\v ‘A. 3113:“ $31,114:; . 1 , ‘I'I ;U'_'.Y'llt€!1!'. , n- n- r m 2 .u-u n JJ' «1; . um I Apt. ma: ‘ . may: ‘ i ‘55!” 1 »{ r: #1131.” . . I V l I 1! , : (2.. , 1‘.“ , .. m???" 411:"' ..‘;. 1 1r. .rgvrr r -—.—re.. '1 N. u...“ 'M. y- T yr” U' A' 'y' I! '1 I," "V‘¢\l!l . 2‘1 :""‘"”_. ' fi"l\" V}. went: .-y-w.,-o' , "-51.2 V 1. ‘U'{, ILA}...- '. 1::7. r,,-,..-.‘.. - . {-1.- JrV'v . ;.-..—-:: I. , . ”31,33,” . .,_..:;,.,,:... . v .' . "vvvg'ry‘yv'v .lnw ;: "3“”.23'.“ - J (34" 7 . - ' .',' , Mg: ,. ‘ 4 _ , - ‘ . > . J; 31 ‘ .— Fifi?“- Nab—Pg. "as?" Jana" a..!,:r.." , . .n m.— w . ”river-"xv ' { -..,.. ...,.. an: F ; J1" .,,!.,. ..-..... ..,..,,~....--.mww 0153.”. Im<0 m0_>mww 03de a ._>Z_> ._>Z_> Em ._>Z_> >¢m>=mn mEDOI v ww.52=2 om $552.2 om mm.52=>_ on 1:02”.— 2002 - S? w H23m 52 SK - N. H23w _2< n - omno ”23$ $2 090 - o H23w nflanmrom wZO DOOEmm>> 20.00.2200 25.92“. .03 mmeEmZ 0.05”. o “.0 3 20092200 BEBE .08 may—HOSE...“ >mwm<0 z<0m mmemmOma mIH xm< ...OthOOEMHm/xE 58m?— 3 was; Aam\m\mv oasoonom eonmoum cooooflccwm I 22m: I mm manna 50 "Ask the Professor" is produced by the U of D Radio Network and features trivia questions and answers with University of Detroit faculty members. It is provided on a cash basis and is syndicated throughout the country. "Casey's Top 40" has been airing on WFMK for over three years, originally as "American Top 40." When Casey Kasem's program began syndication with Westwood One, WFMK remained with the host instead of the original syndicatoru Even though "Casey's Top 40" is geared toward Contemporary Hit Radio (CHR) and a younger demographic, Mark Bashore states WFMK saw it as an opportunity to pick up listeners on Sunday morning that might not otherwise be tempted to tune in to WFMK, just to get them to sample the radio station. Commenting on the scheduling of syndicated programs exclusively on Sundays, Bashore explains: People's listening habits are definitely different over the weekend. I think it's a time when people are obviously not in the Monday through Friday 9 - 5 groove. It's just natural for stations to experiment more on the weekend. It just makes more sense because there isn't that routine that people are into Monday through Friday. At the time of the interview, WFMK was actively searching for new programs to restructure their Sunday programming. \MKKP WKKP, a CBS news affiliate, did not run any syndicated programming when interviewed in February. (See Table 29). Since that time the station has changed call letters and.their approach, but has retained its basic AC format. 51 02_22w >Z< 62.223m ._.OZ >.._._.me¢30 min—mu. >¢m>=mn E02”.— Ownsnmlxom m0...<0_oz>m 56°C.. ".0 mi: 8 nos :22 "22.10... Ammov .2". fix: . 56:5 AHm\mH\mv oassonom smnmonm umomoflsqu 0am xoogomz I mess I am manna 52 WJIM-FM The Soft AC radio station in Lansing, WJIM-FM, runs no syndicated programs, but is serviced by a music syndicator. With advice from their consultants, Taddeo Communications in Chicago, WJIM-FM chose Century 21 Programming as their supplier of music. (See Table 30). Century 21 provides music for a variety of formats, and once a base library for a particular format is in place, updates of current songs are sent every two months. WJIM-FM uses the Selector database to determine the rotation of the music. Not all of the music programmed is supplied by Century 21 though. As Jack Robbins, Program Manager, explains: The consultant will advise us on music we should be playing for this particular format. Not all the music that we play, especially the current music and the recurrents are strictly from Century 21...We do tests in Lansing to find out what songs are popular and what songs are burning, what songs fit this particular area. Not all songs that come out on the charts, and have become popular, are right for Lansing or East Lansing. They may not be salable here. WJIM-FM purchases the music from Century 21 on a cash basis. The music is sent on compact disc, which was easier to implement than taped music, especially during their format change from Easy Listening to Soft AC. 53 196 00 - mDODZPZOO oz_s_s_¢w>3wn E625 Own—:nmtuw Shm >m>ij_2 HmOmEGJOG 55—8»... ".0 mi: AHm\HH\NV manomnom smnmonm omomoflocSm 0cm xnogomz I zmIanz I om manna 54 QONTEMPQRARY HIT RADIO The Contemporary Hit Radio (CHR) format is also heavily consulted. The target demographic is teens (12 - 17 year olds), but CHR stations also do well with 18 - 34 year olds. According to Billboard, CHR's overall format share in 1990 was 15.6%, and also received a 54.3% share of the teen listenership, and 22% of the 18 - 34 year old listenership. Syndicated features that reflect the all-hit nature of the format, such as 'American Top 40,‘ help attract listeners, but nonmusic features, such as sporting events, rarely are programmed."9 As the format dictates, there is a limited amount of space for syndicated programming on CHR stations. As a result, the competition among syndicators for clearance numbers is very high. “NM: WVIC, an AM-FM combination with 100% duplication between the two bands, is the CHR station in the Lansing - East Lansing area. In addition to the syndicated.programs that run on Sundays, WVIC also uses bits from the American Comedy Network during the morning; 'These bits vary in length from 60 - 90 seconds and are provided on a cash basis. (See Table 31). 5 5 19.6 Iw<0 awhmZ_> ._>Z_> DO ._>Z_> ._>Z_> >Em2=fin mOZOOww om woZOOmm 8 meOI v «SCI F wtm .EOIw :thmA 32$. .35 m n23w $33 .55 m H23w SE F- 520 H23m S_>m=>mmd 0200mm >._.x_w .1... onme >._.x_w sow—2 DO mZO oOOEww>> mesz >om200 Z<0_mw_2< COF_< oak I 0.25 >>w_>mmd 0200mm EE .m... 0200mm E5 ow d0._. >._v_ww>> wwmo XOR 05$”. MI... 20 vEO>>._.mz >om§OO z<0_mm_2< E<¢GO¢mmOm=§;- Aam\¢\mv manomnom Ecuaoum UTDMOHochm 0:0 xuozuoz I UH>3 I am magma 56 Syndicated comedy--the stuff that peps up some local morning shows--has traditionally been a cash business." During the past few'years, however, syndicated comedy has been becoming available more and more on a barter basis. For example, Olympia Networks, ProMedia, Inc., and All Star Radio are a few of the comedy syndicators that offer bits on a barter basis. WVIC airs Westwood. One's "On The Radio," a. music- intensive show featuring interviews with different artists, on Sunday mornings from 8 - 9 anm. "Rick Dees Weekly Top 40" follows from 9 a.m. - 1 p.m. Formerly syndicated by Unistar Radio Networks, Rick Dees formed his own company, called CD Media, near the beginning of this year. Kevin Robinson, WVIC Program Director, considers "Rick Dees Weekly Top 40" to be: a good chance to expose what the national charts are showing. We do our own homegrown countdown on Sunday nights from 9 to midnight. It's a top 30, and it's exactly our playlist...one is a national picture and one is a local picture. During the local countdown show, WVIC also airs "Sixty Second L.P." and "Sixty Second Preview," both produced and hosted by Jeff Craig. Kevin Robinson comments on syndication: We have to stick with something that's cohesive to our format...I really think syndicated programs are guilty until proven innocent. They have to sell me well enough. It has to be something pretty special to break away from regular programming. 5 7 ALBUM-ORIENTED ROCK There are four radio stations in the Lansing - East Lansing area under the broad category of AOR. An interview could not be arranged with the only general AOR station in the area, WJXQ. WMMQ is the Classic Rock station, and WDBM and WLFT are both student-run radio stations at Michigan State University that follow the Modern/Progressive Rock format. The Album—Oriented Rock format grew out of progressive rock programming during the late 19605, and its success is due partly to its solution to the repetitiveness of the Top 40 format. AOR stations are predominantly found on the FM band. The third most popular format, it has a 13.2% share of formats and targets 18 - 34 year olds, specifically men. The Classic Rock audience tends to be somewhat older, while the Modern/Progressive Rock audience tends to be somewhat younger. The AOR format utilizes special programs more than most other contemporary music formats. This special programming ranges from short drop—in type material to full weekend specials. ‘WMMQ WMMQ was one of the first stations in the United States to use the Classic Rock format, originally designed by consultant Fred Jacobs. They have affiliation agreements with both CBS Radio Networks and The Source, which is owned by NBC Radio Networks. WMMQ schedules six syndicated programs. (See Table 32). 8 5 Iw<0 mmhmZ_> 4>Z_> >¢m>=mn mnox_ 2> OZ_._.mm 200m 059:0 ”mks—mou— amo .omzfiomaomv .2". hum . 0.2.23 «501 O>OIw m>_._ m1.— szmZ> >>OIw NN<_.. m1... x0m can xnozumz I 0223 I mm manna 59 The Sunday morning line-up includes "Lost Lennon Tapes" from Westwood One, "Flashback" from ABC Radio Networks, and "The Jazz Show With David Sanborn" from Media America. As Program Director, John David Buchanan explains: It's hard to find a good announcer at that time, so you can always get a high school student or a college student in to just run the board and they don't have to talk, they just run something that has a professional announcer on it. So the station sounds good at a time when it might not if you had that high school or college student on...And also, it helps to slow down the music rotation. We go for five hours on Sunday morning with, as we say in the business, canned programming, and that's just five hours of music that we don't have to schedule. And five hours of music that just doesn't show up, and that tends to rest the format. "Flashback” recently“ became syndicated by' ABC Radio Networks, but is still produced by Radio Today Entertainment, who originally syndicated the show as well. "The Jazz Show With David Sanborn", previously produced and syndicated by Westwood One, is now syndicated by Media America, but is still produced by Westwood One producer Andy Denemark. The AOR format can support programs that differ from regular programming. As John David Buchanan explains, certain programming can focus on a target audience. WMMQ targets its programming towards male listeners. The majority of our listeners are male, about 75%. So we have programming that seems to skew males. We have two shows, one's local, one's syndicated. The syndicated is the David Sanborn show, the other is our blues program on Sunday nights...Programs like that tend to skew men. There are two programs aired on WMMQ that feature a specific artist or group. "Lost Lennon Tapes" features material from 60 newly discovered recordings by John Lennon, including jam sessions, demos, and in-studio conversations. "The Grateful Dead Hour," scheduled Mondays from 11 p.m. to midnight, is produced by the Grateful Dead themselves and distributed by Truth and Fun, located in Oakland, California. Buchanan relates the problem this type of special program can create: If you devote an hour or two, or even 12 hours to one particular artist, you're eliminating people who don't like that artist. As far as, for example, the "Lost Lennon Tapes" is concerned, you're talking about a Beatle, and the Beatles are probably the number one artist in any type of oldies format. WMMQ devotes two categories in their rotation exclusively for music by the Beatles. In terms of scheduling a show focusing on the Grateful Dead, Buchanan notes: There's deadheads all over the place, and there's quite a few of them in Lansing, and the fact that we run the program and we do play Grateful Dead music in the format, it ties in and the show does well. Airing on Sunday nights at midnight is "The Live Show," a one-hour program featuring a variety of artists, about 80% of which are classic rock artists, recorded live in concert. This was added since it tended to help reinforce the fact that we are Lansing's exclusive concert station, as we call ourselves. The final syndicated program on WMMQ is the short-form "Rock Quiz" from MJI Broadcasting, featuring trivia questions and giveaways. Buchanan also points out the variety of one-time or limited-run specials that WMMQ receives from syndicators: 61 When the holidays or certain events come up, these people are looking at ways to make a buck. Like if they can secure the rights to a program like "The Grammys," like MJI did. 4th of July we had a program called "Born in the USA," just 12 hours of rock and roll, most of it classic, that had its roots in America. So any type of angle they can find, they'll hop on it. Many of the syndicated programs available can work on both general AOR and Classic Rock radio stations. As long as the majority of the artists featured, as with "The Live Show," are classic rock, the program will fit well with other programming. Global Satellite Network's "Rockline," a live call-in show, previously ran on WMMQ. After the focus of the show changed from classic artists to new and up and coming artists, "Rockline" moved to the general AOR station in the Lansing market, WJXQ. WDBM and WLFT WDBM and WLFT, the two student-run stations at Michigan State University, both have Modern/Progressive Rock formats. The two stations are distinguished by calling WDBM a Progressive AOR station and WLFT an Alternative AOR station. There are commercial radio stations in the United States that fOlIOW’a Modern/Progressive Rock format, but the majority are noncommercial college radio stations. WDBM is a 2,000 watt station heard throughout the Lansing'area, while‘WLFT‘is found on United Cable Television's Cable FM system at 103.7. Both stations are housed in the same building and share many staff members. WDBM runs one syndicated program. (See Table 33). 62 mum“. a Do >mm>=mo ”501 F 2n. or - 0 HS. me>>._.mZ O_Om 518cm "5 mi: :3 mammmmooma ”E220”. Ahzmozmamoze .2". 0.8 . Ema; Afim\mm\fiv manomnom eaoooom cmpmoeoqsm I smog I mm 62569 63 WDBM airs CMJ Radio Network's "TDK New Music Report" Mondays from 9 - 10 p.m. As a subscriber to College Music Journal (CMJ), WDBM was approached to air the program. Even though there is a variety of syndicated programs targeted at this format, college stations are not as actively pursued as their commercial counterparts. Funding for these programs are often through sponsorship, as is the case with "TDK New Music Report." As Dawn Paepke, Program Director at WDBM explains, they gear the show towards non-commercial stations, so TDK is only mentioned a couple of times. WLFT's only syndicated program is also sponsored. It is called "Maxwell House Coffee House Sessions," and airs Thursdays from 10 - 11 p.m. (See Table 34). Sponsored by Maxwell House, it is syndicated by Track Marketing Associates, Ltd. "TDK New Music Report" is a one-hour program featuring interviews and music from new music artists and groups. Also included weekly is a guest DJ spot and a featured unsigned band. One advantage of running a syndicated program is the addition of content not readily available to local stations. "TDK New Music Report" enhances the overall programming of WDBM since, as Dawn Paepke recognizes, it goes a little more in-depth than what we can do because we can't easily call Bob Mould, for example, on the phone and have him do an interview with us. 64 mmmm min—m... GO EDOI — SE S - OF ”mmDIH mm._.<_00wm< OZ_Exm¢m>=mo E62”.— DNISOMIIOm SERGE—Em mo< m>fi>x.> Adm sz2w0>I.mZ m>>wz Z<0_IO_S. OZEEEOOEE v...<... Om< n. DOEO Fm<00<0mm wIE. .9... .mZOEIODOOmn. <_Dw.2 m..0>mz Z<0_IO.S. EOPm 5,3952 "E220“. .0mz. S—< OQNF I 55.3 >>OIm 02.x >193 wIF maul). I..wz m2<.I_I.=S wODmm ...O...I.m >ZZOw 1.23 (SE... ".0 >me>OIm IOD>Omm >0.I .mo I O.D ZO Z_.FI.<_2 om_ imam Z0mxaoE “.0 m0_o> 220: 000 OF 20m ..ono. 52 SS . 2.22 02.x E0 ...mmm mIF ...m<00 O... ...m<00 m<...w00 ...EEwoOzw ...EISE >OmIEOmE ".0 m0.0> EDOI 000 OF x0>OIm ZOZZmmm_. o<0m MI... 20 <0Em§< @300“. Z<0EmS.< 360mm “.0 mi: .Fm\FF\m. masconom sapwood coomofloawm 0cm xnosomz I 2¢I2Hn3 I ..Fcoo. mm manna 71 Included in WJIM-AM's syndication schedule is the controversial "Rush Limbaugh Show" from EFM‘Media.Management, syndicated to more than 300 stations around the country. In only three years, Limbaugh has become one of the most talked about and popular radio talk show hosts in the country, despite allegations that his conservative beliefs and outspoken nature are offensive to many minority groups. On February 22, 1991, an interview with Rush Limbaugh aired on WXYZ-TV Detroit's "Bonds On...Bad Boys." Limbaugh defended his controversial style: I don't deny what I do has to have schtick and show biz to it, but I'm not really acting. I'm not anything other than myself. I do not do anything to make people mad. II don't try to be controversial. Robbins feels there is an adequate quantity of programs available, network and syndicated, but the quality is where the problem lies. They're just poorly produced. We have talent that's on the networks that we're not that pleased with. We don't carry every show that's on the network because some of them, just frankly, aren't that good. So we're constantly searching for good programming. We have on this radio station some of the highest rated nationally broadcast radio networks and shows on. Fortunately for us there's no other (commercial) News/Talk radio station in the market. Had there been, it might have been very difficult. Because of the unstable nature of the industry and economic hard times, syndicators frequently go out of business. This leaves stations in need of new programming to fill holes in their schedules. They are approached by the networks and 72 syndicators offering programs on a regular basis. Especially on News/Talk formats, there is a need to continually re- evaluate the programs. As Jack Robbins explains: We are constantly relooking at our clocks, maybe we should take this feature out and put another feature in and so forth” 0n. News/Talk radio stations, the turnover's very quick. I mean there's 15 minutes in their car and then they're gone. So we try to get the best programming in that quarter hour that we can probably find. Sporting events are also broadcast throughout the yearcnn WJIM-AM, including Tiger baseball, Lions football, and Notre Dame football. Mutual Broadcasting System provides the Notre Dame football games on a barter basis, the customary arrangement for network supplied sports. The independent sports networks that carry the Detroit Tigers and Lions games charge for the rights to the games in addition to the barter commercials within the broadcasts. Most independent sports networks offer their programming in this manner, and the time that remains for local advertising compensates for the cost of the rights. WKAR-AM WKAR-AM is one of the public radio stations at Michigan State University, and is affiliated with both National Public Radio (NPR) and American Public Radio (APR). Broadcasting during the daytime only, the programming is divided evenly between news and talk. Similar to comments by Jack Robbins, WKAR-AM's Program Manager and News Director, Curt Gilleo, has 73 misgivings about the quality of the programming available. There's a tremendous variety. A lot of it, to be honest, is not great. And it wasn't easy putting together an all News and Talk station all week long with what's available. The majority of the 17 network and syndicated programs airing on WKAR-AM are from NPR and APR. (See Table 36.) National Public Radio was founded under the Corporation for Public Broadcasting4to provide non- commerCial programming nationally. NPR uplinks 24 hours a day, with repeats of some of the more acclaimed programming, such as "Morning Edition." Programming from APR, including "Monitor Radio" and "BBC Outlook," is also received over the satellite. The affiliation agreements with NPR and APR involve membership dues, which vary from station to station, and additional fees for many of the programs. WKAR-AM also receives four programs from independent syndicators free of charge. All of the network and syndicated programming is received via digital satellite and recorded for tape delay broadcasting. WKAR-AM and FM are housed in the same building and share satellite receiving facilities. The two stations can record off the satellite from tenIchannels simultaneously. vEO>>IFmZ xm0>>IFmZ vEOEmZ 5&0)?sz vEO>>EZ me>>FmZ vEO>>Isz vEO>>hmZ meEmz meEmZ xm0>>IFmZ vEO>>IFwZ 4 7 2103.52 vEO>>IEZ vEO>>I_Iwz xm0>>hwz vEO>>I_.mZ vEO>>._.wZ vEO>>I_.mZ a .F¢m>fimzu $501 M $5.32.: on mw.52_S_ on ””50: F mDOI F mmDOI N 9501 N ”501 F wMISZ=2 OF «501 F ”501 F 852.: 8 852.2 8 moor? maoxw manor 3 F maozw moor. manor 3 N E02”.— 2002 I .2< m H23$ SE m I 83‘ F> GEE OZQE Z<0Ew2< O_om $2.210: ><023w FZEEOZDOw wZONEOI mnbo wwme I_szS_ OZDOw ZOEOM ozmxwwg mofidhmxmfiz m_< Iwwmm xOOAFDO 0mm 9501 VN 0mm 05$”. mOIEZOS. ZOEom OZ_ZmOS_ szzfiunzrumfivmszas Afim\mm\mv masumnom emuooum umpmoencFm van xuozumz I 2>I_.mZ mum". wfimMH .qu I_<.F_0_n_ .FEw>=fin ww.52_S_ om ww.52_S_ on «501 F mm._.Dz_S_ om mm.52_S_ on :Psz4 SE 0 I omnm "23w SE omum I m U23w SE v I m ”2qu SE m I CNN u23m SE 09.0. I N U23w Dmdaomzom Ezoov 52 oh. I 522, 0S_<>> OS_<>> OmOx 05$”. 03de .._> COF>0Iw ._.ZmS_ZOm=>Zw mIF >>OIw IIFI_>ZOS_S_OO mommm 9.53.". vEO>>FwZ vEO>>I_.wZ vEO>>._IwZ vEO>>I_.wZ vEO>>I_.mz «Ila—d wI—I_I_I_w._.3 th_I_m._I_.._ Id>z_> I_>z_> mthwF3 m._._ij._.j >¢m>=mo $20... Q P F 5202 < $020 2.50% is. $2,... $30.. Q. P s... 8.9 - 2.. on... ”23.0. FzmzzzEszm o._<$s.m $30: .. s... o - s... .... .230 $203sz 0.9». 09.. $522,. 8 2.. o - 52 8mm .28 20592200 35.9». .03 $52.2 e 2002 N. .20 $52.2 ... s.< on... Ea $522,. w 2.. 8... H”. - s. $52.2 9 2002 S u”. - s. $52.2 m 2... 85 m - .2 $203sz 05$. 09.. £02m.— oflaomzom 8.50525 >Ez=00 #5220". Aom<0 S...— FdOF Dz< S_< 9.0—. I I_._._>> mZ_I._>m._IZDOO m>3 mI_I__>Im>OQIFZDOO >EIFZDOO Z<0EmS_< wQmFZDOO >m>m02 m...» 20 $52. :25 $52.2 N 2< 82 ..E - 202 $203sz 055. $229... $202.: :22, $20.... NE 20 $E205... 205m $2.5 $2: $202.53 $52.2 N> P 2< 8N ..E . 202 $203sz 0.9». $952.. $29.5 mozmSo m...» $220 $2 $52.2 N> F 2< 80 ..E - 202 055.055. $0 2> .HN\HN\NV wasnwnom ewumoum 0mgmoa0¢2m I quz I mm magma 82 The only long-form program, "On the Move with Tom Joyner" provided by CBS RadioRadio, airs Sundays from 11 a.m. until 2 p.m. The remaining programs are short-form features that air weekday mornings. Premiere Radio Networks' "The Cla'ence Update" is a humorous update of the television soap opera "The Young and.the Restless." .Also from.Premiere Radio Networks is "On the Phone with Ti-rone," two minutes of advice from letters and phone calls received from the listeners. There ‘were also two short-form. limited-run specials scheduled for Black History Month: "Remembering the Dream" from CBS RadioRadio and "Black History Notes" from SI Communications. WMLA WXLA, a daytime-only AM station, airs one syndicated program. (See Table 39). "RadioScope Daily Edition" from Bailey Broadcasting Services, is an "infotainment" feature on Urban Contemporary music and film news. The five-minute feature is scheduled three times a day, scattered throughout the different dayparts. 83 mm.E¢m>=wn mm.52=2 m >I=mI=I:m 38:2. ...—0 mg $220.2sz8 2.32: .2220“. .Fzmozmamoze 53 cm: I 555 .Fm\m\ev mascmnom emuooum owumoflccam I quz I am magma 84 EASY LISTENING The Easy Listening (EL) format, targeted at 25 - 54 year olds, is extremely music-based. There is very little talk, from either DJ '8 or newscasters, and virtually no sports coverage. ‘Used primarily as background music, many people are exposed to Easy Listening stations while in offices and retail establishments. Often automated, these stations are relatively inexpensive to operate due to the fact that live assist operator salaries tend to be lower than announcer salaries and fewer employees are needed. Easy Listening radio stations tend to adhere closely to their music-based format. For this reason, features are rare and very few EL outlets air talk or sports programs. Compatible music features are the exception. For instance, programs such as "Sunday with Sinatra" or "Evening with the Pops" would not alienate fans.16 As a general rule, Easy Listening stations do not air special features, either locally-produced or syndicated. Even though WJIM-FM now calls its format Soft Adult Contemporary instead of Easy Listening, programming closely resembles that of an Easy Listening station. 85 fiflfliflffllil An outgrowth of Top 40, the Solid Gold format features Top 40 hits from the past. Also called "Oldies," this format targets 25 - 54 year olds and is especially well-received with women. Often automated, these stations are inexpensive to operate. Features that reflect the mood of the early rock and roll era, often produced with a fun party atmosphere in mind, are common on Solid Gold stations. VWBM WIBM, based in Jackson, is the Oldies station in the Lansing - East Lansing market. Similar to WITL, there is 100% duplication between the AM and the FM except when the AM breaks away from regular programming to broadcast live sports. The three network and syndicated programs running on WIBM all feature Solid Gold music. (See Table 40). As Program Director Dwayne Carver points out: Our slogan ID is "all oldies, all the time," so obviously if we played currents we would lie. We would have an incredible credibility problem at that point. Through their affiliation with Unistar Radio Networks, WIBM receives "Solid Gold Scrapbook" and "Dick Clark's Rock, Roll & Remember." "Solid Gold Scrapbook" airs weekdays from 2 - 3 a.m., but the program is designed to also run in a five- hour block. 86 VEO>>Isz mm...m>I_.m2 mlimImHI I_>Z_> whip—kw w>j I2>Z_> % mmDOI v meOI m ”"501 F E625 2002 I S? w H23m S_< NF I SE F F>FwZ 05$". m<._.w_23 mZO DOO>>IFww>> mvEO>>Isz O_OW SE F60 Dz< S_< one—I I 5525 mmmSESEm w .39”. .xOOm $2150 205 >>0Im ww_QI_O 0.206 .ZEOOE xOOmEEOm 0406 030m 25.—602E "5 m5: .HN\NH\N. wasuwnom schoonm 0wuwoaucFm 0cm xhozumz I 2mH3 I ow magma 87 "Dick Clark's Rocky Roll & Remember" airs Sunday'mornings from 8 a.m. until noon. As Carver explains: A lot of people still run their public service programming at that time. So we put a little heavier hitter in at that time. If they're not running that, they're running the less than excellent part-time talent they have during Sunday mornings. So it's an advantage. Unistar Radio Networks was born August 17, 1989 with the merger of the Transtar Radio Network and United Stations. Dick Clark was an original co-founder of United Stations, created in 1981. When interviewed on February 19th, 1991, WIBM was airing "Rockin' Gold Oldies Show," hosted by Dan Taylor, on Saturday nights from 7 p.m. to midnight. "Dick Bartley's Original Rock & Roll Oldies Show" had been running the last few years during that time slot, but Bartley did not renew his three-year contract at the beginning of February. Instead, he left Westwood One Radio Networks to establish new distribution for his show. Westwood One Radio Networks, in turn, substituted Dan Taylor's "Rockin' Gold Oldies Show." Dwayne Carver planned to give Westwood One their 30-day notice for the show after Dick Bartley had found a new distribution system. Bartley has since signed with ABC Radio Networks and has restructured his "Original Rock & Roll Oldies Show" into "Rock And Roll's Greatest Hits," which debuted May 4, 1991. The all-request, four-hour gold show is the first livelregularly scheduled music program produced by ABC. 88 "Dick.Bartley's Original Rock & Roll Oldies Show" had received its third consecutive Billboard "Network or Syndicated.Weekly National Music Program of the Year" award in the Adult category in 1990. It had also been very successful for WIBM, achieving a #1 rating in the market on Saturday nights for their target demographic. The quantity of programs aimed at Oldies radio stations is abundant. As Dwayne Carver recalls, that became glaringly apparent when Bartley left, because every syndicator‘ that had, any' type of Oldies show just inundated me with phone calls. Carver also feels that many of the Oldies shows available are very well-produced but that WIBM's syndication schedule is already sufficient. In addition to those syndicated programs already airing, one-time specials are occasionally scheduled. The live sports aired on WIBM-AM include Michigan State University basketball and football which is uplinked through Great Lakes Radio Network. The AM also broadcasts live stock car racing from the Motor Racing Network. As with other independent sports networks, fees for the rights to the coverage are charged in addition to airing barter commercials within the broadcasts. 89 MIDDLE OF THE ROAD Middle of the Road (MOR) is the earliest individual format and targets 25 - 54 year olds but is most popular with listeners 35 years and older. Found mainly on the AM band, MOR stations have a very high emphasis on news and sports and receive particularly high ratings during the morning and afternoon drive times. The announcers are very personality- oriented. Because of the high costs of operations, partly due to the expenses incurred in obtaining quality air personalities, MOR stations are usually found in the large markets. There are currently no MOR stations in the Lansing - East Lansing market. FOREIGN There are a variety of Foreign formats in the United States, each representing a different ethnic group. The style presented, often resembling other formats, depends on the language used and the location of the individual station. Largely involved with the local community, the target audience will vary from one station to the next. Spanish is the most common of the Foreign formats. Usually found on the AM band, Foreign radio stations are most prevalent in the South and West. The operating costs for stations targeted at specific ethnic groups can be high. 90 Finding experienced on-air talent can create a problem, so in-house 'training’ sometimes is necessary. Costs involved in acquiring program material suitable for' an. Ethnic format can. be substantial, too.18 The success of Foreign stations will depend largely on a sufficient audience base. IDue to a lack of high concentration of any specific ethnic group, there are no Foreign radio stations in the Lansing - East Lansing area. RELIGIOUS Religious radio stations range from a traditional "fire and brimstone" approach to a more contemporary approach. The music and talk programs featured depend on the approach taken. Usually network affiliated, the Religious stations are found on both AM and FM. Obtaining a very loyal audience, stations receive large support from their listeners. Targeted at 18 - 65 year olds, the audience tends to be older and is especially well-received by the elderly. WUNN WUNN, a daytime-only' AM station, calls it's format "Christian/Inspirational. " WUNN is a Family Life Radio member and is also affiliated with the Moody Broadcasting Network. Family Life Radio is a seven station network with affiliates in Arizona and New Mexico in addition to Michigan. The seven stations are actually owned and operated by Family Life Radio, whose corporate offices are located in Tucson, Arizona. 91 WUNN receives the majority of its funding from the listeners. Even though the audience tends to be more loyal than most other stations in the market, Station Manager David Phelps indicates it's probably not as true as it was. There was a time when our listeners, for the most part, would only listen to us as a radio station. They would pick up TV news, but as far as radio goes this was about it, except for maybe a Tigers game or something like that. I'd say probably the listeners we have now are a little more prone to check and see what's on other stations as well. Once a year, WUNN sets aside regular programming for three days to pledge support from their listeners. WUNN also receives funding from program producers and syndicators. Unlike the transactions involved with commercial programming, a number of syndicators paleeligious stations to air certain programs. Another type of transaction unique to WUNN in the Lansing - East Lansing market is shared income. In a shared income situation listeners are requested to contribute to the programming, and the syndicator in turn shares this income with the affiliated stations. The amount distributed to the individual stations depends on the listenership. As David Phelps explains: That way if they aren't getting much support from this area, then number one they would probably begin evaluating it anyway, but also they aren't having to turn around and send a lot of money to this station if they aren't getting much income from this station. The majority of the network and syndicated programs are available to stations free of charge. 92 To cut down on operating expenses, WUNN picks up their weekend and evening programming from another Family Life Radio member, WUFN, located in Albion, Michigan. Through a broadcast-quality receiver, WUFN's fixed signal is broadcast by remote over WUNN. WUNN then operates with only one part- time and two full-time announcers. There are 36 network and syndicated programs airing on WUNN, more than any other station in the market. (See Table 41). The majority of the programs are supplied through independent syndicators. There are an abundant number of programs available to Religious radio stations, evident.by the vast listings in the National Religious Broadcasters Yearbook. Since WUNN is owned and operated by Family Life Radio, David Phelps states that many syndicated programming suggestions are provided by the corporate offices. What they usually do to help us out at the local level is they'll listen to a program and give us an idea of whether it is something that would be appropriate for Family Life Radio. We have a statement of faith, for example, which kind of lists some basic religious guidelines, and so a program that, even though it's a religious program, wouldn't match up necessarily with what we have as a statement of faith, then we wouldn't air that program. So our office saves us a little time. Even though special programming is not scheduled often on WUNN, they occasionally do air specials, particularly around Christmas and Easter. 93 vE0>>IrmZ vE0>>._IwZ vE0>>._Imz w_2002_ owm>IFmZ mum". mS_002_ omm>I_.wZ mum". mmmu. 632E 22. 22. 2.2. wF_I_I_m._.mm>5mn mwFDZ_S_ oF mw.52_S_ om mm.52=2 ON mm.52=2 on mwFDZE‘ m mm.52_S_ 9 meDZ__)_ m wmzbz=2 mF waDZ=2 0F waDZ=2 mF ww.52=2 mc mmFDZ=2 om. ww.52_S_ oF ww.52_S_ m mm.52_S_ m E625 SE ONHNF HEu. I 20S. 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F mm....32.S. om mm...32_S. mm mm...32.S. om wa32_S. on $00... N\. F wa32.S. mF mm...32=2 m E625 SE m I on... H23m SE 0 I N u23w SE mm; I F H230 2002 I S.< FF H23$ S.< FF I 8qu 23m S.< 3.0 I a 23m 24. m I 090 u23m .>.< m I omnF u23w SE F I omum ”I..I._S.0< $000OOS. MIIF 02_.Fw<00<0¢m >000S. 0.05”. ME... >I...20< m00I..S.m ...onov 2< S: - 220.5 0m..v.0<0 >nE> E30... E.IwEO>> >000S. whzmmmmE >000S. E.Imm0>> 0... I.I.<0 E301 meE m.2w¢0..=..0 «.30... E.Iwm0>> m0.I. EOE >00I.010>mE mm.2_... mIF E0 w0230m 3602.— E0 w; .Hm\e\m. masumnom 2600000 060800002m 008 2003062 I 2203 I 2.0006. 0¢ magma 96 There have been some changes in the quality of Religious programming lately. As Phelps reflects: It used to be that Religious broadcasting was kind of a joke in everybody's eyes. People who listened to it would accept a lot of mistakes, maybe because it's almost like 'I go to my church and if something happens at church, I still may be loyal to my church.‘ Programs that are available to us have gone up in quality the last few years in particular. We want to make sure that what we have available is, quality-wise, comparable to what's available in the secular market. The content's a lot different, but quality should be similar. So that's kind of been a goal that we've had, and I see trends in that way now. There have also been.improvements in the range of content for Religious programs. For example, Moody Broadcasting Network now provides a sports talk show produced by Christians. These changes indicate a new age for Religious broadcasting. FINE ARTS With the smallest national format share (only 1.8%), the Fine Arts format concentrates on classical music but often includes jazz and new age music. The format is divided between public and commercial stations, with the commercial stations limited to the large markets. Targeted at 25 - 54 year olds, the Fine Arts audience is highly educated. There is also elaborate news coverage on Fine Arts stations. Features are a popular ingredient of classical programming. Live music programs originating from distant symphony halls, as well as from station studios, round out the air schedules at most Classical outlets.19 97 WKAR-FM Licensed to Michigan State University, WKAR-FM is the Classical radio station in the Lansing area. There are 14 network and syndicated programs currently airing on WKAR-FM. (See Table 42). They receive nine of these programs through their affiliation with either National Public Radio (NPR) or American Public Radio (APR). WKAR-FM also receives two programs from WFMT Fine Arts Network. Though a Classical radio station in its home city of Chicago, WFMT has a national presence due to its two network services: WFMT Fine Arts Network and Beethoven Satellite Network. There are no fees in becoming an affiliate, but stations must pay for the rights to individual programs. Program cost varies depending on expenses and the degree to which WFMT has found corporate underwriters for the show.20 In addition, there are three programs provided by independent syndicators. Included in the network and syndicated line-up is NPR's critically acclaimed "All Things Considered" and APR's "Echoes," which is described in the WKAR Radio Guide as a radio soundscape with evocative modern music and feature interviews. To keep WKAR-FM on the air 24 hours a day, "Music Through the Night" from American Public Radio is scheduled daily from midnight to 6 a.m. This is one of the few arts programs that is paid for. 98 x00>>hmz meEZ 10<0 $.03sz meZCMZ xmozcmz mum". 10<0 10<0 mum... 0mm". 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Z<0_mm.2< 0.05”. 0303.”. 2<0.mwS.< (mmmo Z<._..I.0E0¢..IMS. w0<>>>IE2 0...m< wZE FSE>> 0.05; 03031 Z<0_mm.2< 0.05”. 0.I_m3n. Z<0EmS.< 0.00IEO>> n.0n.0¢u.< x00¢2<10 02< w....0.1.~ m1» mm4n=2<0 v30“. m1h v...<... m<0 25022 <>.0<1>> >2_._.0mn. 0.03.). <22w.> («...—001000 >201n=2>0 b.0500 00010w #102 01... 103001... 0.03.2 0wmm0_0200 002.1... I.I.< 20...._0w 02.2002 s:=&00xr—mfivms=:‘ .Fo\om\~v wasvmnom emumoum ompmofluaSm can xuozumz I zmIm4s3 I ma mange 99 As Hal Prentice, Program Manager for WKAR-FM, explains: Some programs are inordinately expensive, far more than we make back on them. So we look at those to see whether it's really worth continuing. We look at the way they do around fundraising time, how people pledge around them, and.Whether they seem to be an asset to the station. The programs usually paid for are outside of the classical music category, such as "Car Talk" and "The Folk Sampler." These programs are scheduled with hopes of increasing their audience, and in turn increasing more funding from their audience. Even though the quality of the programs available is sometimes inadequate, Hal Prentice points out that the quantity is excessive: Everyone's trying to sell us programs. And there's 13 channels on the satellite. They're almost all filled 24 hours a day with programming. You figure out how much programming that is. There's a lot of programs out there, you can't possibly fit them all in. You're not even on the air long enough during the week to do it. WKAR-FM airs less syndication as other Classical music stations, especially in terms of concerts. And as a more conservative station they wait and see hOW' programs do on other' public stations and then see if we can fit it in to our schedule. "Whad'ya Know?," "Car Talk," "Thistle and Shamrock," and "AfroPop ‘Worldwide" were all added after' they' had. been successful on other stations. To facilitate better programming for public radio, Hal Prentice reports that representatives from a group of stations 100 conduct what they call "user group meetings." They sort of evaluate the programs, tell what they like, don't like, how they think it can be improved. That sort of thing. It's not sanctioned by the producer, necessarily. After a "user group meeting," evaluations are passed on to the producers of the programs. PROGRAMMING SUMMARY A varied amount of syndicated programming is utilized by Lansing radio stations, especially when examined between the separate formats found. As expected, 14 of the 15 stations (93%) included in the test market study were running some form of syndication at the time of the interview. Also, nine of the 15 stations (60%) are network affiliated. The amount of network and syndicated programming used by these stations ranges from one to 36 programs weekly. In addition to the short- and long-form programs found in the Lansing market, WJIM-FM is serviced full-time by a music syndicatoru Table 43 illustrates the format and amount of network and syndicated programs used by the remaining Lansing radio stations. 101 Table 43 - Number of Syndicated Programs on Test Stations CALL LETTERS FORMAT f OF SYNDICATED PRQQRAMS WUNN-AM Christian/Inspirational 36 WJIM-AM News/Talk 27 WKAR-AM News/Talk 17 WKAR-FM Classical 14 WMMQ-FM Classic Rock 6 WITL-AM/FM Country 5 WILS-AM Urban Contemporary 5 WVIC-AM/FM CHR 5 WFMK-FM Adult Contemporary 4 WIBM-AM/FM Oldies 3 WXLA-AM Urban Contemporary 1 WDBM-FM Progressive AOR 1 WLFT-Cable Alternative AOR 1 WKKP-FM Adult Top 40 0 There is a clear split between the types of radio stations that utilize network and syndicated programming for a major part of their format and those that use network and syndicated programming to enhance their existing format. The formats that have a greater extent of talk programming are more likely to use outside productions. As an example of most Religious stations, WUNN leads the market in network and syndicated programming with 36 programs scheduled throughout the week. The two News/Talk stations in the market, WJIM-AM and WKAR-AM, also carry an extensive amount of network and syndicated programming' with 27 and 17 programs weekly, respectively. With a similar audience as the News/Talk stations, WKAR-FM schedules 14 programs during the week, many of which are talk-based. These four stations alone carry 94 (or 75%) of the 125 network syndicated programs airing in the Lansing market. 102 The additional 31 programs (25%) air on the 10 remaining Lansing - East Lansing radio stations, divided between 0 and 6 programs each week. These stations represent the various popular music formats and use a limited amount of network and syndicated programs to enhance their regular programming. The majority of the syndicated programs airing in the test market are long-form programs. Excluding "Marketplace" on ‘WKAR-AM since it airs in both short- and long-form versions, only 33 of the remaining 124 programs (27%) are short-form while 91 (73%) are long-form programs. Information on the means these programs are delivered was not obtained from WJIM-AM's Jack Robbins because of the vast number of programs they schedule and limited interview time. Table 44 shows the distribution in terms of means of delivery among the remaining 99 programs. Table 44 - Sample Market Programs: Means of Delivery TYPE OF DELIVER! i OF PROGRAMS % OF PROGRAM§ Satellite 40 40.4% Vinyl Disc 15 15.2% R/R 11 11.1% Compact Disc 7 7.2% Cassette 25 25.3% Telephone Lines 1 1.0% Similar to the findings in the program and supplier study, via satellite is the most common type of delivery for the network and syndicated programs to the Lansing area with 40%. Delivery on cassette (with 25%) is extremely high in the test. market study' due: to ‘the extent 'that 'the religious 103 programming to WUNN is delivered by this method. Delivery on vinyl disc (15%) and reel-to-reel analog tape (11%) are also common means of program delivery, but is low in comparison to other markets that do not have Religious radio stations. Table 45 examines the method of delivery for the programs only on the stations with popular music formats. Table 45 - Popular Music Station Programs: Means of Delivery TYPE OF DELIVEEX # OF PROGRAMS % OF PROGRAMS Satellite 4 12.5% Vinyl Disc 15 46.9% R/R 4 12.5% Compact Disc 7 21.9% Cassette 1 3.1% Telephone Lines 1 3.1% By excluding programs carried on the top four stations in the market in terms of number of programs scheduled, the distribution changes greatly. With the exclusion of WUNN, the programs on cassette now drop to 3% from, 25%. Also, satellite-delivery drops to 13% of the programming from 40%. There is a considerable increase in delivery on vinyl disc, from 15% to 47%, and compact disc jumps to 22% of the delivery from 7%. There were also differences in the distribution of the various terms of provision for network and syndicated programming to the Lansing - East Lansing market by excluding the tOp four stations. Once again, information could not obtained from WJIM-AM concerning the agreements with the networks and syndicators. 'Table 46 lists the distribution for 104 the various terms of provision for the remaining network and syndicated programming in the test market study. Table 46 - Test Market Programming: Terms of Provision TYPE OF AGREEMENT OF PROGRAMMING %:OF PROGRAMMING Barter 17 17.2% Cash 10 10.1% Network Affiliation 38 38.4% Public Service 3 3.0% Free 23 23.2% Shared Income 6 6.1% Income 2 2.0% Network affiliation is the most common type of agreement for programming in the Lansing area, with 38%. Programs offered free of charge contribute 23% of the sample and programs offered on a barter basis contribute 17%. Table 47 illustrates the changes in distribution that occur by excluding the programming carried on the top four stations. Table 47 - Popular Music Stations: Terms of Provision TYPE OF AGREEMENT iIOF PROGRAMS % OF PROGRAMS Barter 17 53.1% Cash 6 18.8% Network 4 12.5% Public Service 3 9.4% Free 2 6.3% By excluding WUNN, WJIM-AM, WKAR-AM, and WKAR-FM, the programs offered through network affiliation drops from 38% to 13%. The top four stations are all network affiliated and three operate on a noncommercial basis. Programs that are offered free also plunge from 23% to 6%. On the other hand, 105 by including only programs found on stations with a popular music format, the amount of programs offered through a barter agreement rises from 17% to 53%. It should be noted that many of the network programs come with barter commercials and additional fees are sometimes required. Also, programs that are offered as a public service are also free, and programs that are offered free of charge often act as public service programming. The majority of the network and syndicated programs offer produced promo's for local airplay. These promo's are either nationally produced with space at the end for local tags or customized by the host specifically for the individual affiliated stations. As WJIM's Jack Robbins offers: For instance, Bruce Williams will come on and say 'Hi, this is Bruce Williams. Join me tonight on News/Talk 1240 AM.’ So it personalizes it a little bit more. People say 'that's great that this guy actually did a promo for my local radio station.‘ Of the 11 stations that were interviewed in person, only two (18%) did not promote their network and syndicated programs. Of the nine remaining stations, only five utilized the promo's that accompany the programs. The other four stations promote the programs through live reads only. 106 As WKAR-AM's Curt Gilleo explains: All the experts say that your most valuable resource is your own air. You can do off-air promotions in newspapers, on billboards, and on TV, and it's not anywhere near as effective as talking to the people you already have. You know you've got them, and you can get them to expand their listening by letting them know what else you've got that they might like. So our primary promotion strategy always is to make sure we're making the best use of our own air. Of these 12 stations that use some sort of syndicated programming, nine (75%) also used some form of Ioutside consultation. Of these nine stations using consulting services, seven (78%) are advised on network and syndicated programming. The consultant provides suggestions on syndication that would be beneficial for the station, but the final decision resides with the station management. Part Two: SAMPLE RADIO PROGRAM PRE-PRODUCTION To fulfill the requirements for a Master of Arts thesis at Michigan State University, a production related to the research is required. A radio program designed for national syndication has been produced. The target audience and content.of this sample syndicated feature is:representative of what has been determined to be a commercially-viable product for today's radio syndication market. The pre-production phase consisted of the market analysis, program design, and research. .MAflKETAflAflWflS The first step in the formation of a new radio program is to perform a market analysis. This step determines if there is a need for a proposed program in relation to the target audience and competition within the industry. The sample radio program, entitled "Rock 'n Roll Avenues," is a music feature to be distributed weekly to Album-Oriented Rock (AOR) radio stations. Weekly music features are in demand by radio stations, evidenced by the leading number of these features among all program types listed in R & R Program Supplier Guide '90. More so than most other contemporary music formats, AOR utilizes features in their programming. 107 108 Consultants at Burkhart/Abrams/Douglas/Elliot, the leading AOR consultancy group in the country, have encouraged the programmingiof features as a method of keeping a station hot. The sample feature targets both general AOR and Classic Rock radio stations, the majority share of the AOR formats. The other format included under the AOR umbrella, Modern/Progressive Rock, contributes a very small audience. The Arbitron ratings for summer 1990 indicated that Modern/Progressive Rock contributed only 6% of the total AOR audience. Many of the syndicated programs available appeal to both general AOR and Classic Rock radio stations. Classifying programs according to the radio format most consistent with the program content, the majority of the 32 AOR-targeted weekly music features listed in R & R Program Supplier Guide :29 are specifically aimed at general AOR radio stations (23 features or 72%). Only seven of these features (22%) target Classic Rock stations, and two (6%) target Modern/Progressive AOR stations. With an increase of radio stations utilizing the Classic Rock format in the United States, a growing audience exists for' programming’ targeted_ at Classic Rock stations. iBy additionally targeting the general AOR format through its content and presentation, the program will have a greater appeal in the industry. The AOR audience shares have been growing over the past year, representing increases in both the general AOR and Classic Rock formats. The overall AOR share 109 reported by Arbitron for the summer of 1990 was up to 14.4, surpassing all formats except Adult Contemporary. This is compared to AOR's share in the winter of 1990 of 12.6, where it placed third to Adult Contemporary and Top 40. General AOR was up to 9.7 from 8.4, and Classic Rock was up to 3.8 from 3.5 during this period. Illustrating Classic Rock's growth across a longer period of time is the substantial increase to 3.8 for the summer of 1990 from its share of 3.2 reported in Arbitron's spring 1989 rating. "Rock.'n.Roll Avenues" is one hour in length and designed to be supplied to radio stations on compact disc. The one- hour length of the program is both less costly to produce than longer music features and easy to place within a station's broadcast schedule. According to calculations from R & R Program Supplier Guide '90, it is also the most common length of weekly music features in today's market. Delivering the feature on compact disc will provide better sound quality and easier use for the subscribing stations. This will be an added attraction if attempting to market the new program. There are a variety of weekly music features presently available that are targeted to AOR radio stations. The weekly AOR-targeted music features found in R & R Program Supplier Guide '90 are listed in Appendix D. Also included are the names of the syndicators and/or producers of these programs and synopses of these programs that were provided by either the distributors or producers. 110 Of the 32 AOR-targeted programs, 17 (50%) utilize one of more rock musicians as program host or interviewee as the main appeal of the program. Another popular format, contributing seven programs or 22%, is the simulcasting of live concerts. There are three programs (9%) featuring rare songs and two programs (6%) counting down AOR hits. The remaining two programs (6%) are "Flashback" and "Don Kirschner‘s Musical Memories." Since breaking into the syndication industry is very competitive, finding an innovative approach to servicing the AOR format is the key to a program's success. Strong competition presently exists for shows focusing on live concerts, rare songs, countdowns, and.rock:musicians asIeither the host or interviewee of the program. PROGRAM DESIGN "Rock 'n Roll Avenues" is designed to feature acdifferent genre of music or trend in the rock era each week and follow its progression from inception to either its demise or its latest developments. Even though the program looks into the history of rock music, it follows the focused style or trend of music up to the present. It differs in presentation from "Flashback" by providing in-depth information on the music instead of using retrospective elements, such as old news clips and commercials, to capture the spirit of the period. It also differs from "Don Kirschner's Musical Memories" by focusing the show's music and information on the musical style 111 instead of a random topic. "Rock 'n Roll Avenues" appeals to those interested in learning more about the music they listen to. This follows the goal of AOR radio stations to provide more information on the music presented compared to most other popular music stations. Information.will contribute a substantial portion of the program compared to the programs presently available to AOR stations; approximately 1/3 information and 2/3 music. A regular host will provide the information. The program is designed to run in four segments. The three commercial breaks between these segments will fall at approximately twenty minutes, thirty-five minutes, and fifty minutes after the hour. This will assure that commercials will not fall during the first five minutes of each quarter hour; .Arbitron. awards quarter-hour listenership if 'the respondent listens to at least five minutes of each quarter- hour. Holding the attention of the audience during the first five minutes is the most critical to achieve quarter-hour ratings. .Arranging the commercial breaks in this fashion‘will be an added attraction to prospective affiliates. The sample program allows for ten and a half minutes of commercials, with each break totalling three and.half:minutes. Syndicator-sought national advertising comprises 5 1/2 minutes of this time, with five minutes available for local advertising. Segment 1 is designed to run the longest to capture the audience before the first commercial break. 112 Segment 4, at approximately six minutes, is the conclusion of the program including the credits and a tease for the next week's installment. The host's :manner' of presentation. combines characteristics of the AOR disc jockey and of the news announcer. This will represent the considerably relaxed presentation of AOR formats and emphasize the information as the basis of the program. The use of news actualities, commercials, TV'clips, and.other lifestyle slices‘would.create an unwanted retrospective atmosphere to the program. Theme music will be the only other element in the program, segueing into and out of commercials in addition to the beginning and end of the program. Table 48 represents a partial list of musical genres and trends that could be covered during installments of "Rock 'n Roll Avenues." Certain topics may warrant more than one installment to appropriately cover the information. These topics may be divided for more specific programs or presented as two-part series. Popular and rare songs will both be selected to illustrate a specific style of music. Table 48 - Sample Topics for "Rock 'n Roll Avenues" West Coast Acid Rock The Merseybeat The British Invasion Soundtrack Music Cover Tunes California Surfing Music Country Rock One-Hit Wonders Rock Festivals Folk Rock Punk Rock Southern Rock Singer-Songwriters Supergroups Art Rock Rock/Classic Fusion Glam Rock Heavy Metal 113 A thirty-second produced promotional announcement for the following week's show will be included with each program. Also, a thirty-second music bed will be included for local production. These can be used by the subscribing stations to promote the program to their listeners. RESEARCH After researching several possible topics to be featured during the sample program, the topic of the influence of the blues on rock music was chosen. This is illustrated through the practice of rerecording original blues songs by rock artists and groups. After searching through books on the subjects of both the blues and rock music, a list was compiled of possible songs to include. 'Fhis list.was then condensed to ten songs that best illustrate the history of the blues and its effect on rock music. The songs were chosen, in part, to reflect.a wide range of artists for both the original versions and the cover versions. The books and additional magazine articles then provided the information from which the script was written. (See Appendix E - Sample Program Script). During this phase of pme-production, syndicators must obtain rights for the use of the songs to be included. A mechanical license allows the usage of copyrighted material, including music, under the compulsory license provision of the copyright statute. The Harry Fox Agency is the largest of the mechanical-rights organizations in the United States, and 114 administers licenses on behalf of the publishers for a fee. Since there are no set rates for the use of music within syndicated programs, negotiations must be made with the individual publishers. Separate negotiations must be made by the networks and syndicators for works that are not represented by the Harry Fox Agency. The users are billed quarterly for their use of the music which is represented by the Harry Fox Agency. The amount depends on negotiations, gross revenues, and number of affiliates. Networks and syndicators provide a list of all songs used during the four-month period, including the songs' authors and publishers. PRODUCTION The sample installment of "Rock 'n Roll Avenues" was produced at the Audio Production Studios at Michigan State University. The script was first read by MSU Student Radio's Jenni Sperandeo and recorded to two-track reel-to-reel tape. After changes in the copy were made, the script was reread by the author to achieve a more personal presentation. A second take by the author, requiring approximately two hours, was used for the final program. An AKG 414 microphone was used for this recording. The voice was compressed and run through a dynamic sibilance controller. The theme music was composed by Michigan State University graduate student, Ken Tanner. A computer—based sequencer was used to arrange the basic rhythm section of the song. This arrangement was then recorded to four-track reel-to-reel tape. Additional guitars tracks, performed by Ken Tanner, were also recorded onto the four-track. Using a computer-based sequencer to produce the theme music enables cost-effective changes in instrumentation and tempo in a relatively short period of time. These changes then allow for different versions that would more closely represent the week's featured style of music. The audience will recognize the program as "Rock 'n Roll Avenues" through the basic theme, and also sense the focus of the particular 115 116 show through its variations. Using theme music that is adapted to a particular style will also contribute to the flow of the program by matching the music within the program. The music, ranging from two to six versions of each song in addition to the theme music, was mixed to four-track reel- to-reel tape. The copy and music were then mixed together to DAT. The DAT would then be the master from which the compact discs were made. The breakdown of segment and. commercial times of the produced program are listed in Table 49. Table 49 - Sample Radio Program Breakdown Se ent Lengph Running Time Segment 1 20:48 00:00 - 20:48 Commercial Break 3:30 20:48 - 24:18 Segment 2 10:48 24:18 - 35:06 Commercial Break 3:30 35:06 - 38:36 Segment 3 11:45 38:36 - 50:21 Commercial Break 3:30 50:21 - 53:51 Segment 4 6:04 53:51 - 59:55 EVALUATION Evaluation is the final phase of the production process. "Rock 'n Roll Avenues" was evaluated by three different test groups. The first group represented a more knowledgeable audience in terms of radio production, and consisted of the six students in the advanced production class at Michigan State University. This group was used as a pre-test for the program. Suggestions from the pre-test resulted in the addition of several instrumental music clips under longer copy segments and a remix of the program. The second group, taken from students beginning the basic radio production class at Michigan State University, Telecommunication 301, represented the general listening audience. The final group consisted of three radio professionals: WMMQ Program Director, John David Buchanan; MSU Student Radio General Manager, Dawn Paepke; and WKAR Music Producer, Dan Bayer. After listening to the entire program, the three groups completed questionnaires. These questionnaires were designed to determine their radio listening habits and to obtain feedback on the sample radio program. (See Appendix F - Sample Program Questionnaire). The program was rated on aspects such as writing, organization, and production quality. The sample groups also rated their interest in "Rock 'n Roll Avenues" as a continuous series of programs. The ages of the pre-test group ranged from 21 - 22. The 117 118 group consisted of four men and two women. The time spent listening to the radio per week varied greatly with this group, with the average of approximately eight hours per week. Only one of the six participants listened regularly' to Lansing-area stations other than AOR, and only two regularly listen to any syndicated radio programs. Table 50 provides the Likert scale used. with. this questionnaire and the mean averages for the pre-test group. Table 50 - Scale and Mean Averages for Pre-test Group 1 2 3 4 5 POOR BELOW AVERAGE AVERAGE GOOD EXCELLENT 1. HOW WOULD YOU RATE THE PRODUCTION QUALITY OF THIS PROGRAM?_flpflg_ 2. HOW WOULD YOU RATE THE WRITING OF THIS PROGRAM?_flplZ_ 3 HOW WOULD YOU RATE THE ORGANIZATION OF THIS PROGRAM?_§pfl;_ 4. HOW WOULD YOU RATE THE CHOICE OF MUSIC FOR THIS PARTICULAR TOPIC?_§;2§ 5. HOW WELL DO YOU THE TOPIC WAS COVERED IN TERMS OF THE INFORMATION PRESENTED? 4.17 6. WHAT WAS YOUR GENERAL ATTENTIVENESS DURING THIS PROGRAM? 3.33 7. IF YOU HAD HAPPENED TO TUNE TO THIS PROGRAM, WHAT WOULD THE CHANCE HAVE BEEN THAT YOU WOULD HAVE CONTINUED LISTENING? 2.17 8. WHAT IS YOUR OVERALL RATING FOR THIS SAMPLE PROGRAM? 4 9. HOW INTERESTED WOULD YOU BE IN LISTENING TO OTHER INSTALLMENTS OF "ROCK ’N ROLL AVENUES"? 3.33 There were 13 students in the second group, representing the average listening audience. The ages of this group ranged from 20 - 23 years. All respondents in this group were male. The time spent listening to the radio each week varied widely, 119 with a slightly lower average than. the pre-test group, approximately six hours per week. All respondents indicated listening to AOR stations in the Lansing area. Seven indicated listening only to AOR stations, while the remaining six also listened to Top 40, Urban Contemporary, News/Talk and Fine Arts stations. .Also, seven.of the respondents noted they listen occasionally to various syndicated radio programs. Table 51 provides the scale and, mean averages for the responses given by the second group. Table 51 - Scale and Mean Averages for General Audience Group 1 2 3 4 5 POOR BELOW AVERAGE AVERAGE GOOD EXCELLENT 1. HOW WOULD YOU RATE THE PRODUCTION QUALITY OF THIS PROGRAM? 4.38 2. HOW WOULD YOU RATE THE WRITING OF THIS PROGRAM? 3.96 3 HOW WOULD YOU RATE THE ORGANIZATION OF THIS PROGRAM? 4.12 4. HOW WOULD YOU RATE THE CHOICE OF MUSIC FOR THIS PARTICULAR TOPIC? 4.35 5. HOW WELL DO YOU THINK THE TOPIC WAS COVERED IN TERMS OF THE INFORMATION PRESENTED? 3.83 6. WHAT WAS YOUR GENERAL ATTENTIVENESS DURING THIS PROGRAM? 3.46 7. IF YOU HAD HAPPENED TO TUNE TO THIS PROGRAM, WHAT WOULD THE CHANCE HAVE BEEN THAT YOU WOULD HAVE CONTINUED LISTENING? 3.5 8. WHAT IS YOUR OVERALL RATING FOR THIS SAMPLE PROGRAM? 4.04 9. HOW INTERESTED WOULD YOU BE IN LISTENING TO OTHER INSTALLMENTS OF "ROCK ’N ROLL AVENUES"? 3.46 120 The following is a sample of comments and suggestions given.by the first two groups: - The examples of cover tunes by other bands may have been over-extended. It began to run on too much. - I could picture this on some AOR station on a Sunday night, say 9:00 p.m. - Good research and organization, must have put a great deal of time into it. - Very well researched; enough to please even us fringe blues addicts. I'm impressed. - I found the format tends to get quite repetitive after a while. It follows the same outline throughout; spoken, original, covers, etc. - The program was very well written and provides a lot of interesting information. If you don't know much about the blues, this show is very informative. It is a very well produced program. The quality is very professional. - If at all even possible it would be interesting to hear short interview bits with some of the artists. - Because I'm not into the blues music - my interest is & was limited. - My low scores for attentiveness & interest with listening were a reflection of my personal lack of interest in the blues and rock 'n' roll, and not a reflection of the quality of the program. The focus and information covered.were quite solid - in fact, almost too much so. There were so many examples of the tunes that a predictable boredom began to set in. - I enjoyed the musical selections but I rarely have the luxury of being able to pay attention to this type of program. - Basically, it seems like you did a lot of research for the program. I really like all the different renditions of songs included, but after a while I got sick of the music. 121 The final test group consisted of three radio professionals in the Lansing area. Table 52 lists their average scores for the questionnaire. Table 52 - Scale and Mean Averages for Professional Group 1 2 3 4 5 POOR BELOW AVERAGE AVERAGE GOOD EXCELLENT 1. HOW WOULD YOU RATE THE PRODUCTION QUALITY OF THIS PROGRAM? 4.33 2. HOW WOULD YOU RATE THE WRITING OF THIS PROGRAM? 4.33 3. HOW WOULD YOU RATE THE ORGANIZATION OF THIS PROGRAM? 4 4. HOW WOULD YOU RATE THE CHOICE OF MUSIC FOR THIS PARTICULAR TOPIC? 4.67 5. HOW WELL DO YOU THINK THE TOPIC WAS COVERED IN TERMS OF THE INFORMATION PRESENTED? 4.67 6. WHAT WAS YOUR GENERAL ATTENTIVENESS DURING THIS PROGRAM? 3.83 7. IF YOU HAD HAPPENED TO TUNE TO THIS PROGRAM, WHAT WOULD THE CHANCE HAVE BEEN THAT YOU WOULD HAVE CONTINUED LISTENING? 3.33 8. WHAT IS YOUR OVERALL RATING FOR THIS SAMPLE PROGRAM? 4 9. HOW INTERESTED WOULD YOU BE IN LISTENING TO OTHER INSTALLMENTS OF "ROCK ’N ROLL AVENUES"? 3.67 The final group provided additional comments from a professional viewpoint. John David Buchanan, Program Director of WMMQ, recommended: From a programming point of view, I would have liked to have seen the first segment split into two 10 minute segments. This would have let stations identify themselves more often, important during rating periods. Also, the name of the program, "Rock 'n Roll Avenues" should have been mentioned more often, along with the hostess' name. Overall, I thought the program was very innovative. 122 MSU Student Radio's Dawn Paepke contributed the following: Great choice of songs in program! Voice sounded a little nasally - but not bad. Great info about bands. The show portrays good contrast between original songs & cover versions. Voice is very relaxed at times and stilted at others. Song segments at times were a little long - people might tune out. Production is good - good variety. Very good show. It wouldn't been great to hear more about the bands. The info you did give was great though. WKAR Music Producer Dan Bayer suggested that: Although there is nothing wrong with the voiceover, I do feel a more "commanding" delivery would further improve this already well done production. Table 53 provides a comparison of the scores for each of the three groups and an average of all respondents to the questionnaire. Table 53 - Questionnaire Averages Among Test Groups QUESTION PRE-TEST GENERAL PROFESSIONAL ALL 1 4.42 4.38 4.33 4.39 2 4.17 3.96 4.33 4.07 3 3.42 4.12 4.00 3.91 4 3.92 4.35 4.67 4.27 5 4.17 3.83 4.67 4.05 6 3.33 3.46 3.83 3.48 7 2.17 3.50 3.33 3.11 8 4.00 4.04 4.00 4.02 9 3.33 3.46 3.67 3.45 consistent for most questions. the production quality of the program, rating of respondents of 4.39. all the questions, questions varied from 3.11 (average) with an average to of The averages among the three test groups were relatively The first question, regarding received the highest The range of scores for the different (good to all 123 excellent). Two of the questions that received a significant difference in average scores between the groups dealt with the choice of music for this particular installment and how effectively the topic was covered. The professional test group granted the highest score for these two questions among the three groups. The question which received the greatest difference among group averages requested the respondent to determine the chance that they would continue to listen to the program if they had tuned to it. This question was designed to reflect personal interest in the sample installment. The questionnaire provided valuable feedback on the sample program and "Rock 'n Roll Avenues" as a syndicated series. The scores received from the questionnaire and additional comments provided by the respondents suggest possible success on a commercial level. Suggestions to be implemented include seeking professional voice talent for the host. A female host is still desired, but a professional voice talent with a smoother delivery would be more pleasant for the listening audience. Certain changes in the format of the program would also be made. Dividing the first segment into two ten-minute segments would allow affiliates to break away for station identification. This change would be a benefit in marketing the program to prospective affiliates. The structuring of the segments in the sample installment of "Rock 'n Roll Avenues" became redundant and predictable. 124 Many of the evaluators specifically noted that this predictability inhibited their listening enjoyment. Through the use of original and cover versions of the same song, the sample program was more apt to become redundant than other possible installments. Attention would be given in the creation of other installments of "Rock 'n Roll Avenues" to assure more variety in the format of the show. Part Three: CONCLUSION NETWORK AND SYNDICATOR OPERATIONS The network and radio syndication industry is made up of many very small companies and a number of large networks. No matter what the size of the company is, its survival depends on the number of affiliates obtained for programs and services. As mentioned in the previous studies, the survival rate for both individual programs and the suppliers of these programs is low. There are some success stories though. In the 20 years since "American Top 40" made its debut on July 4, 1970, the countdown perennial has survived two boombust cycles in its namesake format, as well as the most-publicized host change in syndication when Shadoe Stevens replaced Casey Kasem in 1988. In RfisI R Program Supplier Guide '90, "American Top 40" reported over 400 affiliates. Networks and syndicators must sell their programming to local radio stations. Even though these local stations occasionally search out programming through trade publications, such as g_§ R Program Supplier Guidg '90, most affiliates are obtained through aggressive sales. All of the Lansing area program directors stated they were approached daily by syndicators selling new programs. Demonstration tapes of these new programs are sent to stations, either as a shortened sample or a full-length version of the show. Many demo's are sent in both forms so the program directors can listen to the sample first, and if interested, analyze the 125 126 program more in-depth through the full-length version. Now that barter is the norm for provision in the network and syndication industry, the programs are usually sold to national advertisers as vmflju Nationally syndicated radio programs provide advertisers a well-documented target audience for their products and services. (See Appendix G - Premiere Radio Networks: 1989-1990 Advertisers). Westwood's Pattiz believes the key to barter syndication is a company's ability to serve its advertisers as well as its stations. Westwood One's computerized system provides sponsors with weekly reports on how many listeners heard each of its spots in each market run.23 With a greater number of affiliates, the networks and syndicators can charge more money for national advertising. It is also advantageous for the networks and syndicators to have the right affiliates. As WITL's Jay J. McCrae relates, they want to be on the station that's gonna clear them the most net listeners, obviously, because all they're trying to do is get the most gross impressions. Some networks and.syndicators conduct outside research.to determine the listenership of their programs. For example, research showed that Westwood One's "The Lost Lennon Tapes" drew 13.4 million listeners 18 and older for their three-hour kickoff of the weekly series. Westwood One obtained the data from a phone poll by the R.H. Bruskin Omnitel research service. The research figure translates into 7.4% of all adult listeners in the U.S.24 Feedback is also obtained periodically from affiliated program directors through questionnaires pertaining to their programs. AFFILIATE RELATIONS Network affiliates are required to air network commercials as part of their affiliation agreement. Public service announcements are sometimes substituted. for' paid commercials. The amount of network spots required varies according to the network and affiliated station. For example, WITL runs one minute of network spots per hour. .An additional minute of network spots is required during two hours of each day. The fulfillment of the commercial requirement entitles the affiliate to pick up any of the news offerings desired in addition to a limited number of programs. Most network programs require the airing of additional barter commercials. Network affiliates also receive first choice of network offerings for their market. If a program is declined, it can then be offered to other stations in the market. With both network.and.syndicated.programming,:market.exclusivity, or the airing of a program on only one station in a certain market, exists. Affidavits are written confirmations that network and barter commercials were aired by the affiliated stations. 'The local stations return the affidavits to the syndicators, usually indicating the date and time the program and commercials aired. (See Appendix H - Certificate of Performance for "Casey's Top 40"). Shows offered on a cash basis usually do not require affidavits, but sponsored 127 128 programs for noncommercial use include affidavits. Contracts for syndicated programs vary in length through negotiations, but are often six months to one year. Most syndicators require a written notice in advance to cancel a program, a period which also varies in length, usually up to 90 days. (See Appendix I - The Broadcast Group Subscription Agreement). EHHVDHZATKDN'HRENENS The radio network and syndication industry has undergone many changes in both structure and product during the last few years. Small and large syndicators have merged with the networks, causing many to predict the return of network radio as the backbone of the industry. In the fall of 1990, Westwood One announced the restructuring of their Westwood One Networks. Under the plan, the networks will now be known as Westwood Mutual Broadcasting System (WMBS), Westwood NBC Radio Network (WNBC), Westwood Source Radio Network (WSRN), and the previously announced Westwood One News & Entertainment Radio Network (WONE).25 Satellite format networks have also become prominent in the industry and provide local broadcasters with quality programming at a low cost. The growth of satellite music networks is expected to continue. The last few years have also seen a resurgence of short- form programming. As a result, advertisers asked for Arbitron ratings based on the programs' actual airtimes. The recent change: to "exact-times" ratings for syndications has made air-slot placement even more crucial. Even with solid clearance numbers, it has become imperative that programs secure better time slots. Becauserof undesirable time slot placement, many programs have recently failed to pull in a high enough cume to maintain national advertising, even.though.they were cleared on a.Large number of stations in the top markets. 129 130 Promotions have traditionally been a tool for local radio stations, but networks and syndicators have recently turned.to contests as a way to entice advertisers, affiliates, and listeners. The last few years have seen a steady growth in the amount of contests carried on network and syndicated programs. Many, such as WITL's Dwayne Carver, downplay the importance of this trend. Research shows that only about 10% of your audience participates in any contest at all. And that's your regular listeners, so you take the occasional listeners over the weekends, and the possibility of a successful promotion is really minuscule. There has also been discussions of forming a trade association of networks and syndicators, but no further steps have been taken to follow this idea through. In his final Networks and Syndication column for Billboard, Peter Ludwig addresses the need for industry standards, but realizes that a volunteer trade association would take a lot of man-hours and cooperation. In a cost-cutting era, volunteer' time, travel expenses, and..additional phone bills are not easily' budgeted for. Cooperation is also difficult, in part, because of this industry's accepted practice of stealing more programming ideas than office paper clips. 7 Ludwig also reflects that this industry has previously enjoyed about as much trust as the average used-car dealer. A trade association would be especially helpful with the anticipated changes to occur in the next decade. The arrival of digital audio broadcast will cause many changes within the structure of the radio industry as a whole. 131 Until then, most industry professionals predict a trend towards more specialized syndication. Following in the footsteps of local radio, the networks and syndicators have begun to find their niche in the industry. Syndicators will continue 1x3 gear their overall programming more towards a particular format and audience. SUMMARY Syndication is a segment of the radio industry that has traditionally received limited attention. Almost all of the radio stations in the United States utilize some form of syndicated program or service. These programs and services are used either as the basis of a station's format or to augment a station's format. Presently, there are a large number of networks and syndicators providing an even larger number of programs and services to the radio community. The range of programs offered in today's market varies widely. This is due to the many diversified formats that also exist in the radio industry. Most syndicated programs are designed for specific formats. 'This aids national sponsors in recognizing their target audiences. The lengths of programs, terms of provision, and.program lifespan depend largely on the type of program and target format. Public radio stations are more likely to utilize network and syndicated programming than most of their commercial counterparts. This is due to the fact that it is less expensive to run a syndicated program than to hire an adequate number of professional producers and announcers. IFor the same reason, stations adhering to £3 talk-based format, such as News/Talk, are also more likely to air an extensive amount of network and syndicated programming. 132 133 Popular music stations, on the other hand, carry a limited amount of syndication. These syndicated programs are usually aired on the weekends, a time when it is more cost- effective to run canned programming than to hire experienced announcers. Radio syndication is indicative of the radio industry itself. Special programs often capture trends of the past in their presentation. More importantly, a special program can capture an up and coming trend in broadcasting and act as an innovator in the industry. Requiring a limited amount of airtime, syndicated programs can break away from a station's regular format and test audience response to new ideas. The key to a syndicated program's success is discovering a new approach in capturing the audience. The initial audience for syndicated programs are the local radio stations since economic survival depends on the number of subscribers. With the arrival of exact-time ratings, the secondary audience, which consists of the general listening public, is becoming more important. Maintaining national sponsors now often depends (n1 the number of listeners, not affiliates. Also, syndicated programs must provide a target audience similar to that of the national advertisers. As a service to local radio stations and advertisers, networks and syndicators continually adapt to the needs of an ever-changing'industry. With different programming needs and advancing technology, these networks and syndicators will 134 discover new methods to continue to accommodate their affiliates. As a suggestion for further research, the networks and syndicators can be studied more extensively. Different aspects of their operations, such as employment, budgeting, and programming, can be addressed. Appendix A - List of Syndicators ABOUT RADIO ENTERPRISES 5301 BALBOA BLVD. SUITE C3 ENCINO, CA 91316 AD VANTAGE AUDIO BOX 8057 PENSACOLA, FL 32505 ADVERTISERS BROADCASTING CO. 31 E. 28TH ST. NEW YORK, NY 10016 AFTERGLOW PRODUCTIONS 6223 LOCHLEVIN COVE MEMPHIS, TN 38119 ALAN SANDS PRODUCTIONS SIX EAST 45TH ST., ROOM 1506 NEW YORK, NY 10017 ALCARE COMMUNICATIONS INC. 1503—05 WALNUT ST. PHILADELPHIA, PA 19102 ALL PRODUCTIONS BOX 19153 7025 REGNER RD. SAN DIEGO, CA 92119—1941 ALTERNATIVE PROGRAMMING INC. 2603 OAK LAWN AVE. DALLAS, TX 75219 ALTMAN PRODUCTIONS 3401 MACOMB ST., N.W. WASHINGTON, DC 20016 AMERICA’S ROCK NETWORK 6577 E. CAMINO VISTA #4 ANAHEIM, CA 92807 AMERICAN IMAGE PRODUCTIONS 1719 WEST END AVENUE SUITE 603 NASHVILLE, TN 37203 AMERICAN MEDIA 995 MCMILLAN ST. NW ATLANTA, GA 30318 135 AMERICAN PIE P.O. BOX 66455 LOS ANGELES, CA 90066 AMERICAN RADIO NETWORK 5287 W. SUNSET BLVD. LOS ANGELES, CA 90027 AMERICAN RADIO PROGRAMS 1227 SPAZIER AVE. GLENDALE, CA 91201 ANDY LEA’S REEL THING 1003 STANYAN STREET SAN FRANCISCO, CA 94117 ART GOOD’S JAZZ TRAX 701 KETTNER, SUITE 204 SAN DIEGO, CA 92101 ARTHUR HENLEY PRODUCTIONS 234 FIFTH AVE. NEW YORK, NY 10001 AUDIO CREATIONS 801 STARMOUNT AVE., NW ROANOKE, VA 24019 BAILEY BROADCASTING SERVICES 3151 CAHUENGA BLVD. W. SUITE 200 LOS ANGELES, CA 90068 BARRETT ASSOCIATES INC. 3205 PRODUCTION AVE. OCEANSIDE, CA 92054 BERNARD-COUVANT MEDIA 605 ALCATRAZ AVE. N. OAKLAND, CA 94609 BEST OF THE OLDIES RADIO NETWORK 15651 DICKENS ST., #115 ENCINO, CA 91436 BEYOND BOURBON JAZZ PRODUCTIONS P.O. BOX 169-M0 MILFORD, CT 06460 BIDDICK CO. 20728 MCNULTY PL. CANOGA PARK, CA 91306-2120 BONNEVILLE BROADCASTING SYSTEM 4080 COMMERCIAL AVE. NORTHBROOK, IL 60062 BRADBURY COMMUNICATIONS UNIT 103-333 2210 E. HIGHLAND SAN BERNARDINO, CA 92404 BRAIKER RADIO SERVICES COMPANY 15375 S.E. 30TH, SUITE 300 BELLEVUE, WA 98007 BRAINSTORM PRODUCTIONS, INC. 3731 W. 165TH ST. CLEVELAND, OH 44111 BROADCAST PROGRAMMING, INC. 2211 FIFTH AVE. SEATTLE, WA 98121 BROWN BAG PRODUCTIONS 4134 S. EUDORA ST. ENGLEWOOD, CO 80110 BULLET PRODUCTIONS 120 N. VICTORY, SUITE 102 BURBANK, CA 91502 CABLE CAR PRODUCTIONS 5054 GOLDEN DRIVE SAN JOSE, CA 95129 CABSCOTT BROADCAST PRODUCTIONS 17 SEVENTH AVE. LINDENWOLD, NJ 08021 CARDINAL COMMUNICATIONS INC. 10 E. 213T ST. NEW YORK, NY 10010 CARNEY PRODUCTIONS 1320 NORTH SYCAMORE AVENUE #110 LOS ANGELES, CA 90028 CARRIAGE HOUSE STUDIOS 119 W. HILL RD. STAMFORD, CT 06902 136 CARTER WRIGHT ENTERPRISES 6533 HOOLYWOOD BLVD. SUITE 201 HOLLYWOOD, CA 90028 CASS BROADCASTING INC. MURRAY HILL STATION 367 NEW YORK, NY 10156 CENTURY NATIONAL ENTERTAINMENT 6430 SUNSET BLVD., SUITE 502 LOS ANGELES, CA 90028 CENTURY 21 PROGRAMMING 14444 W. BELLWOOD PARKWAY DALLAS, TX 75244 CHARLES MICHELSON INC. 9350 WILSHIRE BLVD., SUITE 202 BEVERLY HILLS, CA 90212 CHICAGO RADIO SYNDICATE, INC. 1134 N. LA BREA LOS ANGELES, CA 90038 CINEMA SOUND LTD. 311 W. 75TH ST. NEW YORK, NY 10023 COLLINS BROADCAST SERVICES 174 KING HENRY COURT PALATINE, IL 60067 COMMAND PRODUCTIONS BOX 2223 SAN FRANCISCO, CA 94126 CONCEPT PRODUCTIONS 1224 COLOMA WAY ROSEVILLE, CA 95661 CONTINUUM BROADCASTING NETWORK 208 E. 51$T., SUITE 1670 NEW YORK, NY 10022 COPLEY ENTERTAINMENT 30 WOODS GROVE WESTPORT, CT 06880 COPLEY RADIO NETWORK P.O. BOX 190 SAN DIEGO, CA 92112 COUNTDOWN USA 655 REDWOOD HIGHWAY MILL VALLEY, CA 94941 COUNTRY-PHONICS 3805 H. STREET EUREKA, CA 95501 CREATIVE PRODUCTION SERVICES HALLE BLDG. 1226 EUCLID AVE., NO. 820 CLEVELAND, OH 44115—1802 CREATIVE RADIO NETWORK 7136 HASKELL AVE., SUITE 301 VAN NUYS, CA 91406 CREATIVE RADIO NETWORK 30961 W. AGOURA RD., SUITE 215 WESTLAKE, CA 91361 CUTLER PRODUCTIONS 1639 WESTWOOD BOULEVARD LOS ANGELES, CA 90024 0.3. PRODUCTIONS 8 GREENLEA LANE WESTON, CT 06883 DIGITAL PROGRAMMING, INC. P.O. BOX 8008 VAN NUYS, CA 91409 DIGITAL RADIO NETWORK 43 BROADWAY BROOKLYN, NY 11211 DIR BROADCASTING CORP. 32 EAST 57TH ST. NEW YORK, NY 10022 DISCOVERY PRODUCTIONS INC. 315 CENTRAL PARK WEST/8E NEW YORK, NY 10025 DONNELLY MEDIA 1440 EMPIRE CENTRAL, SUITE 350 DALLAS, TX 75247 DOUBLE THINK BOX 14086 PINEDALE, CA 93650 137 DRAKE-CHENAULT ENTERPRISES, INC. 2000 RANDOLPH RD. SE ALBUQUERQUE, NM 87106 DWJ ASSOCIATES INC. 295 MADISON AVE. NEW YORK, NY 10017 EAGLE MEDIA PRODUCTIONS, LTD. P.O. BOX 430 NORTH SALEM, NY 10560 EAGLE TELE-BROADCASTING 1441 YORK ST., SUITE 102 DENVER, CO 80206 EASYRIDERS RADIO NETWORK BOX 3000 AGOURA HILLS, CA 91301 EFM MEDIA 825 7TH AVENUE NEW YORK, NY 10019 ENTERPRISE PRODUCTIONS BOX 9668 6925 TUJUNGA AVE. N. HOLLYWOOD, CA 91609 ENTERTAINMENT RADIO INC. 11684 VENTURA BLVD., SUITE 589 STUDIO CITY, CA 91604-2652 EURAMCO INTERNATIONAL INC. BOX 5434 BEVERLY HILLS, CA 90210 EVERETT ENTERPRISES P.O. BOX 1327 BEVERLY HILLS, CA 90213 EXCEL COMMUNICATIONS/POWERPIPES 8960 SPRINGBROOK DRIVE #220 MINNEAPOLIS, MN 55433—5852 FAR WEST COMMUNICATIONS 120 N. VICTORY BLVD., #106 BURBANK, CA 91502 FARAONE COMMUNICATIONS INC. 315 E. 77TH ST. NEW YORK, NY 10021-2253 FEATURES INTERNATIONAL BOX 64503 VIRGINIA BEACH, VA 23464 FIRSTCOM BROADCAST SERVICES 13747 MONTFORT, SUITE 220 DALLAS, TX 75240 FRANK BENNETT MEDIA VENTURES 3131 HOMESTEAD ROAD, #17K SANTA CLARA, CA 95051 GALAXIE PRODUCTIONS LTD. BOX 2801 WASHINGTON, DC 20013 GARLIN SUND ENTERPRISES 7021 HATILLO AVE. CANOGA PARK, CA 91306 GENERAL BROADCASTING CO. INC. 1167 TOWER RD. SCHAUMBURG, IL 60195 GERT BUNCHEZ & ASSOCIATES INC. SYNDICATED PROGRAM PRODUCTIONS 1001 N. MCKNIGHT RD., 43 ST. LOUIS, MO 63132 GIVENS RADIO NETWORK 921 DOUGLAS AVENUE ALTAMONTE SPRINGS, FL 32714 GLOBAL CONCEPTS PRODUCTIONS 70 BIRCH HILL RD. WESTON, CT 06883 GLOBAL SATELLITE NETWORK 15477 VENTURA BLVD., SUITE 300 SHERMAN OAKS, CA 91403 GREAT DANE ENTERPRISES INC. 15238 MORRISON ST. SHERMAN OAKS, CA 91403 GREATER MEDIA SERVICES INC. BOX 859 EAST BRUNSWICK, NJ 08816 GRIZZELL PRODUCTIONS INC. 6033 W. CENTURY BLVD., SUITE 400 LOS ANGELES, CA 90045 138 GUTMAN & GUTMAN 230 PARK AVE. NEW YORK, NY 10169 H-R PRODUCTIONS INC. 159 W. 53RD ST. NEW YORK, NY 10019 HARTWEST PRODUCTIONS INC. 145 W. 55TH ST., SUITE 70 NEW YORK, NY 10019 HIMAN BROWN 221 WEST 26TH ST. NEW YORK, NY 10001 HMS COMMUNICATIONS 840 BATTERY ST. SAN FRANCISCO, CA 94111 HOWARD RADIO-TV PRODUCTIONS 3918 W. ESTES AVE. LINCOLNWOOD, IL 60645 IMAGES COMMUNICATION ARTS CORP 366 N. BROADWAY JERICHO, NY 11753 INNERVIEW, INC. 8913 W. OLYMPIC BLVD., SUITE 201 BEVERLY HILLS, CA 90211 JAMES PAUL BROWN ENTERTAINMENT 6700 CENTINELA AVE., SUITE 100 CULVER CITY, CA 90230 JAMESON BROADCAST 1700 CONNECTICUT AVE. NW SUITE 402 WASHINGTON, DC 20009 JIM OWENS & ASSOCIATES 1525 MCGAVOCK ST. NASHVILLE, TN 37203 JIM WARREN ENTERTAINMENT 7080 HOLLYWOOD BLVD., SUITE 1002 HOLLYWOOD, CA 90028 JOHN DOREMUS INC. 875 N. MICHIGAN AVE. CHICAGO, IL 60611 JOHN M. REANS RADIO PRODUCTION 3301 THIRD STREET MOLINE, IL 61265 KALEIDOPHONIC JAZZ 3805 H ST. EUREKA, CA 95501 KENETICS RADIO ENTERTAINMENT 1122 OCEAN AVE. BROOKLYN, NY 11230 KNOCKERS*! P.O. BOX 153 LA GRANGE, IL 60525 LBS RADIO 875 THIRD AVENUE NEW YORK, NY 10022 LE ROY PRODUCTION 531 SOUTH ST. PHILADELPHIA, PA 19147 LIBERTY HILL-ENTERTAINMENT 3000 TOWN CENTER, SUITE 777 SOUTHFIELD, MI 48075 LION AND FOX RECORDING INC. 1905 FAIRVIEW AVE. N.E. WASHINGTON, DC 20002 MACCABEES/WHORF PRODUCTIONS 239 PILGRIM BIRMINGHAM, MI 48009 MACRAE/DRUCK PRODUCTIONS 300 E. 40TH ST. NEW YORK, NY 10016 MAGNO EMPIRE RECORDING STUDIOS 18 W. 45TH ST. NEW YORK, NY 10036 MANHATTAN PRODUCTION MUSIC 300 W. 53RD ST. SUITE 2A NEW YORK, NY 10019 MARINA MUSIC PRODUCTION & NETWORK BOX 3087 HOLLYWOOD, CA 90078 139 MCGHAN RADIO PRODUCTIONS 2527 JALMIA DRIVE LOS ANGELES, CA 90046 MEDIA AMERICA 11 WEST 42ND STREET, 27TH FLOOR NEW YORK, NY 10036 MEDIA GENERAL BROADCAST SERVICES 2714 UNION EXTENDED MEMPHIS, TN 38112 MELCOR BROADCASTING COMPANY 380 LEXINGTON AVENUE NEW YORK, NY 10168 MJI BROADCASTING INC. 666 FIFTH AVE., 34TH FLOOR NEW YORK, NY 10103 MORRIS TRUMBLE & ASSOCIATES, INC. 139 FULTON ST., SUITE 917 NEW YORK, NY 10038 MOSS BROADCASTING COMM. 575 MAIN ST., SUITE 512 NEW YORK, NY 10044 MUDDY MITCH PRODUCTIONS 4315 AZALEA, SUITE 220 LISLE, IL 60532 MUSIC UNLIMITED PRODUCTIONS 763 TAFT DRIVE, SUITE G ARLINGTON, TX 76011 MUSICWORKS, INC. P.O. BOX 111390 NASHVILLE, TN 37211 NARWOOD PRODUCTIONS INC. 40 E. 49TH ST. NEW YORK, NY 10017 NEER PERFECT PRODUCTIONS 1133 BROADWAY, ROOM 515 NEW YORK, NY 10010 NEW DIMENSIONS RADIO BOX 410510 SAN FRANCISCO, CA 94141 OBLATE RADIO SYNDICATION 5901 W. MAIN, SUITE A BELLEVILLE, IL 62223 O’CONNOR CREATIVE SERVICES P.O. BOX 5432 PLAYA DEL REY, CA 90296 ON THE RADIO BROADCASTING 400 SUNRIDGE STREET PLAYA DEL REY, CA 90293 OPUS PRODUCTIONS 7011 N. JAN MAR DRIVE DALLAS, TX 75230 ORANGE PRODUCTIONS INC. 105 FORREST AVE. NARBERTH, PA 19072 PARKINSON/PERLMAN PRODUCTIONS PENTHOUSE 9 9200 SUNSET BLVD. LOS ANGELES, CA 90069 PLANET PRODUCTIONS P.O. BOX 3889 AUSTIN, TX 78764 PREMIERE RADIO NETWORKS INC. 6255 SUNSET BLVD., PH SUITE 2203 HOLLYWOOD, CA 90028—7423 PRO AUDIO MAKERS 1999 TEMPLE, UNIT B. P.O. BOX 4087 LONG BEACH, CA 90804 PRODIGITAL INC. 3400 PENDLETON DRIVE WHEATON, MD 20902 PROGRESSIVE MUSIC NETWORK 1069 10TH AVE. S.E. MINNEAPOLIS, MN 55414 PROMEDIA 321 RIDER AVE. NEW YORK, NY 10451 140 QUANTUM CONCEPTS UNLIMITED 12262 HYTHE STREET MORENO VALLEY, CA 92387 RADIO ARTS INC. 210 NORTH PASS AVE., SUITE 106 BURBANK, CA 91505 RADIO DIRECT 3500 W. OLIVE, #790 BURBANK, CA 91505 RADIO EXPRESS 3575 CAHUENGA BLVD. W., SUITE 390 LOS ANGELES, CA 90068 RADIO LINKS 6333 GAYTON PLACE MALIBU, CA 90265 RADIO MAINSTREET BOX 7346 MINNEAPOLIS, MN 55407 RADIO PROGRAM SERVICES BARRETT ASSOCIATES 3205 PRODUCTIONS AVENUE OCEANSIDE, CA 92054 RADIO TODAY ENTERTAINMENT 211 W. 56TH ST., SUITE 3A NEW YORK, NY 10019 RADIOWAVE 1040 GREENWICH ST. SAN FRANCISCO, CA 94133 REAL RADIO CO. 127 GLEN SUMMER RD. PASADENA, CA 91105 REMN COMMUNICATIONS CORP. 2 W. 45TH ST. NEW YORK, NY 10036 RICHARD H. ROFFMAN ASSOCIATES INC. 697 WEST END AVE., SUITE 6A NEW YORK, NY 10025 ROBERT MICHELSON INC. 127 WEST 26TH ST. NEW YORK, NY 10001 ROCK AIR PRODUCTIONS 12021 WILSHIRE BLVD., SUITE 535 LOS ANGELES, CA 90025 SAM CHASE ASSOCIATES INC. 118 WEST 79TH ST. NEW YORK, NY 10024 SAN FRANCISCO SOUND ARCHIVE 3421 CLEMENT STREET SAN FRANCISCO, CA 94121 SANGRE PRODUCTIONS 9844 BUSINESS PARK DRIVE SACRAMENTO, CA 95827 SATELLITE MUSIC NETWORK INC. 12655 NORTH CENTRAL EXPRESSWAY SUITE 600 DALLAS, TX 75243 SECONDARI PRODUCTIONS LTD. 1015 33RD ST. N.W. WASHINGTON, DC 20007 SEGUENTERTAINMENT 3421 CLEMENT STREET SAN FRANCISCO, CA 94121 SHAW—SPELLING ASSOCIATES 520 BROADWAY, 4TH FLOOR SANTA MONICA, CA 90401 SHEEN RADIO NETWORK 1515 NORTH FEDERAL HIGHWAY BOCA RATON, FL 33432 SHERIDAN BROADCASTING NETWORK 1 TIMES SQUARE PLAZA, 18TH FLOOR NEW YORK, NY 10036 SHERIDAN BROADCASTING NETWORK 75 E. WACKER DRIVE CHICAGO, IL 60601 SHERIDAN BROADCASTING NETWORKS 411 7TH AVE. PITTSBURG, PA 15219 141 SHERIDAN-ELSON COMMUNICATIONS 20 W. 37TH ST. NEW YORK, NY 10018 SI COMMUNICATIONS 4001 W. MAGNOLIA BOULEVARD BURBANK, CA 91506 SIGNAL PRODUCTIONS INC. 6223 SELMA AVE., SUITE 207 HOLLYWOOD, CA 90028 SIXTY-SECOND LP INC. 285 RIVERSIDE AVENUE, SUITE 300 WESTPORT, CT 06880 SJP ENTERPRISES P.O. BOX 491097 LOS ANGELES, CA 90049 SJS ENTERTAINMENT CORP. 800 2ND AVENUE, 13TH FLOOR NEW YORK, NY 10017 SOUNDSCAPES 1187 COAST VILLAGE RD. SUITE 1-117 SANTA BARBARA, CA 93108 SOUTHCOTT PRODUCTIONS BOX 33185 GRANADA HILLS, CA 91344 STUDIO 21 SOUND 635 MADISON AVE. NEW YORK, NY 10022 SUNDAY NIGHT PRODUCTIONS 906 UNION STREET SAN FRANCISCO, CA 94133 SUNDIAL PRODUCTIONS 24 COMMERCE ST., ROOM 1426 NEWARK, NJ 07102 SUNNY DAY PRODUCTIONS 1931 S.E. MORRISON PORTLAND, OR 97214 SYNDICOM 550 PRICE AVE., SUITE 8 REDWOOD CITY, CA 94063 TALCO PRODUCTIONS 279 E. 44TH ST. NEW YORK, NY 10017 TELEPROGRAMS INC. 8500 MELROSE AVE., SUITE 213 WEST HOLLYWOOD, CA 90069 THE ALBUM NETWORK INC. 120 N. VICTORY BLVD., 3RD FLOOR BURBANK, CA 91502 THE BROADCAST CONNECTION 9 S.W. MONROE PARKWAY #1290 LAKE OSWEGO, OR 97035 THE BROADCAST GROUP 1605 NEW HAMPSHIRE AVE., N.W. WASHINGTON, DC 10009 THE DICK CLARK PRODUCTIONS 3003 W. OLIVE AVE. BURBANK, CA 91505 THE INTERVIEW FACTORY P.O. BOX 615 VAN NUYS, CA 91408 THE MUSICAL SOUND REVIEW LTD. 2295 E. FIRST ST. BROOKLYN, NY 11223 THE PETERSEN CO. 7656 SUNSET BLVD. HOLLYWOOD, CA 90046 THE PRODUCTION GROUP BOX 2004 ALEXANDRIA, VA 22320—1004 THE SOURCE 1700 BROADWAY NEW YORK, NY 10019 THE SYNDICATE 1404 FRANKLIN ST., SUITE 410 OAKLAND, CA 94612 142 THOSE GUYS IN DETROIT INC. BOX 499 FAIRFIELD, IA 52556 TRANSMEDIA 350 PACIFIC SAN FRANCISCO, CA 94111 TRANSTAR RADIO NETWORK 660 SOUTH POINTE COURT SUITE 300 COLORADO SPRINGS, CO 80906 TRIBUNE RADIO NETWORKS 435 NORTH MICHIGAN AVENUE CHICAGO, IL 60611 UNIVERSAL AIRTIME 1850 N. ROSE AVE. OXNARD, CA 93030 VAN WINKLE SYNDICATION P.O. BOX 427 PORTLAND, OR 97207 VITT MEDIA INTERNATIONAL INC. 1114 AVENUE OF THE AMERICAS NEW YORK, NY 10036 WEEDECK CORP. 1516 CROSSROADS OF THE WORLD HOLLYWOOD, CA 90028 WESTERN FRONT BROADCASTING 4807 VAN NOORD AVENUE, SUITE 11 SHERMAN OAKS, CA 91423 WESTWOOD ONE 9540 WASHINGTON BLVD. CULVER CITY, CA 90232-1985 WHEELER-LEWIS PRODUCTIONS 2899 AGOURA RD., SUITE 390 WESTLAKE VILLAGE, CA 91361 WOLD COMMUNICATIONS 3415 S. SEPULVEDA BLVD. LOS ANGELES, CA 90034 143 WORLD BEAT 1463 SACRAMENTO ST., SUITE 1A SAN FRANCISCO, CA 94109 WORLD WIDE SYNDICATIONS CORP. 781 58TH AVE. 5. ST. PETERSBURG, FL 33705 WQXR SYNDICATION 229 W. 43RD ST. NEW YORK, NY 10036 ZIV INTERNATIONAL INC. 1875 CENTURY PARK E., SUITE 1610 LOS ANGELES, CA 90067 Appendix B - Pilot Study Questionnaire Coapany naaa: 144 Addraaa: Nuabar of Elpioyooa:-_.-- Do you produoa radio prograaa? Yoa.____ No._-__ How aany prograaa Do you diatributo How aany prograaa Hon aany atationa How would you oIaaaIfy thaao proaraaa? do you ourrantIy produco?---_- radio prograaa? Yaa_____ No_____ aro you currontIy d1atr15ut1n9?_____ do you diatributa to?.._-_ Appendix C - Pilot Study Respondent List ABOUT RADIO ENTERPRISES 5301 BALBOA BLVD. SUITE C3 ENCINO, CA 91316 AFTERGLOW PRODUCTIONS 6223 LOCHLEVIN COVE MEMPHIS, TN 38119 AMERICAN PIE P.O. BOX 66455 LOS ANGELES, CA 90066 BAILEY BROADCASTING SERVICES 3151 CAHUENGA BLVD. W. SUITE 200 LOS ANGELES, CA 90068 BEST OF THE OLDIES RADIO NETWORK 15651 DICKENS ST., SUITE 115 ENCINO, CA 91436 BEYOND BOURBON JAZZ PRODUCTIONS P.O. BOX 169-MO MILFORD, CT 06460 BONNEVILLE BROADCASTING SYSTEM 4080 COMMERCIAL AVE. NORTHBROOK, IL 60062-1892 BULLET PRODUCTIONS 120 N. VICTORY, SUITE 102 BURBANK, CA 91502 CENTURY 21 PROGRAMMING, INC. 14444 W. BELTWOOD PARKWAY DALLAS, TX 75044 CHARLES MICHELSON INC. 9350 WILSHIRE BLVD., SUITE 202 BEVERLY HILLS, CA 90212 CINEMA SOUND LTD. 311 W. 75TH ST. NEW YORK, NY 10023 COLLINS BROADCAST SERVICES 174 KING HENRY COURT PALATINE, IL 60067 145 CONTINUUM BROADCASTING NETWORK 428 SHERWOOD DRIVE., SUITE 304 SAUSALITO, CA 94965 COPLEY ENTERTAINMENT 51 FOX STREET BRIDGEPORT, CT 06605 COPLEY RADIO NETWORK P.O. BOX 190 SAN DIEGO, CA 92112 CUTLER PRODUCTIONS 1639 WESTWOOD BOULEVARD LOS ANGELES, CA 90024 DICK CLARK PRODUCTIONS, INC. 3003 W. OLIVE AVE. BURBANK, CA 91510-7811 DICK BARTLEY PRODUCTIONS 8 GREENLEA LANE WESTON, CT 06883 DRAKE-CHENAULT ENTERPRISES, INC. 2000 RANDOLPH RD. SE ALBUQUERQUE, NM 87106 EAGLE MEDIA PRODUCTIONS, LTD. P.O. BOX 430 NORTH SALEM, NY 10560 EFM MEDIA MANAGEMENT 825 7TH AVENUE, 4TH FLOOR NEW YORK, NY 10019 ENTERTAINMENT RADIO INC. 11684 VENTURA BLVD., SUITE 589 STUDIO CITY, CA 91604-2652 FEATURES INTERNATIONAL BOX 3140 CHESAPEAKE, VT 23320 FRANK BENNETT MEDIA VENTURES 3131 HOMESTEAD, SUITE 17—K SANTA CLARA, CA 95051 GARLIN SOUND ENTERPRISES 7021 HATILLO AVE. WINNETKA, CA 91306 GIVENS BROADCASTING DIVISION 921 DOUGLAS AVENUE ALTAMONTE SPRINGS, FL 32714 GLOBAL SATELLITE NETWORK 15477 VENTURA BLVD., SUITE 300 SHERMAN OAKS, CA 91403 GREATER MEDIA SERVICES INC. BOX 859 EAST BRUNSWICK, NJ 08816 HIMAN BROWN 285 CENTRAL PARK WEST NEW YORK, NY 10024 HOWARD RADIO-TV PRODUCTIONS 3918 W. ESTES AVE. LINCOLNWOOD, IL 60645 INNERVIEW, INC. 8913 W. OLYMPIC BLVD., SUITE 201 BEVERLY HILLS, CA 90211 IS INC./COUNTDOWN USA 655 REDWOOD HIGHWAY, SUITE 285 MILL VALLEY, CA 94941 JAZZ TRAX 701 KETTNER, SUITE 204 SAN DIEGO, CA 92101 JOHN M. REANS RADIO PRODUCTION & PROGRAMS 3301 THIRD STREET MOLINE, IL 61265 KALEIDOPHONICS/ALAN OLMSTEAD 3805 H ST. EUREKA, CA 95501 KJD TELEPRODUCTIONS 30 WHYTE DRIVE VOORHEES, NJ 08043 LBS RADIO 875 THIRD AVENUE NEW YORK, NY 10022 LIBERTY HILL BROADCASTING 3000 TOWN CENTER, SUITE 777 SOUTHFIELD, MI 48075 146 LION AND FOX RECORDING INC. 1905 FAIRVIEW AVE. N.E. WASHINGTON, DC 20002 MARK DRUCK PRODUCTIONS 300 E. 40TH ST. NEW YORK, NY 10016 MEDIA GENERAL BROADCAST SERVICES 2714 UNION EXTENDED MEMPHIS, TN 38112 MELCOR BROADCASTING COMPANY 380 LEXINGTON AVENUE NEW YORK, NY 10168 MORRIE TRUMBLE & ASSOCIATES, INC. 139 FULTON ST., SUITE 917 NEW YORK, NY 10038 MUDDY MITCH PRODUCTIONS 4315 AZALEA, SUITE 220 LISLE, IL 60532 MUSIC UNLIMITED PRODUCTIONS 763 TAFT DRIVE, SUITE G ARLINGTON, TX 76011 MUSICWORKS, INC. 128 HOLIDAY COURT, SUITE 114 FRANKLIN, TN 37064 NEER PERFECT PRODUCTIONS 1133 BROADWAY, ROOM 515 NEW YORK, NY 10010 NEW DIMENSIONS RADIO BOX 410510 SAN FRANCISCO, CA 94141 O’CONNOR CREATIVE SERVICES P.O. BOX 5432 PLAYA DEL REY, CA 90296 OBLATE MEDIA AND COMMUNICATION 5901 W. MAIN, SUITE A BELLEVILLE, IL 62223-4409 ON THE RADIO BROADCASTING 3250 OCEAN PARK BLVD., #206 SANTA MONICA, CA 90405 PETERSEN COMMUNICATIONS 7656 SUNSET BLVD. HOLLYWOOD, CA 90046 PREMIERE RADIO NETWORKS INC. 6255 SUNSET BLVD. PENTHOUSE SUITE HOLLYWOOD, CA 90028-7423 ‘ PRO AUDIO MAKERS P.O. BOX 4087 SIGNAL HILL, CA 90804 PROGRESSIVE RADIO NETWORK THE BREEZE 1069 10TH AVE. S.E. MINNEAPOLIS, MN 55414 RADIO EXPRESS 3575 CAHUENGA BLVD. W. SUITE 390 LOS ANGELES, CA 90068 RADIO LINKS 6333 GAYTON PLACE MALIBU, CA 90265 RADIO TODAY ENTERTAINMENT 1776 BROADWAY NEW YORK, NY 10019 REAL RADIO CO. 127 GLEN SUMMER RD. PASADENA, CA 91105 RICHARD H. ROFFMAN ASSOCIATES 697 WEST END AVE. NEW YORK, NY 10025 ROBERT MICHELSON INC. 127 WEST 26TH ST. NEW YORK, NY 10001 SHEEN RADIO NETWORK 1515 NORTH FEDERAL HIGHWAY SUITE 407 BOCA RATON, FL 33432 SI COMMUNICATIONS 4001 W. MAGNOLIA BOULEVARD BURBANK, CA 91505 147 SIXTY-SECOND LP INC. 285 RIVERSIDE AVENUE, SUITE 300 WESTPORT, CT 06880 SOUNDSCAPES 1980 CLIFF DRIVE, SUITE 227 SANTA BARBARA, CA 93109 SUNDAY NIGHT PRODUCTIONS 906 UNION STREET SAN FRANCISCO, CA 94133 SUNNY DAY PRODUCTIONS 1931 S.E. MORRISON PORTLAND, OR 97214 TALCO PRODUCTIONS 279 E. 44TH ST. NEW YORK, NY 10017 THE ALBUM NETWORK INC. 120 N. VICTORY BLVD., 3RD FLOOR BURBANK, CA 91502 THE PRODUCTION GROUP BOX 20004 ALEXANDRIA, VA 22307 THE BROADCAST GROUP 3333 K ST. NW, SUITE 77 WASHINGTON, DC 20007 TRANSMEDIA 350 PACIFIC SAN FRANCISCO, CA 94111 TRIBUNE RADIO NETWORKS TRIBUNE TOWER 435 NORTH MICHIGAN AVENUE CHICAGO, IL 60611 UNISTAR RADIO NETWORKS 660 SOUTHPOINTE COURT COLORADO SPRINGS, CO 80906 VOICES P.O. BOX 153 LA GRANGE, IL 60525 WEEDECK RADIO NETWORK 1516 CROSSROADS OF THE WORLD HOLLYWOOD, CA 90028 148 WESTERN FRONT BROADCASTING 4807 VAN NOORD AVENUE, SUITE 11 SHERMAN OAKS, CA 91423 WESTWOOD ONE RADIO NETWORK 9540 WASHINGTON BLVD. CULVER CITY, CA 90232—1985 WHEELER/LEWIS PRODUCTIONS 2899 AGOURA RD., SUITE 390 WESTLAKE VILLAGE, CA 91361 WHORF PRODUCTIONS 5455 FOREST WAY BLOOMFIELD HILLS, MI 48302 WORLD BEAT P.O. BOX 884252 SAN FRANCISCO, CA 94188 WQXR RADIO STATIONS OF NYT 122 5TH AVENUE NEW YORK, NY 10011 Appendix D - Weekly Music Features for AOR Stations as Listed in R & R Program Supplier Guide ’90 149 "America's Rock Network Meltdown" (America's Rock Network) - Top 50 of hard rock/pop mainstream heavy metal - may be aired once or twice a week - ideal weekend programming. "Blues Deluxe" (Music Unlimited) - Features blues and blues/rock tunes, with emphasis on more current material. Includes artist interviews, listener requests, and unsigned bands. "Buried Treasure" (The Source) - Rare or hard-to- find music cuts. "Classic CD's" (The Source) - In each episode, an artist guides us track-by-track through a classic rock release. "Desert Island Discs" (MJI Broadcasting) - Each week celebrities from music, TV, film, and sports host a show featuring rock records they would take to a desert island. "Flashback" (Radio Today Entertainment/LBS Radio) - Re-creates the era of "progressive radio" at its best; rock 'n' roll mixed with actual newscasts, commercials, comedy, and much more. "High Voltage" (Westwood One) - Features the hottest in "headbanger" rock; includes a guest DJ segment and presents "pure rock"'s biggest artists live in concert. "In Concert" (Westwood One) - Features rock's hottest talent, recorded live in concert throughout America. "In The Studio" ( SJ S Entertainment /Album Network/Bullet Productions) - Making of significant rock albums, created as artists are brought back "in the studio" featuring the ‘music and. never before heard interviews. "King Biscuit Flower Hour" (DIR Broadcasting) - Longest-running syndicated rock radio show in North America, featuring the world's greatest acts in concert for over 15 years. "Don Kirschner's Musical Memories" (Denny Somach Productions) - Weekly profile of rock by topics. "Legends Of Rock" (Westwood One/NBC Radio Network) - Weekly profile of a superstar artist. 150 "Live From Electric Ladyland" (SJS Entertainment/ Album. INetwork/Bullet Productions) - A. rare opportunity to hear a live concert in a setting most conducive to high quality sound reproduction: a recording studio or soundstage. "Lost Lennon Tapes" (Westwood One) - Features material taken from more than 300 hours of newly discovered recordings. Includes jam sessions, demos, in-studio conversations. "The Live Show" (Radio Today Entertainment/ABC Radio Network) - Weekly multi-artist concert series showcasing the greatest acts in rock 'n' roll in the most electrifying performances of their careers. "Masters Of Rock" (Radio Today Entertainment/LBS Radio) - Music-intensive words and interview series featuring exclusive career-spanning'intervieWS‘with the giants of rock 'n roll. "Metalshop" (MJI Broadcasting) - Rock radio's original and.:most successful heavy ‘metal show, featuring exclusive artist interviews , album premieres, and world class promotions. "Monthly Specials" (Unistar Radio Networks) - Classic rock artist or group is featured, each month, with music and artist interviews. "A New Frontier Of Superstars" (Western Front Broadcasting) - An alternative/AOR interview show featuring top and up-and-coming artists. Also, the latest alternative news. "Off The Record Specials" (Westwood One) - Music and interview program spotlighting the superstars of rock 'n' roll. "Powercuts" (Global Satellite Network) - Hottest rock songs in the country along with interviews with the superstars. All the latest rock 'n' roll news and great prize giveaways. "Rarities On Compact Disc" (On The Radio) - CD compilation of rare tracks by a particular highlighted artist. 151 "Reelin' In The Years" (Global Satellite Network) - Music of the '603 & '7OS from a '908 perspective, plus fascinating lifestyle slices, vintage TV clips, interviews, and more. "Rock Over London" (Radio Ventures, Inc.) - Rock Over London is available in both. AOR. and. CHR formats, each version highlights the best new music from the UK and Europe. "Rock Stars" (Radio Today Entertainment/SJS Entertainment) - Music-intensive series featuring chart-topping artists in revealing and personal interviews conducted by John Sebastian of Loving' Spoonful fame. "Rockline" (Global Satellite Network) - Rockline puts listeners in touch with the biggest stars in Rock 'N Roll live every Monday night. "Spin Radio Concert" (Entertainment Radio, Inc.) - Live to two-track concerts from small/medium avenues of popular music groups ranging from Ramones to 10,000 Maniacs. "Superstar Concert Series" (Westwood One) - live concert series featuring the hottest superstars in rock today. "Ticket To Ride" (Denny Somach Productions) - Weekly Beatles show. "Up Close" (Media America) - The best music interview series for AOR radio. Complete devotion to quality in production and writing, featuring rock's biggest artists. "World Of Rock With Scott Muni" (DIR Broadcasting) - AOR program celebrating rock's great moments, with special guests, exclusive live recordings, "then and now" spotlights, and affiliate concert reports. "Z-Rock 50 Hard Rock Countdown" (Satellite Music Network, Inc.) - America's only hard rock countdown with Madd Maxx delivered live. Excellent show to test hard rock format for market. Appendix E - Sample Program Script 152 ROCK ’N ROLL AVENUES SEGMENT 1: I (THEME FULL THEN UNDER AND FADE OUT) WELCOME TO "ROCK 'N ROLL AVENUES," WHERE WE EXAMINE DIFFERENT MUSICAL STYLES AND TRENDS OF THE ROCK ERA- I'M LINDA BENNETT, AND THIS WEEK WE'LL LOOK AT THE INFLUENCE OF THE BLUES ON ROCK MUSIC, ILLUSTRATED THROUGH SOME CLASSIC BLUES TUNES THAT HAVE BEEN COVERED (OR RERECORDED) BY ROCK ARTISTS AND GROUPS. NO ONE CAN DENY THE IMPORTANCE OF THE BLUES AS THE ROOTS OF TODAY'S ROCK AND ROLL, AND THIS IS ESPECIALLY EVIDENT BY THE CONTINUING PRACTICE OF REMAKING> THE MUSIC OF THE BLUES MASTERS. IT SEEMS FITTING TO BEGIN WITH A SONG BY ROBERT JOHNSON, POSSIBLY THE MOST INFLUENTIAL MUSICIAN IN THE EVOLUTION OF BOTH MODERN BLUES AND ROCK AND ROLL. YOU MAY HAVE HEARD THE SONG "CROSSROADS" BY CREAM, BUT YOU MAY NOT KNOW THAT IT WAS ORIGINALLY WRITTEN BY ROBERT JOHNSON AND CALLED "CROSS ROAD BLUES." AS THE LEGEND GOES, THE CROSSROADS IS WHERE ASPIRING MUSICIANS GO TO STRIKE THEIR DEAL WITH THE DEVIL, AS ROBERT JOHNSON CLAIMED TO HAVE DONE. HERE'S THE ORIGINAL "CROSS ROAD BLUES," RECORDED IN 1936, FOLLOWED BY CREAM'S "CROSSROADS," FEATURING ERIC CLAPTON, JACK BRUCE, AND GINGER BAKER. 153 (ROBERT JOHNSON, CREAM VERSIONS) "CROSSROADS" WAS ALSO COVERED BY DUANE AND GREGG ALLMAN IN THEIR EARLY BAND, THE ALLMAN JOYS. (ALLMAN JOYS VERSION) LYNYRD SKYNYRD RECORDED THE ROBERT JOHNSON CLASSIC ON THEIR LIVE ALBUM "ONE MORE FROM THE ROAD." ( LYNYRD SKYNYRD VERSION ) EVEN THOUGH ROBERT JOHNSON ONLY RECORDED 29 SONGS DURING HIS BRIEF CAREER, HIS INFLUENCE IS STILL FELT TODAY. IN THE LINER NOTES OF "ROBERT JOHNSON - THE COMPLETE RECORDINGS," ERIC CLAPTON WROTE: I HAVE NEVER FOUND ANYTHING MORE DEEPLY SOULFUL THAN ROBERT JOHNSON. HIS MUSIC REMAINS THE MOST POWERFUL CRY THAT I THINK YOU CAN FIND IN THE HUMAN VOICE. ERIC CLAPTON HAS COVERED MANY BLUES TUNES DURING HIS LONG CAREER. V HE COVERED "CROSSROADS" WITH HIS EARLY BAND POWERHOUSE AND WITH DEREK AND THE DOMINOS, IN ADDITION TO CREAM. LET'S TRAVEL BRIEFLY THROUGH THE HISTORY OF THE BLUES AND DISCOVER IT'S PART IN THE CREATION OF AND ENDURING INFLUENCE ON ROCK AND ROLL. 154 THE EARLY BLUES OF THE LATE 19TH CENTURY WERE A PRODUCT OF THE RURAL BLACK EXPERIENCE. PERFORMERS TRAVELED FROM ONE BLACK COMMUNITY TO.ANOTHER.PLAYING GUITAR AND SINGING ABOUT'THE PAIN OF POVERTY, HARD WORK, AND LOVE. THE BLUES AS A MUSICAL FORM IS CHARACTERIZED BY MICROTONES OR BENT NOTES AND IS BASED ON A 12-BAR PATTERN, CONSISTING OF 3 VOCAL LINES, EACH OF FOUR BARS. BY THE 19208, THE BLUES HAD FOUND ITS WAY TO THE CITY AND TO THE RECORDING INDUSTRY. THE RESULT‘WAS WHAT‘WAS CALLED "RACE RECORDS," WHICH WERE TARGETED AT THE BLACK COMMUNITIES. BY THE LATE '4OS AND EARLY 'SOS, RHYTHM AND BLUES SONGS HAD BEGUN TO GAIN A WIDER AUDIENCE. RECORD EXECUTIVES, OBSERVING THE SUCCESS OF THE SONGS FOUND ON "RACE RECORDS," BEGAN DISTRIBUTING COVER VERSIONS OF THESE SONGS BY WHITE PERFORMERS. THIS MARKED THE BEGINNING OF THE ROCK AND ROLL ERA. THE MOST SUCCESSFUL OF THE EARLY ROCK AND ROLLERS WAS UNDOUBTEDLY ELVIS PRESLEY. HIS FIRST RECORD WAS A COVER OF ARTHUR "BIG BOY" CRUDUP'S "THAT'S ALRIGHT." HE WENT ON TO RECORD MANY BLUES COVERS, INCLUDING THE HIT "HOUND DOG." ZEVEN THOUGH "HOUND DOG" WAS WRITTEN BY 2 YOUNG JEWISH MEN, LYRICIST JERRY LEIBER AND COMPOSER MIKE STOLLER, THE SONG WAS WRITTEN FOR AND RECORDED BY BLUES GREAT BIG MAMA THORNTON IN 1952. (BIG MAMA THORNTON AND ELVIS PRESLEY VERSIONS) IT WAS ALSO RECORDED BY JIMI HENDRIX. 155 (JIMI HENDRIX VERSION) "HOUND DOG" CAN BE FOUND ON JOHN LENNON'S "LIVE IN NEW YORK CITY," RECORDED AT MADISON SQUARE GARDEN IN 1972. (JOHN LENNON VERSION) ALMOST 40 YEARS AFTER.BIG MAMA THORNTON RECORDED THE ORIGINAL, ERIC CLAPTON RELEASED HIS RENDITION OF "HOUND DOG" ON HIS 1989 ALBUM, "JOURNEYMAN." (ERIC CLAPTON VERSION) EVEN THOUGH ROCK AND ROLL EVOLVED FROM THE RERECORDING OF THE BLUES BY’ WHITE PERFORMERS, IT WASN'T ‘UNTIL THE BRITISH INVASION OF THE '6OS THAT CREDIT'WAS APPROPRIATELY GIVEN} THE BRITISH BLUES MOVEMENT ORIGINATED IN LONDON AND WAS PARTICULARLY WELL-RECEIVED WITH STUDENTS AT THE ART COLLEGES AND UNIVERSITIES. IN 1960, ALEXIS KORNER FORMED THE FIRST BRITISH BLUES GROUP AND CALLED IT BLUES INCORPORATED. MICK JAGGER WAS ONE OF ITS FIRST MEMBERS, AND AFTER A SHORT STAY WITH BLUES INCORPORATED, HE FORMED HIS OWN BLUES BAND WITH KEITH RICHARDS, BRIAN JONES, BILL WYMAN, AND CHARLIE WATTS - THE ROLLING STONES. 156 IN THE EARLY DAYS, THE STONES WERE.ADAMANT ABOUT CALLING THEIR MUSIC RHYTHM AND BLUES, NOT ROCK .AND ROLL, AND OPENLY ACKNOWLEDGED THEIR MANY BLUES INFLUENCES, INCLUDING HOWLIN' WOLF, WILLIE DIXON, AND MUDDY WATERS. IN FACT, THEY TOOK THEIR NAME FROM THE MUDDY WATERS SONG CALLED "ROLLING STONE." DURING THE STONES' FIRST AMERICAN TOUR THEY WERE ASKED TO APPEAR.ON THE TELEVISION SHOW "SHINDIG," BUT AGREED ONLY AFTER HOWLIN' WOLF WAS ALLOWED TO BE BROUGHT IN TO DO A GUEST SPOT. MANY OF THEIR EARLY RECORDINGS WERE COVERS OF BLUES SONGS INCLUDING "I JUST WANT TO MAKE LOVE TO YOU," RECORDED BY MUDDY WATERS IN 1954 AND BY THE ROLLING STONES IN 1964. (MUDDY WATERS AND ROLLING STONES VERSIONS) FOGHAT, FORMED IN 1972 IN ENGLAND FROM THE REMAINS OF THE GROUPS SAVOY BROWN AND BLACK CAT BONES, ALSO COVERED THE SONG ON THEIR FIRST ALBUM. (FOGHAT VERSION) IRISH BORN VAN MORRISON RECORDED THE WILLIE DIXON CLASSIC ON HIS 1973 LIVE ALBUM ENTITLED "IT'S TOO LATE TO STOP NOW." (VAN MORRISON VERSION) 157 THE AMERICAN BLUESMEN GAINED RECOGNITION IN EUROPE THROUGH THE AMERICAN FOLK BLUES FESTIVALS. BEGINNING IN 1962, THESE 3 - 4 WEEK TOURS PASSED THROUGH FRANCE, HOLLAND, GERMANY, DENMARK, SWEDEN, AND ENGLAND ANNUALLY. THE AUDIENCE COULD NOW HEAR THE MUSIC THEY CHERISHED THROUGH RECORDINGS, PERFORMED LIVE BY THE ORIGINAL ARTISTS. THE TOURS ALSO GAVE THE BRITISH INVASION BANDS THE OPPORTUNITY TO PICK UP ADDITIONAL MATERIAL TO COVER. THE ATTENTION GIVEN TO THE BLUES DURING THE FIRST WAVE OF THE BRITISH INVASION ENCOURAGED NOT ONLY THE BRITISH AUDIENCE, BUT ALSO THE AMERICAN AUDIENCE TO SEARCH OUT AND DISCOVER THE ROOTS OF ROCK AND ROLL. WHITE TEENAGERS BEGAN TO LISTEN TO BLACK RADIO STATIONS AND TRAVELED TO BLACK COMMUNITIES TO BUY RECORDS DISTRIBUTED AS "RACE RECORDS." WITH THE SECOND WAVE OF THE BRITISH INVASION DURING THE LATE '6OS, BANDS SUCH AS CREAM, FLEETWOOD MAC, AND LED ZEPPELIN SOLIDIFIED THE BRITISH BLUES MOVEMENT. A SIMILAR MOVEMENT WAS OCCURRING IN THE UNITED STATES, LED BY BANDS SUCH AS THE GRATEFUL DEAD, THE DOORS, CANNED HEAT, AND VOCALISTS JANIS JOPLIN AND GRACE SLICK. EVEN THOUGH WIDESPREAD RECOGNITION WAS FINALLY GIVEN TO BLUES MUSIC IN THE CREATION AND ADVANCEMENT OF ROCK AND ROLL, THE PROFITS FROM COVER SONGS WERE NOT ALWAYS RECEIVED BY THE SONGWRITERS. LED ZEPPELIN PROPERLY CREDITED VERSIONS OF WILLIE DIXON'S "YOU SHOOK ME" AND "I CAN'T QUIT YOU BABY" ON THEIR FIRST ALBUM. BUT ON LED ZEPPELIN II, DIXON'S "BRING IT ON HOME" AND HOWLIN' WOLF'S "KILLING FLOOR" (WHICH WAS THE BASIS FOR ZEPPELIN'S "THE LEMON SONG") WERE NOT PROPERLY 158 CREDITED. 15 YEARS AFTER THE RELEASE OF LED ZEPPELIN II ANOTHER.SUIT WAS FILED CONCERNING THE SIMILARITIES BETWEEN WILLIE DIXON'S "YOU NEED LOVE," PERFORMED BY MUDDY WATERS, AND ZEPPELIN'S "WHOLE LOTTA LOVE." OUT-OF-COURT SETTLEMENTS WERE REACHED FOR ALL THREE SONGS. HERE'S SONNY BOY WILLIAMSON AND LED ZEPPELIN PERFORMING DIXON'S "BRING IT ON HOME." (SONNY BOY WILLIAMSON VERSION) THE LED ZEPPELIN VERSION BEGINS AND ENDS IN FULL SONNY BOY STYLE, BUT THE BULK OF THE SONG IS PURE ZEPPELIN. (LED ZEPPELIN VERSION) THERE WERE ACTUALLY TWO SONNY BOY WILLIAMSON’S. THE FIRST'WAS BORN JOHN LEE WILLIAMSON. THE SECOND SONNY BOY, WHO RECORDED "BRING IT ON HOME," WAS BORN RICE MILLER AND NAMED HIMSELF AFTER THE ORIGINAL. HE FIRST GAINED RECOGNITION THROUGH HIS WORK ON VARIOUS RADIO SHOWS, MOST SUCCESSFULLY ON KING BISCUIT TIME WHICH WAS SPONSORED BY THE INTERSTATE GROCERY COMPANY'S KING BISCUIT FLOUR AND BROADCAST ON KFFA OUT OF HELENA, ARKANSAS. SONNY BOY WAS SO SUCCESSFUL THAT INTERSTATE SOON BEGAN MARKETING SONNY BOY CORN MEAL. UP UNTIL HIS DEATH IN 1965, HE PERIODICALLY RETURNED TO HELENA TO CONTINUE HIS WORK ON KING BISCUIT TIME. 159 COMING UP NEXT WE HAVE A COUPLE OF BLUES COVERS BY AMERICAN ARTISTS, INCLUDING A TRADITIONAL SONG REMADE BY JANIS JOPLIN AND A HOWLIN' WOLF CLASSIC REMADE BY THE DOORS. STAY TUNED. (THEME UNDER FRONTSELL, UP FULL, AND OUT) SEGMENT 2: (THEME FULL, THEN UNDER, AND OUT) WELCOME BACK TO "ROCK 'N ROLL AVENUES." WE'VE BEEN EXAMINING THE INFLUENCE OF THE BLUES ON ROCK MUSIC, AND PLAYING SOME BLUES CLASSICS THAT HAVE BEEN COVERED BY ROCK ARTISTS. IDURING THIS SEGMENT WE'LL FOCUS ON THE RECORDING OF THE BLUES, BOTH IN THE FIELD AND IN THE STUDIO. NOT ALL OF THE ORIGINAL WRITERS OF THE OLDER BLUES SONGS ARE KNOWN SINCE TRADITIONAL SONGS THAT GREW OUT OF THE RURAL BLACK EXPERIENCE WERE PASSED FROM ONE COMMUNITY TO ANOTHER AND FROM ONE GENERATION TO THE NEXT, AND FINALLY CAPTURED THROUGH THE RECORDINGS OF EARLY MUSICIANS, SUCH AS LEADBELLY. BORN HUDDIE LEDBETTER IN 1888 IN LOUISIANA, LEADBELLY MOVED TO DALLAS AND DIVIDED HIS TIME BETWEEN PICKING COTTON AND PLAYING MUSIC IN LOCAL SALOONS. IHE CONTINUALLY FOUND HIMSELF ON THE WRONG SIDE OF THE LAW AND DURING HIS THIRD PRISON TERM, HE WAS DISCOVERED AND RECORDED BY ALAN AND JOHN LOMAX. 160 THE LOMAXES WERE COMMISSIONED BY THE LIBRARY OF CONGRESS TO GATHER SOUTHERN FOLK SONG MATERIAL AND TRAVELED THROUGHOUT THE SOUTH COLLECTING FIELD RECORDINGS OF DELTA BLUESMEN. ONE TRADITIONAL SONG THAT LEADBELLY OFTEN PERFORMED WAS "C.C. RIDER," A SONG FIRST INCLUDED IN THE REPERTOIRE OF GERTRUDE "MA" RAINEY. MA RAINEY WAS A VAUDEVILLE ENTERTAINER WHO SANG MINSTREL AND POPULAR SONGS WITH A BLACK TENT SHOW CALLED THE RABBIT FOOT MINSTRELS. DURING HER TRAVELS SHE PICKED UP FOLK SONGS FROM THE LOCALS AND WORKED THEM INTO HER ACT. iLEADBELLY RECORDED HIS VERSION OF "C.C. RIDER" IN 1935. (LEADBELLY VERSION) "C.C. RIDER" WAS ALSO RECORDED BY JOHN LEE HOOKER, WHO WAS BORN IN CLARKSDALE, MISSISSIPPI IN 1915. AFTER LIVING FOR SHORT PERIODS IN MEMPHIS AND CINCINNATI, HE SETTLED IN DETROIT IN 1943, WHERE HE FOUND EMPLOYMENT IN THE AUTOMOBILE INDUSTRY AND EVENTUALLY BEGAN HIS RECORDING CAREER. (JOHN LEE HOOKER VERSION) HERE'S "C.C. RIDER" FROM ONE OF JANIS JOPLIN'S EARLY PERFORMANCES, RECORDED IN AUSTIN, TEXAS BEFORE SHE MOVED TO SAN FRANCISCO AND GAINED RECOGNITION WITH BIG BROTHER AND THE HOLDING COMPANY . 161 (JANIS JOPLIN VERSION) THE ANIMALS WERE ONE OF THE MORE INFLUENTIAL GROUPS IN INTRODUCING THEIR AUDIENCE TO THE BLUES DURING THE FIRST WAVE OF THE BRITISH INVASION} ORIGINALLY THE FOUR-PIECE ALAN PRICE COMBO, THE ADDITION OF SINGER ERIC BURDON IN 1962 CHANGED NOT ONLY THE NAME OF THE GROUP TO THE ANIMALS, BUT THEIR STYLE OF MUSIC TO RHYTHM AND BLUES. THEIR "ANIMALIZATION" ALBUM FEATURED SEVERAL BLUES COVERS, INCLUDING A MORE ROCK-INFLUENCED VERSION OF "C.C. RIDER." (ANIMALS VERSION) DETROITER.MITCH RYDER SCORED A NUMBER OF HITS IN THE '6OS WITH HIS GROUP THE DETROIT WHEELS. THE 1965 HIT ENTITLED "JENNY TAKE A RIDE!" WAS HIS COMBINATION OF TWO DIFFERENT SONGS, LITTLE RICHARD'S "JENNY, JENNY" AND "C.C. RIDER." (MITCH RYDER VERSION) BRUCE SPRINGSTEEN OFTEN PERFORMS A MEDLEY OF MITCH RYDER HITS INCLUDING "JENNY TAKE A RIDE!" DURING HIS LIVE SHOWS. THIS TRIBUTE WAS CAPTURED ON THE 1979 BENEFIT ALBUM, NO NUKES. (BRUCE SPRINGSTEEN VERSION) 162 EVEN THOUGH THERE WERE A NUMBER OF RECORD COMPANIES FOCUSING ON THE BLUES, THE RECORDINGS FROM CHESS RECORDS AND ITS SUBSIDIARY, CHECKER, WERE THE MOST INFLUENTIAL TO THE BRITISH INVASION BANDS. ORIGINALLY CALLED ARISTOCRAT, CHESS RECORDS WAS FOUNDED IN CHICAGO IN 1947 BY TWO POLISH-BORN JEWISH BROTHERS, LEONARD AND PHIL CHESS. THE CHESS BROTHERS NEVER WANTED TO CAPTURE THE FOLK ASPECT OF THE BLUES, THEY WANTED TO MAKE POPULAR RECORDS. THEY SET OUT TO RECREATE THE BLUES IN A MANNER THAT WOULD SUIT STUDIO RECORDING AND RESULT IN 3- MINUTE JUKEBOX SINGLES. THIS APPROACH LED TO THE WIDESPREAD SUCCESS OF THE BLUES AS A POPULAR MUSIC FORM. WITH THEIR FIRST BIG ARTIST, MUDDY WATERS, THE CHESS BROTHERS BEGAN TO FOCUS ON RECORDING THE ARTISTS WHO HAD MIGRATED TO CHICAGO FROM THE MISSISSIPPI DELTA. WILLIE DIXON, WHO SERVED AS THEIR RIGHT-HAND MAN, PERFORMED ROLES AS HOUSE BASSIST, STUDIO BAND LEADER, ARRANGER, PRODUCER, AND SONGWRITER. AS A SONGWRITER, DIXON WROTE COUNTLESS HITS FOR SUCH SINGERS AS MUDDY WATERS, SONNY BOY WILLIAMSON, LITTLE WALTER, AND HOWLIN' WOLF. HOWLIN' WOLF, WHOSE REAL NAME IS CHESTER BURNETT, RECORDED WILLIE DIXON'S "BACK DOOR MAN" IN 1960. (HOWLIN' WOLF VERSION THEN THE DOORS VERSION AROUND NEXT COPY) 163 IT WAS ALSO RECORDED BY THE DOORS ON THEIR FIRST ALBUM IN 1967. THE DOORS' PSYCHEDELIC BLEND OF BLUES ROOTS AND SENSUAL VOCALS BY JIM MORRISON PROVIDED AN INTERESTING INTERPRETATION, AND "BACK DOOR MAN" REMAINED A CONCERT FAVORITE FOR BOTH THE BAND AND THEIR AUDIENCE. COMING UP ON "ROCK 'N ROLL AVENUES" WE HAVE ANOTHER HOWLIN' WOLF CLASSIC, THIS TIME COVERED BY THE JEFF BECK GROUP AND BLUES/ROCKER GEORGE THOROGOOD PERFORMING THOSE MADISON BLUES. (THEME UNDER FRONTSELL, UP FULL, AND OUT) SEGMENT 3: (THEME FULL, THEN UNDER, AND OUT) WE'VE BEEN EXPLORING THE INFLUENCE OF THE BLUES AS THE ROOTS OF ROCK MUSIC ON THIS WEEK'S INSTALLMENT OF "ROCK 'N ROLL AVENUES." THIS TRIBUTE TO THE BLUES WOULD NOT BE COMPLETE WITHOUT LISTENING TO SOME OF THE ROCK GUITARISTS WHOSE STYLES WERE GREATLY INFLUENCED BY THEIR BLUES COUNTERPARTS. LET'S BEGIN WITH JEFF BECK, ONE OF THE GREAT ROCK GUITARISTS THAT EMERGED FROM THE BRITISH R&B SCENE. 164 THE JEFF BECK GROUP, FEATURING RON WOOD ON BASS AND ROD STEWART'ON VOCALS, RELEASED TWO ALBUMS BEFORE STEWART.AND‘WOOD LEFT TO JOIN THE SMALL FACES. THE FIRST OF THE TWO ALBUMS, "TRUTH," WAS RECORDED IN 1968 AND FEATURED A COVER OF THE HOWLIN' WOLF CLASSIC "I AIN'T SUPERSTITIOUS," WHICH WOLF HAD RECORDED IN 1961. (I AIN'T SUPERSTITIOUS MIX) MISSISSIPPI-BORN GUITARIST ELMORE JAMES IS CREDITED WITH BRINGING THE DELTA BLUES BOTTLENECK GUITAR SOUND INTO A MORE MODERN ELECTRIC BLUES CONTEXT. HE HAD PICKED UP HIS STYLE PARTLY FROM HIS ASSOCIATION WITH ROBERT JOHNSON. HE ALSO PLAYED FREQUENTLY WITH SONNY BOY WILLIAMSON AND WAS FEATURED OCCASIONALLY ON SONNY BOY'S RADIO SHOWS. ELMORE JAMES RECORDED MANY SONGS DURING HIS CAREER, BUT ONLY A HANDFUL WERE RELEASED ON CHESS RECORDS, INCLUDING HIS "MADISON BLUES" IN 1960. (ELMORE JAMES VERSION THEN GEORGE THOROGOOD VERSION AROUND NEXT COPY) GEORGE THOROGOOD ALSO RECORDED "MADISON BLUES," BOTH LIVE AND IN THE STUDIO . 165 MODERN-DAY ROCK MUSICIANS HAVE ACKNOWLEDGED THEIR.DEBT TO THE BLUES MUSICIANS THAT HELPED FORM WHAT IS TODAY KNOWN AS ROCK AND ROLL, AND MANY HAVE FOUND WAYS TO REPAY THE BLUES CULTURE FOR THEIR INFLUENCE. IN 1977, FOGHAT STAGED A BENEFIT CONCERT AT NEW YORK CITY'S PALLADIUM FOR THE ESTABLISHMENT OF A COLLECTION OF BLUES RECORDINGS AT THE LINCOLN CENTER LIBRARY OF THE PERFORMING ARTS. THE BAND NOT ONLY RAISED A SUBSTANTIAL AMOUNT OF MONEY FOR THE LIBRARY, BUT ALSO INTRODUCED THE AUDIENCE TO MUDDY WATERS AND JOHN LEE HOOKER. IN 1988, 2.2. TOP TOURED THE COUNTRY WITH AN ELECTRIC GUITAR MADE OUT OF WOOD FROM MUDDY WATERS' CHILDHOOD CABIN RAISING FUNDS FOR THE MUDDY WATERS EXHIBITION AT THE DELTA BLUES MUSEUM, LOCATED IN' MUDDY'S HOMETOWN’ OF CLARKSDALE, MISSISSIPPI. ROCK MUSICIANS HAVE ACKNOWLEDGED THEIR DEBT TO THE BLUES, AND ON OCCASION HAVE ALSO BEEN GIVEN THE OPPORTUNITY TO PERFORM WITH THE MUSICIANS WHO GREATLY INFLUENCED THEM. THROUGH PARTICIPATION IN THE AMERICAN FOLK BLUES FESTIVALS, SONNY BOY WILLIAMSON WAS INTRODUCED TO SUCH GROUPS AS THE YARDBIRDS AND THE ANIMALS. DURING 1963 AND 1964 HE WROTE AND RECORDED NEW SONGS WITH THE YARDBIRDS, FEATURING ERIC CLAPTON ON LEAD GUITAR” THE YARDBIRDS MADE CHICAGO THEIR HOME BASE WHEN THEY TOURED AMERICA IN THE MID-608, AND ALSO RECORDED THEIR 1965 SINGLE "SHAPES OF THINGS" AT CHESS RECORDS. THE ANIMALS ALSO PERFORMED WITH SONNY BOY WILLIAMSON IN THEIR HOMETOWN OF NEWCASTLE, ENGLAND. 166 THEY INCLUDED A VERSION OF THE WILLIE DIXON SONG THAT AWARDED HIM HIS FIRST #1 R&B CHART HIT THROUGH THE VOICE OF LITTLE WALTER. HERE'S LITTLE WALTER, AND SONNY BOY WILLIAMSON WITH THE ANIMALS SINGING ABOUT "MY BABE." (LITTLE WALTER AND SONNY BOY WILLIAMSON VERSIONS) STEVE MILLER ALSO INCLUDED THE SONG ON HIS ALBUM "LIVING IN THE 20TH CENTURY." (STEVE MILLER VERSION) THE RERECORDING OF BLUES SONGS BY ROCK BANDS HAS HELPED TO KEEP POSSIBLY THE MOST INFLUENTIAL GENRE OF MUSIC ALIVE AND GROWING. WE'LL WRAP UP THIS WEEK'S EDITION OF "ROCK 'N ROLL AVENUES" NEXT WITH A TUNE BY BIG JOE WILLIAMS THAT HAS BEEN COVERED BY SUCH GROUPS AS THE AMBOY DUKES, THEM, AND AC/DC. (THEME MUSIC UNDER FRONTSELL, UP FULL, AND OUT) 167 SEGMENT 4: (THEME FULL, THEN UNDER, AND OUT) WELCOME BACK TO "ROCK 'N ROLL AVENUES." WE'VE BEEN LISTENING TO BLUES SONGS THAT HAVE BEEN RERECORDED BY ROCK ARTISTS AND GROUPS. THE WIDE RANGE OF.ARTISTS THAT HAVE COVERED THE BLUES IS EVIDENT BY THE DIFFERENT RENDITIONS OF "BABY, PLEASE DON'T GO." TAKEN FROM PAPA.HARVEY HULL.AND LONG CLEVE REED'S "DON'T YOU LEAVE ME HERE," WHICH WAS RECORDED IN 1927, BIG JOE WILLIAMS RECORDED THE ORIGINAL "BABY, PLEASE DON'T GO" IN 1941. (BIG JOE WILLIAMS VERSION) VAN MORRISON'S EARLY GROUP, THEM, HAD A HIT WITH IT IN 1965, AND THEIR VERSION WAS SELECTED AS THE THEME FOR THE BRITISH TELEVISION SHOW "READY STEADY GO." (THEM VERSION) "BABY, PLEASE DON'T GO" WAS ALSO RECORDED BY TED NUGENT AND THE AMBOY DUKES. (TED NUGENT AND THE AMBOY DUKES VERSION) 168 AC/DC INCLUDED THE BIG JOE WILLIAM'S CLASSIC ON THEIR "'74 JAILBREAK" ALBUM, RECORDED IN THEIR HOME COUNTRY OF AUSTRALIA. (AC/DC VERSION) BILL WYMAN AND CHARLIE WATTS RECORDED THEIR VERSION OF "BABY, PLEASE DON'T GO" WITH WILLIE AND THE POOR BOYS, THEIR PROJECT OUTSIDE OF THE ROLLING STONES. (WILLIE AND THE POOR BOYS VERSION) BASED ON A 64-YEAR OLD SONG, "BABY, PLEASE DON'T GO" ILLUSTRATES THE LONGEVITY OF THE BLUES. ROCK AND ROLL BEGAN WITH WHITE PERFORMERS COVERING THE MUSIC OF THE BLUES, AND THAT PRACTICE CONTINUES TODAY. THE ROCK AND ROLL HALL OF FAME HAS RECOGNIZED THE CONTRIBUTIONS OF THE BLUES THROUGH THE INDUCTION OF SUCH BLUES PERFORMERS AS ROBERT JOHNSON, LEADBELLY, AND MUDDY WATERS, AND PROMOTER LEONARD CHESS. WE'LL LEAVE YOU WITH A MUDDY WATERS SONG THAT SAYS IT ALL, "THE BLUES HAD A BABY AND THEY NAMED IT ROCK AND ROLL." (BLUES HAD A BABY UNDER FRONTSELL, UP FULL, AND OUT - CROSS- FADE INTO THEME MUSIC, UP FULL THEN UNDER) 169 THANKS FOR LISTENING, I'M LINDA BENNETT. THEME MUSIC WAS WRITTEN AND PERFORMED BY KEN TANNER. NEXT WEEK ON "ROCK 'N ROLL AVENUES" WE'LL EXPLORE PSYCHEDELIC SAN FRANCISCO WITH MUSIC FROM JEFFERSON AIRPLANE, QUICKSILVER.MESSENGER SERVICE, AND JANIS JOPLIN. (MUSIC UP FULL, THEN OUT) PROMO - :30 (MUSIC FULL THEN UNDER) HI, THIS IS LINDA.BENNETHK DON‘T‘MISS THIS WEEK'S INSTALLMENT OF "ROCK 'N ROLL AVENUES," WHEN WE EXAMINE THE INFLUENCE OF THE BLUES ON ROCK MUSIC. YOU'LL HEAR "CROSSROADS" BY CREAM AND THE ORIGINAL VERSION BY ROBERT JOHNSON. YOU'LL ALSO HEAR COVERS FROM ARTISTS SUCH AS THE DOORS AND STEVE MILLER, AND THEIR ORIGINAL VERSIONS FROM HOWLIN' WOLF AND LITTLE WALTER. IT'S A BLUES FEST - ON THIS WEEK'S "ROCK 'N ROLL AVENUES." (MUSIC FULL THEN OUT) Appendix F - Sample Program Questionnaire 170 "FNDCH(’hIFNDLI.AOHEBHJE§?'CNJEEVTNDBHWAUFNE YOU ARE ABOUT TO LISTEN TO A SAMPLE INSTALLMENT OF "ROCK ’N ROLL AVENUES," A ONE-HOUR WEEKLY MUSIC FEATURE TARGETED AT ALBUM-ORIENTED AND CLASSIC ROCK RADIO STATIONS. EACH WEEK A DIFFERENT STYLE OR TREND OF ROCK MUSIC IS FEATURED. THE FOCUS OF THE SAMPLE PROGRAM IS THE INFLUENCE OF THE BLUES ON ROCK MUSIC. THE PROGRAM IS DESIGNED TO RUN IN FOUR SEGMENTS, WITH 10 1/2 MINUTES OF COMMERCIAL BREAKS BETWEEN THE SEGMENTS. THE QUESTIONNAIRE CONSISTS OF TWO PARTS: THE FIRST PART WILL HELP TO DETERMINE YOUR LISTENING HABITS, AND THE SECOND PART IS SPECIFIC TO "ROCK ’N ROLL AVENUES." PLEASE FILL OUT THE QUESTIONNAIRE AFTER LISTENING TO THE PROGRAM. THANK YOU FOR YOUR COOPERATION. WHAT IS YOUR AGE? ARE YOU MALE / FEMALE? (PLEASE CIRCLE ONE) APPROXIMATELY HOW MUCH TIME DO YOU SPEND LISTENING TO THE RADIO EACH WEEK? (PLEASE CIRCLE THE APPROPRIATE LETTER) A. LESS THAN ONE HOUR B. I TO 4 HOURS C. 5 TO 9 HOURS D. 10 TO 14 HOURS E. 15 HOURS OR MORE WHAT RADIO STATIONS DO YOU LISTEN TO MOST IN THE LANSING AREA? (PLEASE LIST UP TO THREE STATIONS BY CALL LETTERS, FREQUENCY, OR NAME - FOR EXAMPLE - WJXQ, 106.1 FM, OR 0106). DO YOU LISTEN TO ANY NATIONALLY SYNDICATED RADIO PROGRAMS, EITHER IN PART OR IN THEIR ENTIRETY? (EXAMPLES OF SYNDICATED PROGRAMS ARE "CASEY’S TOP 40," "NATIONAL LAMPOON’S TRUE FACTS," AND "THE LOST LENNON TAPES.") PLEASE LIST ANY SYNDICATED PROGRAMS YOU OCCASIONALLY LISTEN TO? 171 PART 2: PLEASE USE THE FOLLOWING SCALE TO ANSWER THE QUESTIONS IN PART 2. l 2 3 4 5 POOR BELOW AVERAGE AVERAGE GOOD EXCELLENT HOW WOULD YOU RATE THE PRODUCTION QUALITY OF THIS PROGRAM?_____ HOW WOULD YOU RATE THE WRITING OF THIS PROGRAM?_____ HOW WOULD YOU RATE THE ORGANIZATION OF THIS PROGRAM?_____ HOW WOULD YOU RATE THE CHOICE OF MUSIC FOR THIS PARTICULAR TOPIC?_____ HOW WELL DO YOU THINK THE TOPIC WAS COVERED IN TERMS OF THE INFORMATION PRESENTED? WHAT WAS YOUR GENERAL ATTENTIVENESS DURING THIS PROGRAM? IF YOU HAD HAPPENED TO TUNE TO THIS PROGRAM, WHAT WOULD THE CHANCE HAVE BEEN THAT YOU WOULD HAVE CONTINUED LISTENING? WHAT IS YOUR OVERALL RATING FOR THIS SAMPLE PROGRAM? HOW INTERESTED WOULD YOU BE IN LISTENING TO OTHER INSTALLMENTS OF "ROCK ’N ROLL AVENUES"? IF YOU HAVE ANY ADDITIONAL COMMENTS OR SUGGESTIONS, PLEASE WRITE THEM IN THE SPACE PROVIDED BELOW AND/OR ON THE BACK OF THIS PAGE. THANKS ONCE AGAIN FOR YOUR COOPERATION!!! Appendix G - Premiere Radio Networks: 1989-1990 Advertisers 172 -- -.- - Pfi=lvu=fi= RADIO NETWORKS NEW YORK ' LOS ANGELES ' CHICAGO 1889 - 1990 ADVERTISERS ALKA SELTZER DURACELL MET ROPOUTAN UFE SHOWER TO SHOWER ANHEUSER-BUSCH DURATION M &M/MARS SNICKERS A. T & T EASTERN AIRUNES MILES LABORATORIES TELEDISC BAIN DE SOLE/L EDGE SHAVING GEL MRS. PAUL’S TODAY SPONGE BENIHANA RESTAURANTS ENJOU PERFUME NBC-TV TOYS-R-US DENY UN FOX BROADCASTING NESTEA TRANS WORLD CINEMA BLACK & DECKER FRITO LAY NESTLES TRIDEN T BUBBUC/OUS GENERAL FOODS NISSAN TWENTIET H CENTURY FOX BURGER KING GERERAL MILLS 0. B. TAMPONS UNITED STATES AIR FORCE BUTTERFINGER—NABISCO GINO/SS FORMAL WEAR 0X Y UNITED STATES ARMY CAMPBELL SOUP CO. GOODYEAR PARAMOUNT PICTURES UNITED STATES MARINES CANNON FILMS GREYHOUND PARKS INN UNITED STATES NAVY CBS-TV GIG. ENTERTAINMENT PERT PLUS UNITED STATES POSTAL SERVICE CERT S HALLS PILGRIM PRIDE CHICKEN UNIVERSAL PICTURES CLEAR BY DESIGN HEAD & SHOULDERS PLAYTEX VELAMINT S CLORETS HERSHEY PREGO VIN TNERS INTERNATIONAL COCA-COLA JOHNSON & JOHNSON PROCTOR 8. GAMBLE VOLK S WAGON COLUMBIA PICTURES KODAK BATTERIES RADIO SHACK WARNER BROS. CONDUCTOR BATTERIES KODAK FILM RAISINET S WARNER-LAMBERT DENTYNE LEVI STRAUSS & CO. RALSTON-PURINA WEINTRAUB ENTERTAINMENT DERMOPLAST USTERINE REMINGTON SHAVERS WILD MUSK COLOGNE DODGE TRUCKS MAGNAVOX RUBBERMAID DOM/NOS PIZZA MAXWELL HOUSE RUFFLES DORITOS MAYBELLINE S CHICK 6255 Sunset Blvd. ' Pant/70050 SUIIe ' Hollywood. CA 90028 ~ Fax I 213) 467-9540 - Phone I 213) 467-2346 Appendix H - Certificate of Performance for "Casey’s Top 40" 173 V ‘(I WESTWOOD ONE COMPANIES Ow..mu 0:53? GMT-£7- MI?! xi [966 Wuhmgtan Bouimrd - Culver City. Califomll 90232-2325 ' IZIJI 040-4000 CERTIFICATE OF PERFORMANCE CASEY’S TOP 40 Show #91-05 tor the weekend of February 2-3, 1991 NATIONAL SPOTS AIRED WITHIN THE PROGRAM Segment - Segment 2 - Segnent 3 ~ 4- :30 T.G,I. Friday’s :30 Halls :30 L'Eggs Underllls :U30 ..NS :30 Doritos Jumpm‘ Jacks :30 Hershey's Kit Kat .30 Dn‘xoral '30 Reynolds Sure Seal :60 Mamott Hotels entS- Segment7- SegmentB- Segmen ent9- :30 Close Up :30 Greyhound :30 Halls .30 Rice-A- IRoni :30 Flintstones Vitamins :30 T.G.l. Friday‘s :30 Doritos Jumpin‘ Jacks :30 Drix Segmentto- Segmen Segment 13- Segment“- :30 Flintstones Vitamins :30 Hers1hey' 5 am Kat :30 T.G.l. Friday's :30 U.S. Navy :30 Gateway Ed. Tools :30 Gre houn :30 L'Eggs Underalls :30 Halls :60 Jolly Time dPopcom t15- Segmentts- ent17- Segmen :30 Drixoral :30 Greyhound :30 Halls :30 T. G | 9I'idF :30 Dontos Jumpin' Jacks :30 Close Up :30 Hershey's Kit Kat :30 Gatewayd Ed. 5‘Tools :60 Mamott Hotels - Segment 21 - Segment 22 - Segment 23 - :30 RiceA-Rom 0 Halls :30 T G | Frid :60 Dodge Trucks :30 Drixoral :30 Flintstones Vitamins :30 Doritos Jumpsin Jacks :60 Mamott Hotels l hereby acknowledge and attest that the above Westwood One Radio Program including all national sponsor commercials. aired unedited on the following date and time: AIR DATE: AIR TIME: AM or PM P/ease sign and return this Certificate of Performance to Westwood One in the return envelope llIIllllll , l Iii l Authorized Signature Please Print Name SUN BA D FII’IO 2810 l II!!! III ll mu; f J Call Letters This Certificate 01 Pertorrnance' Is good tor one (1) week ONLY. Monday thru Sunday (between the hours at 6 AM. and midnight). The above is a true and accurate Certificate of Pedomnce and may be verified against the Operation Log ot the above radio station by Westwood One or Its representatives. Appendix I - The Broadcast Group Subscription Agreement 174 The Broadcast Group 3333 K Street NW Suite 77 Washington DC 20007 202337-3111 SUBSCRIPTION AGREEMENT Return this agreement to The Broadcast Group for rights to broadcast Leonard Maltin On Video. This constitutes an agreement between radio station and The Broadcast Group (BC). BC agrees to provide the program Leonard Maltin On Video to the station commencing on the date indicated below. This contractiscontinuousandself-renewmg and maybe terminated by eitherpartythirteen weeks after the start date with a three week advance written notice. GENERAL TERMS AND CONDITIONS The program must be broadcast at least once daily (Monday-Friday) between the hours of 6AM and 7PM, local time. This primary broadcast must include the national commercialts). Additional broadcasts need not include the national commercial(s). SPECIAL PROVISIONS START DATE The Broadcast Group acknowledges responsibility to provide programming free of libel. slander and personal attack so long as programming it provides is broadcast without additions or deletions of any kind whatsoever. Notwithstanding, station retains full right to determine, select, supervise and control program content, and as with all other programs from all sources. licensee is ultimately responsible for program content. Station shall not permit broadcast of programs provided by BC on any other station of any kind or class whatsoever and shall take all reasonable efforts to prevent or stop such prohibited broadcasts. Company Name City 0! License Address Name (Please Print) 11m Signature Tshphono Oat. Accepted for The Broadcast Group By: Date The Broadcast Group reserves the right of final selection of affiliatiom for any of its programs LIST OF REFERENCES LIST OF REFERENCES 1Billboard, May 21, 1988, p. 16. 2Keith, Michael C. Radio Programming: Consultancy and Formatics, Boston: Focal Press, 1987, p. 9. 3Radio g Records Program Su lier Guide '90, p. 3. 4Keith, pp. 9 - 10. 5Billboard, December 5, 1987, p. 12. 6Billboard, November 7, 1987, p. 16. 7Billboard, August 1, 1987, p. 4. 8Billboard, September 23, 1989, p. 12. 9Keith, p. 67. loBillboard, October 29, 1988, p. 16. 11College Broadcaster, October, 1989, p. 23. 12College Broadcaster, January, 1990, p. 16. 13Keith, p. 104. 14College Broadcaster, October, 1989, p. 19. 15Keith, p. 150. 16Keith, p. 81. l7Billboard, May 4, 1991, p. 16. 18Keith, p. 20. ngeith, p. 118. 20College Broadcaster, October, 1989, p. 22. 21Keith, p. 93. 175 176 22Billboard, July 7, 1990, p. 17. 23Clift, Charles III and.Archie Greeru Broadcast Programming, Washington, D.C.: University Press of America, 1981, p. 145. 24Billboard, February 20, 1988, p. 23. 25Billboard, September 1, 1990, p. 17. 25Billboard, April 23, 1988, p. 20. 27Billboard, June 17, 1989, p. 17. 28Ibid. GENERAL REFERENCES GENERAL REFERENCES Arbitron Radio Market Report: Lansing - East Lansing, Fall 1990. Billboard. Various issues, 1987 - 1991. BroadcastingZCable Yearbook 1989. Chambers, Iain. Urban Rh thms, London: MacMillan Publishers, 1985. Clift, Charles, III, and Archie Greer. Broadcast Programming, Washington, D.C.: University Press of America, 1981. College Broadcaster. Various issues, 1989 - 1990. Dixon, Willie and Don Snowden. I Am The Blues, London: Quartet Books Limited, 1989. Ellison, Mary. Extensions of the Blues, London: John Calder Publishers, Ltd., 1989. Fox, Ted. In the Groove, New York: St. Martin's Press, 1986. Guralnick, Peter. Feel Like Going, Home, New York: Outerbridge & Dienstfrey, 1971. Hatch, David and Stephen Millward. From Blues to Rock, Manchester, England: Manchester University Press, 1987. Keith, Michael C. Radio Programming: Consultancy and Formatics, Boston: Focal Press, 1987. Oakley, Giles” The Devil's Music, London: .Ariel Books, 1983. Palmer, Robert. Deep Blues, Middlesex, England: Penguin Books, 1981. Radio g Records Ratings Report. Volume II, 1989. Radio & Records Supplier Guide '90. Rolling Stone. Various issues, 1985 - 1990. 177 178 Schaffner, Nicholas. The British Invasion, New York: McGraw- Hill Book Company, 1983. Shannon, Bob and John Javna. Behind the Hits, New York: Warner Books, Inc., 1986. Zalkind, Ronald. Contemporapy Music Almanac: 1980181, New York: Schirmer Books, 1980. ICHIGQN STQTE UNI llv‘ ||O| 312930 796 4 ’67 ML. "n .« (lu‘imlv 1. mt. km. 1.. "why: .. ,.~_\..~-..”,. . :,C.' .- ' v a min... . ., - th‘t' 3“,. . . 3.: . ;.. .. . ' ‘ "*"“'1‘.‘<“‘ ;....‘1.LL..‘.;‘. l . . .. are, *1 -- ...-“pm..." .. ... ‘ .. .Wq- ‘."'" u- r v . mm... . , ...... u ._ 5,. .. m .--y-.,..,~-.v..iu . tut-”1....- ,. u . v“ x."..n.‘....,. ‘ <-.i-II\-I\- .... \...-.'~.. . .14 ... I. . ' , ~ ~«- -'.-,17.-.i.,.‘.... , m: n” '>\Au “V'V' .. t . . m. u. u... . . ..,...c- x. . “W u u... in” r . . - a W. {. . . ‘-"’:‘." .39.... ....~ . . 3'. ‘n‘. .1... :r... . gut -. -\‘-uuu. . . M. w . . u x. a n\i.. , u v .- 1 ”fly-lulu; . J‘W‘ml‘l' ‘ .... . [lullyulnar\_|. .....n‘u ' . , _ '.“l""';""h._l;”: .~ ~ , . . “hm-Nu» ... ......, '3.‘ .. .31“. l t,“ 11' MIDI