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Mr. Sponsor asks*..
Is there any TV program form that can (ill the place of radio's disk jockey?"
A. E. Reynolds
Vice-president in charge of sales The Barbasol Company, Indianapolis
The
Picked Panel
answers
Mr. Revnolds
There's no place for the disk jockey in television. Hard words, yes — hut there are also -nine soft words to follow. While TV can be ruled out as a new field of conquest for radio's record boys, it will in the Ion run. however, remove from the AM field big and costly network programs which are the jock's strongest competitors. Once they're off. the record spinner will find it much easier to get and keep even bigger audiences than lie now has.
There II always he a place for music on AM. but straight music on the video screen is usuallv deadly. Taking angle shots, training the camera on a trombone or on the rhythmic tapping of a drummer's toe, just has no \ isiial appeal. \s a matter of fact, shots like these put T\ hack at least five years.
I f he * smart, the average disk
jockrv will steer clear of television.
He s reall) onl) a figment oi the imaginal ion, an illusion, maj be even a Make Believe Ballroom. \\ hen the
camera hits him, the illusion is gone.
Music is meant to be listened to, not
looked at. Sight doesn't add to music — it detracts.
On television a music show needs more than music. It needs action. How can a disk jockey supply visual action on TV? What will he do — keep running around the studio while the record is spinning? That'll get tiresome.
The disk jockey, with his top ratings in radio, cant expect to slide over into TV doing the same thing and get those same ratings. It just isn't possible.
Martin Block
"Make Believe Ballroom"
WNEW, New York
It is my belief that there are several program formats h\ means of which the disk jockey will transfer from radio to the visual medium. Just as the disk jocke\. as of today, is indispensable to radio, so will he he to TV.
The disk jockey is a peculiar development in the sense that he was needed before he appeared. That need was naturall) fulfilled, and the result of that fulfillment gradually evolved into the present-day jock who bettei than anyone else represents his station
to the listening public. Is it not then reasonable to suppose that the same thing will occur in television? \ n < I isn i ii happening right now?
Most of the present T\ executive thinking in regard to disk jocks seem
to surround completely the mechanical device which made the jock, and vice versa, namely : the record. Executive thought seems to exclude the jock's real stock-in-trade . . . his ability to ad lib, which is of paramount importance to TV. How fortunate for the record jockey that he has been thoroughly trained to sell and entertain entirely ad lib. Is it possible that TV can pass by such a tremendously effective business-getter? I think not.
I don't believe that the TV jock will rely entirelv on records for his shows. Rather, he will use them sparingly and discriminated, introducing many different and diverse visual gimmicks in his shows. We have already seen some very successful jock shows on TV in New York and particularly in Chicago, if what I hear from that (enter is true.
Whatever visual show the jock uses, it will be that which not only fits his own personality but also one that he can best use to sell to his viewing audience his sponsor's products. It may be a picture gimmick, lighting. acts, or anything else that comes to his mind.
The disk jockey is a versatile and imaginative individual, and you can leave it to him to find that which will make him king-pin iii TV as he is now in radio. In other words, my belief is in the disk jockey as an individual, an entertainer, a salesman. and as the perfect representative of television to audience, sponsor, and the all-important auditor in the front office. His program format is bound to he subservient to his personality.
Stan Shaw
Stan Shaw Productions \cu ) "/I.
44
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