Broadcasting Telecasting (Jul-Sep 1959)

THE PROVIDENCE, RHODE ISLAND 42 (SPECIAL REPORT) a year to keep track of yesterday's music when really we're only concerned with today's and tomorrow's music," says Manager Irv Phillips. "We used to consult the listings in Billboard and Cash Box and do our own guessing. But this too was based largely on the past, on what people had bought. So now we go directly to the listener, through 'Voice Your Choice'." Record Makers as Sponsors? • Mr. Phillips contends this way gets results faster — that hit records sometimes reach the Top 10 on KDAY before they've made the Top 40 on some other stations relying on sales figures. KDAY, incidentally, is one of those stations that have tried to skirt the payola possibility by selling time outright to record companies and letting them program it with their releases. Mr. Phillips hasn't had much success on that score, but he thinks this is because he hasn't had much time to work on it. He still feels it would work if someone took the time to pitch it to major manufacturers. Hot Cities • What makes a hit is one question. Where hits are made is another, and on this it is possible to get somewhat more specific — though different — answers. One manufacturer says record companies are primarily interested in about 12 key markets "where about 85% of the business is done." He names the 12 (not necessarily in rank order) as Boston, New York, Philadelphia, Pittsburgh, Chicago, Cleveland, Detroit, Minneapolis, St. Louis, Los Angeles, San Francisco and Seattle. Secondary targets, he says, are in Texas, New York, the Carolinas and Georgia. Other record makers disagree. Several point out, for example, that "New York is notoriously not one of those markets where hits are made." Some insist that "key" markets change. There also are those who hold that in general— but always with exceptions — markets having 50-kw clear channel stations can usually be regarded as "key." In addition to restrictions imposed by music specialty, reliance on sales and other systems of selection, many stations also exert specific controls over the relationships between their people and record promoters. One such is KFWB Los Angeles. Last winter President Purcell sent to record promotion people a letter typical of attitudes expressed by many station executives. After thanking the promoters for "all that you have done in helping the station," the letter spelled out certain operating procedures for the mutual advantage of "both of our businesses": "1. As you are aware, our program department follows the policy of trying to give every record a fair, impartial hearing. Therefore, while personal con I tact is most agreeable, it is not necessary and lack of it will not depreciate the opportunity of a good record getting on our list. "2. In order that we both may function more efficiently, record promotion men must, like other visitors, be excluded from haphazardly wandering | into our operational area. They must remain in the lobby until the switchboard operator has contacted the per j son they are here to see, and then only go into the operational area by invitation of that specific person, complete their business with him and, like any other visitor, leave him to his already rapid-paced broadcast activities. "3. Mr. Bill Angell [assistant program director] is assigned the duty of receiving all records; and if the promotion man will contact him through the switchboard, he will make arrange , ments for receiving same. "4. Chuck Blore [program vp] cannot afford time away from more responsible duties to get into personal evaluation of individual records before they have been screened by Mr. Angel. "5. After 6 p.m. Monday through Friday, and on Saturday and Sunday, there will be no visitors allowed. . ." Record Jury • The records that KFWB plays are picked by two systems. The Top 40 are picked according to sales, the rest by a jury of deejays after Mr. Purcell and the music librarian have screened out about 75% of the some 200 sides KFWB gets each week. Many a station uses the same basic system, but the panelists vary. At WMCA New York, for example, station ownership and management, the program department, music librarian and talent all participate in the selection process. "We spend more time on this than j any one other thing," says Vice President-General Manager Stephen L. Labunski who also has introduced at WMCA a telephone-request poll as an additional guide. Some stations have a smaller "jury" and at many the deejays are given a free rein on some records. KMPC Los Angeles combines these methods. Program Director Bob Forward and the music librarian pick 15 tunes that are played in every four-hour segment for a week, three or four tunes an hour, leaving 10 or 11 releases up to the individual deejay. This, Mr. Forward explains, is designed to give the station continuity (through repetition of the 15 selected tunes) plus personality (as reflected in the choice of other records by the individual deejays). Along with the 15 must-plays the deejays also get a list of singles "you BROADCASTING, August 31, 1959 I