SAM HAWKINS * 1965
— BILLBOARD: Peaked #117 (‘Bubbling Under’) November 20, 1965 —
THE ESSENCE OF ‘SOUL’ 60S GENERATION: ’61 DEFINED!
— BILLBOARD: Peaked #8 May 1, 1961 —
THE LEAR JET STEREO 8: THE FINEST 8-TRACK TAPES 1966
FORD WILL OFFER MOTOROLA TAPE UNITS IN 1966 CARS . . . APRIL 10, 1965
From the MCRFB news archive: 1965
NEW YORK — The Ford Motor Co. is scheduled to offer stereo cartridge playback units as optional sound equipment in its 1966 models, Billboard learned last week. Motorola will go on production in June on stereo tape players designed for installation in the Ford lines, it was also learned.
This was revealed to Billboard by highly placed sources in Detroit who said that Ford will unveil its Motorola-built dash integrated tape units with its 1966 model cars.
These sources said that at this time it was not known whether the Motorola unit will be able to take as well the established four-track continuous loop cartridge. According to one top executive, Ford will follow a wait-and-see policy during the next few months to determine whether its equipment will be a compatible unit or eight-track only.
Depends on Acceptance
“A lot depends on market acceptance to Lear’s eight-track system,” he said. “If it takes off and it appears the one everybody is going for, Ford will stick to an eight-track playback. If the market seems to be divided, we’ll have to take to compatible route.”
In an exclusive report, Billboard last week revealed that RCA Victor has concluded an agreement with Bill Lear of Lear Jet whereby RCA will make its recording available for car and home in the Lear-developed eight-track stereo cartridge. It also revealed that Victor will unveil this system before the disk industry early next month, at time it will offer duplicate recordings for all labels in the Lear cartridge.
The four-track continuous loop system use a Fidelipak-type and tape deck which employs a pinch-roller within the deck. This flips up into place to transport the cartridge-enclosed tape. The Lear eight-track continuous loop system include a pinch-roller within each cartridge.
Both systems operate operate at 3 3/4 ips. The number of tracks utilized (four vs. eight) is said to be of negligible difference, since those now in four-track claim they can easily produce eight-track tape. Basic difference between the two systems is not in the tracks but lies in the placement of the pinch roller — whether a single roller is situated within the tape deck or whether a separate roller is included in each cartridge assembly.
According to Billboard’s source (he prefers not to be quoted by name), it would cost considerably less to produce a single-system playback than the more sophisticated compatible machine.
The same wait-and-see attitude evident at Ford-Motorola was reflected by key record labels within the industry. Alan Livingston, Capitol Records president, told Billboard he was still hoping that a single system will emerge in this field. Livingston’s call for standardization was exclusively reported by Billboard in its March 20 issue.
Livingston said he was asking that research for the continuing improvement of the existing equipment be stopped, but would hope that various manufacturers would strive to constantly produce better playback units.
“All I want is that we settle on a system — whether it’s four-track or eight-track, or whatever — before the industry gets rolling on tape cartridges for car units,” Livingston said. “I would like to see us avoid another battle of the speeds if it can be done. We will be making cartridges for this field, and it would be best for all concerned that these cartridges be interchangeable from one playback to another.”
Livingston refused to state which system he personally prefers, and said he was so eager for standardization in this field “I’d even go along with a system I don’t like as well just to spare the market the confusion of having to stock multiple versions of the same recordings.” Livingstone told Billboard that Capitol intends to duplicate and market its own cartridges when it enters the field.
Bill Gallagher, Columbia Records vice-president in charge of marketing, told Billboard: “Columbia is following a policy of watchful waiting. We believe we have the most important music catalog in the industry. If a product form arrives on the scene that will give us an additional market for this great catalog, we will certainly market it in that form.”
A similar reaction came from Sid Goldberg, Decca’s sales vice-president, who said his firm “has been carefully watching this scene for sometime, but until it is established what the prevailing system will be, we will stay out of it. Once the system has been established and a market is still there, rest assured Decca will make its product and tape duplicating facilities available to that market.” END
(Information and news source: Billboard; April 3, 1965).
RADIO’S INNOVATIVE: DR. RUTH | SEXUALLY SPEAKING
Radio’s Most Innovative: “Sexually Speaking” with Dr. Ruth Westheimer
FRED JACOBS | MARCH 27, 2015
We’ve been showcasing innovators here in this space since last August, without a single sexual reference – until now. Sexually Speaking, featuring the most unlikely radio talent of all time – Dr. Ruth Westheimer – took on historic mores and standards in radio broadcasting – and turned them on their side. The story behind this innovative concept is an amazing example of risk-taking and being in-sync with a changing America.
It was the dawn of the ‘80s – and a new era in American sexual freedom. And of course none of that was on the radio. In September of 1980, WYNY, an Adult Contemporary station in New York City made the move, launching a 15-minute pre-recorded segment that aired on Sunday nights after midnight.
They called it “Sexually Speaking” featuring a German immigrant who had lived in Switzerland, Israel, and France before coming to the United States in 1956. Dr. Ruth Westheimer did not have a classic radio voice, but she had the expertise, the candor, and a disarming personality that made her a radio star. In a truthful, direct, and entertaining way, she truthfully answered blunt and honest questions about sex and sexuality that WYNY listeners called in.
It was compelling radio. I remember being in a bar in New York City one night when Sexually Speaking came on. The bartender tuned in WYNY and patrons listened to Dr. Ruth like it was an important Yankees game.
MCRFB NOTE: For the rest of this Jacoblog article by Fred Jacobs (March 27, 2015), please GO HERE.
LINKED TO JACOBSMEDIABLOG.COM FROM MOTOR CITY RADIO FLASHBACKS
‘Sexually Speaking’ w/ Dr. Ruth Westheimer was heard in Detroit on WNIC-FM 100.3 in the 1980s and 1990s.
A MCRFB ACKNOWLEDGEMENT
A special THANK YOU also goes out to Fred Jacobs for granting, as was requested by Motor City Radio Flashbacks permission to print in part, portions of his March 27 article above, “Radio’s Most Innovative: ‘Sexually Speaking’ With Dr. Ruth Westheimer.”
The Jacobs media logo and all photos presented herein strictly sole property of Fred Jacobs and JACOBSMEDIABLOG.COM. All rights reserved.
M O T O R C I T Y R A D I O F L A S H B A C K S
NEW! THE 1965 WURLITZER REMOTE SPEAKER WALL BOX
THIS WEEK 50 YEARS AGO: THE HOTTEST HIT IN THE USA!
NUMBER 1 IN AMERICA ’65 * Freddie & The Dreamers * WEEKS OF 4/4 – 4/17/65
ELEVEN WEEKS on the singles chart, “I’m Telling You Now” by Freddie and The Dreamers peaked No. 01 (2 weeks) on the Billboard Hot 100, weeks of April 4, 1965 through April 17, 1965. (source: Billboard).
MCRFB Link: For the previous No. 1 record in the U.S.A. 1965 GO HERE.
THIS WEEK IN AMERICA: BILLBOARD! ‘HOT 100’ 04/1965
BILLBOARD HOT 100 WAS COMPILED BY NATIONAL RETAIL SALES AND RADIO AIRPLAY
BILLBOARD SONG NUMBER 49 IN U.S.A. * Sandy Shaw * WEEK ENDING 4/10/65
BILLBOARD HOT 100 WAS COMPILED BY NATIONAL RETAIL SALES AND RADIO AIRPLAY
BILLBOARD SONG NUMBER 19 IN U.S.A. * Shirley Ellis * WEEK ENDING 4/10/65
A MCRFB VIEWING TIP: To fully appreciate this Billboard Hot 100 April 10, 1965 chart feature click on image 2x and open to second window. Click image anytime to return to NORMAL image size.
(Click your server’s back button to return to MCRFB home page).
TAMLA MOTOWN MAKE MARK IN BRITAIN . . . APRIL 3, 1965
From the MCRFB NEWS archive: 1965
LONDON — Britain has been invaded by Tamla-Motown. The label has been launched here in March (distributed by EMI) with the arrival of the Supremes, Martha Reeves and the Vandellas, the Miracles, the Temptations, Stevie Wonder and the Earl Van Dyke Sextet for a town to town tour and a rash of television appearances. At the moment it is almost impossible to switch on a TV set in the evening without seeing one of the distinguishable Motown acts.
Berry Gordy, Jr., flew in with his “family,” as he refers to his stable of hitmakers. Gordy admits modestly to being a millionaire (the sterling type), but talks about his stars with far more affection than business enthusiasm.
“But I like to think as myself as a businessman. After all Tamla-Motown represents a lot of money now and we try to pull the best deals whenever we can.” That’s an understatement. He is negotiating release of Tamla-Motown records on their own mark throughout the world and continually adding to the roster of talent.
“But I never had the fear of the sound going out. It is not actually true that we have built a business on one actual sound — we have built it around a basic feeling, but at the same time we try to have a variety of sounds and styles. I think there is a big difference, for example, between Martha Reeves and the Vandellas and the Supremes.
“We are also diversifying. Just recently we signed Billy Eckstein and Tony Martin. The Supremes just recently had a country and western album out in America and I have just finished another LP with them, ‘There’s A Place For Us,’ which features all the big Broadway tunes, ‘Somewhere’ and ‘People,’ among them. But I would never get too far from the style (of music) we have become famous for because — well, we like it.”
Thirty-five-year-old Gordy believes a lot in goodwill and in London he seemed to spend a lot of more time looking after the welfare of his artists and their various relations than he devoted to business matters.
On the comparison British journalists have made between him and Brian Epstein, Gordy said, “Epstein is considered with tremendous regard throughout the world and though I feel our role is somewhat different, I think that it is both a favorable and flattering comparison.”
Gordy also stated he is not particularly keen on making a film deal for his Tamla-Motown artists but revealed he had the world sale rights of the TV spectacular they made for the Rediffusion at the start of their British trip. Gordy said he has had many offers to buy Tamla-Motown. “But the label means a lot more to us than just money — it’s hard to say what I might do some day. At present, I don’t intend to sell it.” END
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(Information and news source: Billboard; April 3, 1965)
A MOTOWN SNAPSHOT FLASHBACK: SMOKEY IN 1963!
