-hour special program of Detroit’s “Rockin’ Best” (also the station’s motto), the 98 favorite songs reported by listeners. The special included a motorcycle and cash giveaway.
“Our goal is to be number one in the market. We feel counter-programming is pointless, so we don’t do it. We want to take the offensive — do your own thing and hope it works,” Larson says describing his philosophy. “We don’t try to play what other stations are playing. We may play something we feel may do well, whether its getting the airplay elsewhere or not. We were the first to play Donnie Iris’ ‘Ah, Leah’ and Touch‘s ‘Don’t You Know What Love Is?’
“We try to keep a balance, not just appeal to 18-year old males who drink a lot of beer. We were number two with women in the last book,” Larson says. To introduce listeners to unfamiliar music, the station airs Rated Eight, playing new songs from new bands. Silver Condor was one recent newcomer aired.
Source concerts, weekly interviews and Album Review, a play through of listener-requested albums are some of WLLZ’s special programming the station has bonded favorably with its listeners. Rock Wars, aired from 9 p.m. to 10 p.m. weeknights, pits well-known musicians against each other in sometimes bizarre battle-of-the-bands that net 250 calls nightly.
WLLZ doesn’t play much home-grown Detroit music. “There’s not a lot of interest from local people in local music,” Larson explains. The call-in line also gets negative requests, including complaint from new wavers and minorities that their music is being neglected. Larson defends the station by saying, “The playlist is based completely on calls. If listeners haven’t said they want to hear it, we don’t play it.
“Dinosaur rock is a term that has been thrown at us. But oldies are making a comeback. We use common sense. You can’t test songs no one knows. But you can look for certain ingredients that make it. Good songs and bad songs are obvious to everyone. END
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(Information and news source: Billboard; July 11, 1981)
T R I N I L O P E Z who really made it big in the United States during the last year, got his momentum from his acceptance of “If I Had A Hammer.”
As his manager Bullets Durgom explains, “Trini caught on fast in Europe because the people liked his sound and beat.” Durgom said he found it aggravating attempting to convince American booking agents that Trini had been a success on his own merit in Europe in 1964 and deserve showcasing here.
“They didn’t want to believe his European success,” Bullets said. “They thought it was manufactured.”
But in little over a year the 27 year-old Dallas singer had broken attendance marks, set the Europeans singing and dancing along with his infectious melodic style and traveled more than 100,000 miles to earn $480,000 dollars.
At the Olympic Music Hall in Paris, the Reprise artist reportedly stole the spotlight from the Beatles, earning more encores than the Fab Four. In berlin, 23,000 fans crammed inside an arena to hear him sing. In Buenos Aires he drew 60,000.
Trini Lopez opened for the Beatles while in Paris, 1964, to critic’s acclaim.
More of the same occurred in Holland, Spain, Italy, Puerto Rico, New Zealand, Australia, England, Germany, Monte Carlo, Beirut, Canada and Mexico.
In Mexico City, he broke the attendance record at the Terrazza Cassino and earned $80,000 for two weeks’ work.
Trini’s success in Europe can be directly traced to the single, “If I Had A Hammer,” culled from his debut LP for Reprise. This cut was recorded live at P.J.’s, a Los Angeles night spot.
A call by Pete Felderman, Reprise’s licensee in Holland, to Mo Ostin, Reprise general manager in Burbank, California, exclaiming that “Hammer” had everybody excited, alerted the record company of a developing enthusiasm for the rising star. Felderman said if Trini could appear on the Eurovision TV show “Grand Gala De Disc,” he felt the record could break wide open all over the Continent.
Trini Lopez performed with the Beatles while in Paris, France, 1964. (Click image for larger view)
Lopez did go to Europe after ending a two-year engagement at P.J.’s and his appearance on the TV show excited other European bookers.
Durgom relates it was “thrilling to hear European audiences, many of who couldn’t speak English, singing along with Trini on such singles as “If I Had A Hammer,” America,” “This Land Is Your Land” and “Kansas City.” “It reminded me of a revival meeting,” Durgom said. The effect worked and through advance radio exposure, audiences memorized the lyrics and came in person to see the young American with the Latin accent, the infectious rocking beat along with the happy voice. Accompanying Trini on his first European tour were David Shriver, bass guitar, and Micky Jones, drums, since replaced by Gene Riggio.
When Trini returned to the United States, his first East Coast breakthrough occurred at Basin St. East in New York, where he was paced on the bill with the Smothers Brothers. This appearance resulted in national television exposure at bookings at Harold’s, Reno; Mr. Kelly’s, Chicago; Blinstrub’s, Boston; Latin Casino, Philadelphia; Off-Broadway, San Francisco; Flamingo, Las Vegas (at $15,000 per week for three weeks).
Also scheduled bookings are slated at the Eden Roc, Miami Beach. Trini’s first major booking after P.J.’s was at Cal-Neva for $1,200. The club has him booked this year at $15,000. END
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(Information and news source; Billboard; May 15, 1965)
A MCRFB Note: Trini Lopez with the Beatles (above two photos) courtesy the official Trini Lopez website.
Trini Lopez signs an autograph for a fan during his tour across Europe in 1964.
LONDON — From songwriting alone, Beatles John Lennon and Paul McCartney earned around $4,000,000 last year, their publisher Dick James has confirmed. Thirty of their compositions were published in 1964, of which they recorded 22 themselves.
James has added to his fast growing organization the talents of Dennis Berger who quit his job as assistant to Philips recording manager Johnny Franz at the end of 1964.
According to James, Berger will be seeking out songwriters and artists for the company’s small roster, but it is generally expected that he will handle independent production or records for the publisher. END
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(Information and news source: Billboard; January 16, 1965)
Beatles songwriting team Lennon and McCartney earned millions from their hits in 1964.
Former PD KHJ Ron Jacobs Pay LP Homage To Radio Station Greats 1956 – 1962
LOS ANGELES — Something that no deejay should be without is the new “Cruisin ‘Series” on Increase Records and GRT Tapes which feature music and air personalities such as Robin Seymour, WKMH in Detroit from 1956;Joe Niagara, WIBG in Philadelphia from 1957; Jack Carney, WIL in St. Louis from 1958; Hunter Hancock, KGFJ in Los Angeles from 1959; Dick Biondi, WKBW in Buffalo from 1960; Arnie Ginsburg, WMEX in Boston from 1961; and Russ (Weird Beard) Knight, KLIF in Dallas from 1962.
RON JACOBS with Cruisin’ LPs
None of those guys are with those stations anymore. What the records/tapes are, of course, are their shows in those particular years — complete with music. They were produced exclusively for distribution by Chess/GRT by Ron Jacobs, former program director for KHJ in Los Angeles. The records have everything, jingles, commercials, and even Arnie Ginsburg’s cowbells or whatever. It nostalgic to listen to them and hear those hits from yesteryear and what radio was all about. We suggest you latch unto some copies for a trip back to those wonderful days of classic American pop radio as it was then one more time. END
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(Information and news source: Billboard; July 4, 1970)
WJR-AM situated inside the Fisher Building, Detroit.
DETROIT — Deejays are competitive, but they can also be cooperative.
While recuperating from a knee twist which had him away from the WJR studio turntables for about a week, midnight record-spinner Jay Roberts received a note from station owner Jon Holiday, of WAIR (Winston-Salem) asking permission to use the basic format of Roberts’ “Nightflight 760.”
Roberts simulates a jet flight to a different city every night, beginning with a whooshing takeoff sound effect and a (pre-recorded) airline hostesses’ voice issuing a welcome and instructions just as though it was a real flight. During the flight, “Captain” Roberts describes the city of the night in detail.
Roberts told Holiday, a former top jazz deejay from Little Rock, Arkansas to go ahead. END
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(Information and news source: Billboard; March 2, 1963)
ANTICIPATED NEW RELEASE GETS INITIAL PRESSING OF MILLION
NEW YORK — An initial pressing of 1 million albums, reportedly the largest single order in the history of the business, is in the works for “Help!” the Beatles album scheduled to be released by Capitol Records when the United Artists film of the same name opens Wednesday (August 11).
A previous Beatles album, “Beatles VI,” had an initial pressing order of 500,000 albums slated for its scheduled release.
The film will be accompanied by a publicity barrage calculated to blast the American public out of its homes and into the movies houses across the country.
WINS-AMMurray The K 1965
In New York, Murray the K will introduce the British group on his hour-long Channel TV show on Saturday, August 14. The show will be televised in 40 major markets.
The evening after the telecast, the Beatles made their much-heralded appearance in New York’s Shea Stadium.
Gary Stevens (formerly WKNR-AM Detroit) WMCA disk jockey, is conducting a “Beatles Stakes” contest, with tickets to the Shea Stadium concert as prizes. Here’s how it works:
From 7 to 11 p.m., during the Gary Stevens Show, fans telephone WMCA and tell Stevens by guessing which Beatle will be talking to them next. Those lucky enough to make the correct guess answered will get a pair of tickets to the Shea concert, Sunday evening, August 15. END
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(Information and news source: Billboard; August 14, 1965)
Beatles’ Help! photograph signed by the Fab Four, while filming, 1965.
Hitsville U.S.A Catalogs Record LP Release, Record Billings
DETROIT — The Motown Record Corporation’s single largest record release, 15 packages for fall, was introduced at the company’s first sales convention, held at the Hotel Ponchartrain, Friday to Monday, August 25 to 28. The Motown convention theme was “Showcase ’68.”
Barney Ales, vice-president in charge of sales for Motown, reported a record $4 million in billings for the 15 albums were received at the convention party.
“This party has been a success,” Ales told Billboard. “The acceptance of the product itself has been unbelievable and the album release is our best to date.”
Motown’s vice-president in charge of sales, Barney Ales with Marvin Gaye in 1967.
Pointing to the tremendous growth rate to the record industry and the growth of rhythm and blues-oriented companies, Ales told the distributors, “We feel that here in Motown, we have indeed created new dimensions in the world of R&B, because we have worked for world-wide acceptance. While many of our competitors were busy merchandising their old sounds, Motown writers, producers and artists were busy creating a new sound and we take great pride in its having become ‘the sound of young America.’ ”
Fall Package
Motown’s own Chris Clark circa 1968 (Click image for larger view)
The new fall release features packages by Chris Clark, the Original Spinners, the Isley Brothers, San Remo Golden Strings, Gladys Knight and the Pips, Marvin Gaye and Tammy Terrell, Smokey Robinson and the Miracles, Jr. Walker and the All Stars,Martha and the Vandellas, Stevie Wonder, the Temptations, the Four Tops and Diana Ross and the Supremes (deluxe-double album package with pictures included).
Four new singles slated for release in the fall were “I’ll Come Running,” by the Four Tops;“From Head To Toe,” by Chris Clark;“Wondering,” by Stevie Wonder; and “Window Shopping,” by the Messengers.
A display and browser box for the new product were also shown during the Motown all-star studded extravaganza four-day event held in downtown Detroit.
Highlight
The convention highlight was the special Motown Showcase show presented Sunday night, August 27, at the Roostertail Supper Club. About 500 people, including the distributors plus local dealers, radio personalities and members of the press saw the two-hour show featuring Earl Van Dyke and his Orchestra, the Spinners,Gladys Knight and the Pips,Willie Tyler and Lester,Chris Clark, and Diana Ross and the Supremes.
Berry Gordy, Jr. 1967
Berry Gordy, Jr., Motown president, spoke before the show. He credited Smokey Robinson, a company vice-president as well as artist, for urging him to establish a national company with the release of the Miracles’ “Way Over There.” He also remembered his late sister Lucy Wakefield as a creative force in the company.
Gordy pointed out that Motown demonstrated that “people of all races not only can but do work together to achieve heights previously limited by lack of understanding.”
Education Key
He also stated that the racial gap can be bridged by education. “I mean complete education,” Gordy continued. “Educating the black about the black, Educating the white about the white. Educating the black about the white and educating the white about the black.”
The entire convention proceeded smoothly. On Friday night, Hal B. Cook, publisher of Billboard, gave the opening speech of the meetings. END
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(Information and news source: Billboard; September 9, 1967)
NEW NBC RADIO VICE PRESIDENT POST WILL BE TOUGH ASSIGNMENT FOR MIKE JOSEPH
NEW YORK — Broadcasters did double-takes last week upon hearing of the appointment of Mike Joseph, former program consultant, to the newly-created post of vice-president, NBC-owned radio stations.
Joseph, long-associated with what is usually called swingin’ pop-music formatted stations, will be taking over the reins of one of the nation’s richest and most unsuccessful group of radio station operations owned by the network.
NBC RADIO and television operations are centered at 30 Rockefeller Plaza in New York City [Billboard; 1963 photo](Click on image then click original size 900 x 587 2x for larger detailed view).Joseph is fresh from Michigan where he doctored Dearborn’s WKNR (formerly WKMH) — where he instituted an up-to-the-minute pop music and news format. Prior to the WKNR assignment, he “modernized” WGR, Buffalo, New York, with a similar format. He also served as program director at WJEF, Grand Rapids, Michigan, and national program director for the Founders’ stations; WTAC, Flint, Michigan; WSBL, Syracuse, New York; WSMD. New Orleans, and KPOA, Honolulu.
At this juncture Joseph’s duties have not been spelled out. No matter what his duties, he will have his work cut out for him.
The six NBC-owned radio stations are perhaps — as a group — one of the best examples of a low audience appeal approach to broadcasting.
Bottom Of Heap
A thumbnail analysis of each station’s market position reveals the following:
WNBC, New York (50,000 watts): 10th place. One service gives it sixth position 7 a.m. to noon, and 11th, noon to 6 p.m.
WMAQ, Chicago (50,000 watts): Tied for fifth place, 6 a.m. to 6 p.m. From 6 p.m. to midnight, ninth. Another service is much kinder, rating the station third in the morning and fourth in the afternoon.
KNBR, San Francisco (50,000 watts): Tied for fifth place in the morning and seventh in the afternoon. Another service rates it sixth in the a.m. and eighth in the p.m.
WRC, Washington D. C. (5,000 watts): Eighth place out of nine stations listed.
WRC, Washington D. C. (5,000 watts): Fourth in mornings and sixth in the afternoon and evening. This outlet tops all others in the NBC chain achieving first place in the morning and third in the afternoon on one rating service.
WJAS, Pittsburgh (5,000 watts): Tied for last place morning and night; last place in afternoons.
It is highly unlikely that four of the six stations could stand on their own financially without being carried by mother flagship network NBC.
Industry observers attribute the sorrowful rating picture of the NBC-owned radio stations mainly due to the fact that they are satellites for the financially successful NBC radio network. The family stations must carry all of the network’s programming, including the full load of “Monitor” Saturdays and Sundays no matter the effect on rating. Affiliates have a choice of scheduling and percentage of net shows carried.
What little there is left for the beleaguered six stations to program on their own is dictated from the sixth floor of 30 Rockefeller Plaza where the attitude had been: close down before playing rock and roll, no editorializing, no promotion, etc. The top echelon of NBC has persuaded itself that it is more in the public interest to sacrifice popularity and listeners for image. Apparently the image is fading as quickly as the listener audience in general, translating in poor ratings overall.
In sharp contrast to the NBC operation is the highly successful, aggressive, and modern, ABC-owned radio stations headed by Harold Neil. Each of the ABC stations are for the most part, operated independently with local management calling the shots as to how best serve their immediate communities. ABC places few taboos on their stations.
ABC advertising and promotion in behalf of its owned radio stations has been brilliant and outstanding. CBS has also followed a course of promoting their stations through ads in the consumer and trade press. Although there is a proliferation of other NBC advertising, promotion of its owned radio stations is a rarity.
Speculation has it that no vice-president — however talented and capable as Mike Joseph is successfully known for his brilliant approach in various radio consultations and changes he implemented during the course of this year alone — will be able to solve the dilemma of the NBC-owned radio stations without a complete change of thinking and approach by the two men who are presently calling the shots for NBC radio, Robert Kintner and Robert Sarnoff.END
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(Information and news source: Billboard; December 28, 1963)
From the MCRFB NEWS archive: 1966
