Photoplay (Jan-Jun 1959)

Record Details:

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another minute — and back under he goes. So now you know if you ever come into the office. Don’t be fooled by the person behind the welder’s mask. That’s only Franny. Dick’s under desk — thinking. About here we really should mention “the boys.” There are so many of them it would be impossible to mention them all by name. “The Boys,” as we like to think of them, represent different record companies and come in daily with new releases they want Dick to use on the show. Officially they are called “record distributors” but we call them “platter-pushers.” Among our favorites are two guys by the name of Harry Ascola of Columbia Records and Ted Kellem of Marnel. Just to show you what an understanding boss we’ve got — Harry and Ted once sent a note to him which arrived by messenger. This was most unusual because both of them are usually in the office every day, anyway. The note read: “Dear Dick: It’s not that we really mind lugging in a new batch of records day after day only to have your staff use them in a game of touch-football; nor did Ted really object to having his little toe almost bitten off by that alligator you’ve got running around; even the rattle of that snake doesn’t bother us very much anymore; and the fact we can’t hear a word Franny says behind that welder’s mask is not too important; but honestly, fellow, is it really necessary that we get down on our hands and knees and bark every time we want Tony or ‘Teti-Babe’ to listen to a new recording? Your friends, Harry and Ted.” Well, let us tell you Dick was pretty mad at us but, as we said before, he’s one of the most understanding bosses you could ask for and he saw both sides of the situation. It didn’t take him a minute to scribble a reply and send it off immediately to the boys by the same messenger. The boys were back the next day and it wasn’t long afterwards that we found out what The Boss had written. In his straight-forward and understanding way Dick had solved the problem in ten words. “No barking. The office is much too noisy already. Dick.” All in all it’s really not a bad job and we’ve got a lot to be thankful for. The hours are long, half the time we don’t get time enough to go out to lunch, the place is a madhouse, the phones ring constantly, there’s a steady stream of “platter-pushers,” visitors, and top brass, we’re always weeks behind on the correspondence, the packages that arrive daily are becoming more and more evil sounding, we have to step over strange bodies to get out every night and the building authorities are threatening to tear the place down because it’s illegal or unhealthy or something to have so many people in so small a space. But it’s a job and once you’ve worked for “Bandstand” you couldn’t work anyplace else. 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