Claude Lewis, 82, a distinguished journalist who made history as the first person of color to write a regular newspaper column in Philadelphia and inspired generations of African Americans to follow him into the profession, died Thursday, March 16.
After battling diabetes for years, Mr. Lewis died of complications from the disease, according to
philly.com. The illness claimed his vision beginning a decade ago.
In 1965, the Evening Bulletin hired Mr. Lewis away from NBC for the city staff. Mr. Lewis started out as a general assignment reporter, but in 1968, George R. Packard, then the managing editor, invited him to write a column three times a week.
“I had known him from Newsweek magazine, where we both worked," Packard said. "I knew his work, and he was good. When I was promoted to managing editor, I thought of Claude. He could really add so much to the newsroom with his point of view. He was not bitter or angry. He was dedicated to fairness and justice."
Mr. Lewis’ appearance as a columnist — a challenge he met with evenhanded grace — made him an instant icon to the community at large, and especially to African Americans.
In his columns, Mr. Lewis ranged as far afield as boxing and politics, but he homed in on America’s civil rights era and its leaders, including Langston Hughes, James Baldwin, Malcolm X, and the Rev. Dr. Martin Luther King Jr. His ability to rub shoulders comfortably with such national figures produced telling portraits of them for his readers.
Since 2010: Now 84.1M+ Page Views, Edited by Tom Benson, News Tips, Feedback: pd1204@gmail.com
Friday, March 17, 2017
March 17 Radio History
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| Kate Smith |
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| Phil Baker |
In 1935...KSO-AM in Des Moines Iowa call sign is given to KWCR.
In 1927 KSO was moved to 1320 kc. Then, in the great revision of frequency assignments which occurred on November 11, 1928, KSO moved to 1380 with 1,000 watts power, but it had to share the frequency with WKBH, LaCrosse, Wisconsin. On January 18, 1929, KSO was ordered to reduce power to 500 watts; then, the share time order ended on February 28, 1931.
Iowa Broadcasting Co. entered into KSO's history in 1931 when it purchased the station from the Barry Seed Co. Iowa Broadcasting had been formed by Gardner and Mike Cowles, the newspaper publishing brothers who owned the Des Moines Register and Tribune, Minneapolis Star, and Look magazine. The sale from Barry Seed Co. to Iowa Broadcasting occurred on June 26, 1931.
For about a year KSO remained in Clarinda under Iowa Broadcasting ownership. One June 4, 1932, authority was received to suspend operations until October 1, 1932. The FRC granted permission in September 1932 for Iowa Broadcasting to move KSO to Des Moines. KSO returned to the air with studios and transmitter at the Register and Tribune building in downtown Des Moines on November 5.1932, but with a reduced power. KSO was now authorized to use 100 watts.
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| Note: On-Air Signs for KRNT and KSO |
On September 11, 1989, the KSO call letters were retired.
Today, 1460 is owned by iHeartMedia. In early 2001, the call letters were changed to KXNO, and 1460 became an all sports station, featuring the Fox Sports Network.
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| Fred Allen |
In 1965...news broadcaster, war correspondent & author Quentin Reynolds succumbed to cancer at age 62. He was a host & narrator on several radio & TV programs during & after WW II.
In 1978…The fictionalized account of the early days of disc jockey Alan Freed, "American Hot Wax," widely considered to be one of the best rock 'n' roll movies of all time, opened in North American theaters, featuring appearances and performances by Jerry Lee Lewis, Chuck Berry, and Screamin' Jay Hawkins. Tim McIntire played Freed. Fran Drescher, Jay Leno, Laraine Newman, and Jeff Altman were also in the cast.
In 1989...WABC 770 AM moved to 2 Penn Plaza in NYC.
In 2004...J.J. Jackson suffered a fatal heart attack at age 62. Jackson, originally a radio DJ, was also one of the first “VJs” on MTV when it first launched in 1981.
Jackson first gained prominence while working at WBCN in Boston in the late 1960s, then at KLOS in Los Angeles for ten years. Jackson was one of the first DJs to introduce Americans to The Who and Led Zeppelin. He was a music reporter for KABC-TV when he was tapped as one of MTV's original "fab five." As a VJ, Jackson hosted the long awaited and much anticipated "unmasking" of KISS. He was one of the few African Americans to DJ an "album rock" radio station.
After five years at MTV, Jackson returned to Los Angeles radio, first at KROQ-FM in 1987, then as program director of modern rock/alternative station KEDG ("The Edge") until May 1989. He later returned to KLOS, and hosted the afternoon shift at smooth jazz station KTWV ("The Wave") for one year.
In 2015…Veteran radio personality (KCBQ and KFMB-San Diego, WAVA-Washington, WKYC-Cleveland, KLIF-Dallas)/National Radio Hall of Famer Jack Woods (left), who in 1962 and using the name "Charlie Brown" was a founding member of the popular Charlie & Harrigan morning show (with his first on-air partner Ron 'Irving Harrigan' Chapman, succeeded in 1966 by Paul Menard), died after a stroke at the age of 80.
Charlie & Harrigan Charlie Brown, a.k.a. Jack Woods, and Irv Harrigan, a.k.a. Paul Menard, were first paired in 1966 at KLIF/Dallas before moving on to ratings success in Cleveland, Houston, and both KFMB and KCBQ in San Diego, where the duo invented “reconstructed syndication,” a way to spread their local success to more than 40 affiliates in both large and small markets across the country. Using specially tailored audiotapes delivered via UPS that included time checks, weather, and local information and references, listeners in every single city were sure that Charlie & Harrigan were just down the street.
Thursday, March 16, 2017
Cumulus Reports Q3 Net Revenue Dropped 3.0 Percent
Cumulus Media Inc today announced operating results for the three months and year ended December 3erfent1, 2016.
For the three months ended December 31, 2016, the Company reported net revenue of $299.5 million, down 3.0% from the three months ended December 31, 2015, net loss of $543.7 million and Adjusted EBITDA of $56.9 million, down 9.8% from the quarter ended December 31, 2015.
For the year ended December 31, 2016, the Company reported net revenue of $1,141.4 million, down 2.3% from the year ended December 31, 2015, net loss of $510.7 million and Adjusted EBITDA of $205.9 million, down 20.6% from the year ended December 31, 2015. During the fourth quarter of 2016, the Company recorded non-cash impairment charges against intangible assets and goodwill of $603.1 million.
Mary Berner, President and Chief Executive Officer of Cumulus Media Inc. said, “We entered 2016 with a singular objective: to fix the core business problems - poor culture, poor ratings and poor operational execution - which was essential to establishing a foundation on which to build improved financial results. Throughout the year we made significant progress addressing each of these areas, most visibly in ratings growth where we’ve outperformed the industry for 15 straight months. In fact, with two back-to-back quarters of revenue share increases on the station side, a trend which continued through January, we have early evidence that, despite a tough industry environment, our foundational work is beginning to translate into improved financial performance.”
Net Revenue
The Company operates in two reportable segments, the Radio Station Group and Westwood One (WON). The Radio Station Group revenue is derived primarily from the sale of broadcasting time to local, regional and national advertisers. Westwood One revenue is generated primarily through network advertising.
Corporate and Other includes overall executive, administrative and support functions for each of the Company’s reportable segments, including finance and administration, legal, human resources and information technology functions.
For the three months ended December 31, 2016, the Company reported net revenue of $299.5 million, down 3.0% from the three months ended December 31, 2015, net loss of $543.7 million and Adjusted EBITDA of $56.9 million, down 9.8% from the quarter ended December 31, 2015.
For the year ended December 31, 2016, the Company reported net revenue of $1,141.4 million, down 2.3% from the year ended December 31, 2015, net loss of $510.7 million and Adjusted EBITDA of $205.9 million, down 20.6% from the year ended December 31, 2015. During the fourth quarter of 2016, the Company recorded non-cash impairment charges against intangible assets and goodwill of $603.1 million.
Mary Berner, President and Chief Executive Officer of Cumulus Media Inc. said, “We entered 2016 with a singular objective: to fix the core business problems - poor culture, poor ratings and poor operational execution - which was essential to establishing a foundation on which to build improved financial results. Throughout the year we made significant progress addressing each of these areas, most visibly in ratings growth where we’ve outperformed the industry for 15 straight months. In fact, with two back-to-back quarters of revenue share increases on the station side, a trend which continued through January, we have early evidence that, despite a tough industry environment, our foundational work is beginning to translate into improved financial performance.”
Net Revenue
The Company operates in two reportable segments, the Radio Station Group and Westwood One (WON). The Radio Station Group revenue is derived primarily from the sale of broadcasting time to local, regional and national advertisers. Westwood One revenue is generated primarily through network advertising.
Corporate and Other includes overall executive, administrative and support functions for each of the Company’s reportable segments, including finance and administration, legal, human resources and information technology functions.
Trump Budget Sharply Cuts CPB, The Arts
President Donald Trump will call for sharp cuts to spending on foreign aid, the arts, environmental protection and public broadcasting to pay for a bigger military and a more secure border in a fiscal 2018 budget blueprint set for release Thursday.
According to The Wall Street Journal, the budget proposal is certain to run into stiff opposition in Congress, where lawmakers on both sides of the aisle have already signaled they are unlikely to enact Mr. Trump’s deep cuts when they pass spending bills that actually fund the government.
The budget proposes hefty cuts for the Environmental Protection Agency, the National Institutes of Health and the State Department. It also seeks to eliminate funding for the Corporation for Public Broadcasting, the National Endowment for the Arts and other independent agencies long in the crosshairs of some conservative Republicans.
The CPB doles out government money to the nation’s 1,489 public radio and television stations, more than 70% of which comes in the form of grants. The CPB received $445 million this fiscal year, a fraction of the approximately $4 trillion federal budget.
Station operators are worried about a budget blueprint put forward by the Heritage Foundation, which advocated eliminating federal funding for the CPB on the grounds that it has outlived its purpose. The Heritage Foundation said in its report that the viewers and listeners the CPB was created to serve now have access to ample sources of news and information.
The cuts, if enacted, would mean some agencies would have to lay off federal workers, though the budget doesn’t always offer exact head counts. It does specify that cuts to the EPA “would result in approximately 3,200 fewer positions at the agency.”
“You can’t drain the swamp and leave all the people in it,” said Mick Mulvaney, the president’s budget director. “I would expect there would have to be reductions of forces at various agencies.”
The budget proposal is the Trump administration’s first stab at translating some of the president’s campaign promises into hard numbers. It shows how little room Mr. Trump has to work with if he is going to fulfill his promises to hold the federal budget deficit at current levels while also cutting taxes and preserving entitlement spending.
On a background call with reporters Wednesday, Office of Management and Budget Director Mick Mulvaney said defunding public television and public radio, including National Public Radio, will not be immediate because of the nature of government contracting.
"We proposed ending funding, but technically what you'll see—it's an elimination—but you'll see an amount of money in the budget, and it is some amount of money that's necessary for us to unwind our involvement with CPB," Mulvaney said during the briefing on the administration's budget blueprint. "So you won't see a zero next to it, but the policy is that we're ending federal involvement with the Corporation for Public Broadcasting."
NPR Reports Record Broadcast Audience
NPR's multi-platform journalism has grown to the highest levels in its history.
"At a time when many news organizations have been forced to contract, NPR is expanding coverage and focusing resources on the local and national issues that listeners care about," said Michael Oreskes, NPR's Senior Vice President of News and Editorial Director. "Now, more and more people are turning to NPR as their source for unbiased fact-based news."
"We are thrilled by the growth we have seen," said Thomas Hjelm, Chief Digital Officer at NPR. "NPR is a forum for robust discussion, rigorous reporting and great storytelling – and through innovations and expansion onto new devices, NPR is reaching more people on more platforms than ever before."
Broadcast
According to Nielsen Audio ratings, the total weekly listeners for all programming on NPR stations reached an all-time high of about 37.5 million in the fall of 2016 – a nearly 4 million person increase from the same period in 2015. Listeners for NPR programming and NPR Newscasts account for about 30 million of that total.
NPR's flagship programs, All Things Considered and Morning Edition, reached their largest weekly audience ever, at 14.4 million and 14.65 million listeners, respectively – continuing to be two of the largest news radio programs in the country, and larger than many well-known television news programs.
In fact, the number of listeners for all NPR programming increased considerably this year, particularly in the coveted 25-44 age demographic which expanded by 26%. All Things Considered received a 0.8 AQH rating for people aged 25-54, a 23% increase from the fall of 2015. (Source: ACT 1 based on Nielsen Audio Nationwide, Fall 2016, based on program broadcast times)
Podcasts
NPR's on-demand listening is driven by a diverse roster of programming, on a broad range of topics including long form interviews, storytelling, comedy, science, politics, finance, and pop culture.
With 37 active programs, NPR remains the leading publisher of podcasts, holding Podtrac's #1 spot for the 9th month in a row (since Podtrac began counting in May 2016).
NPR podcasts are heard by over 4 million listeners every week – that is a 47% increase compared to a year ago.
Digital
Use of the digital content available at NPR.org also climbed to record highs, growing its average monthly users by 28% compared to last year. NPR.org's success is partly due to innovations like NPR's live fact-checking and annotation tool. During the first Presidential debate, NPR's fact checking tool attracted over 9.7 million page views from 7.7 million unique viewers – making the first debate and the following day NPR's two largest web traffic days ever.
NPR has seen numerous innovations this year including building out the NPR One app, expanding NPR content on to new devices, and continuing improvements to NPR.org and the NPR News app.
Over the past year NPR One's monthly users have grown by 175% - and that content is now available on more platforms than ever before. In February, NPR announced that the NPR One app is now available on Amazon's suite of smart home assistants including the Echo, Dot and other Alexa-enabled devices. Listeners can customize their devices to hear reporting and programming from their local member station, as well as all of NPR's familiar voices (Jack Speer, Steve Inskeep, Korva Coleman, Lakshmi Singh, Dwane Brown) which are now available anytime, by voice command.
Talk Host Michael Savage Involved In Schuffle
Talk radio host Michael Savage, the 74-year-old host of the nationally syndicated talk radio show Savage Nation, was dining solo at Servino Ristorante in Tiburon, CA with his toy poodle, Teddy, keeping him company, when another patron allegedly began taunting him by saying, 'weener, weener.'
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| Michael Savage |
As Savage was heading out the door, the verbal abuse allegedly turned physical when the jeerer knocked the septuagenarian to the ground, according to the talk show host's attorney, Daniel Horowitz.
When another diner tried to step in between the brawlers, he was punched in the face, Horowitz told the Mercury News.
Savage's beloved 12-year-old pooch also got shoved after getting caught in the middle of the scuffle.
The disturbance at the Italian restaurant at a shopping center on Main Street has been confirmed by the Tiburon Police Department.
A report of the incident will be sent to the District Attorney’s Office, which will determine whether or not to file charges in the case.
Horowitz said it’s still not entirely clear what motivated the alleged assault, but his office is looking into whether it was a hate crime or whether it had anything to do his client’s political views and his support of Trump, both frequent subjects of his “Savage Nation” nationally syndicated radio show.
Savage has been described as the “Godfather of Trumpmania” for encouraging his 10 million listeners to vote for the real estate mogul and reality TV star. Savage’s support of Trump made headlines last month when the president said of Savage, after an hourlong dessert meeting at his Mar-a-Lago estate in Palm Beach, Florida: “I wouldn’t be president without this man.”
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Savage, whose program draws up to 10million listeners per week, claimed that his unnamed assailant knew who he was and had some type of 'beef' with him.
Fox News' Carlson, Hannity Tag Team On NBC
Sean Hannity opened his show Tuesday night going on a tear against NBC News and MSNBC following Rachel Maddow‘s report on President Trump‘s 2005 tax returns that he felt were very overhyped.
Mediaite reports he referred to Maddow as one of the “Trump-hating hosts over at NBC News, who is really one of the leaders of the alt-left propaganda destroy-Trump-at-all-costs media.”
After talking about the deep state and the concerning government leaks again, Hannity went back to NBC and said there is a “corporate jihad being waged by NBC News” against the president.
He said, “It proves that they will do anything, spin any conspiracy, to destroy the Commander-in-Chief.”
Hannity said that he laughed as he watched Maddow Tuesday night, calling it a “flat-out pathetic conspiratorial attempt to smear the president” and concluding, “NBC is not news. It is deep state Obama propaganda television.”
Fox News host Tucker Carlson on Tuesday accused NBC of “intentionally” interfering in the 2016 presidential race to undermine President Trump’s campaign.
“Consider the infamous ‘Access Hollywood’ tape,” Carlson said, referencing a controversial recording of Trump lewdly discussing women in 2005.
"That tape belonged to NBC. It was shot by NBC cameramen for an NBC show on NBC property. So how did it wind up in the hands of The Washington Post, which broke the story?”
“How, in other words, did valuable intellectual property from one news organization end up benefitting a competitor? Intentionally, that’s the short answer.”
South Bend Radio: XAPPMedia, WBYT Launch Alexa App
XAPPmedia today announced the launch of the WBYT 100.7 FM B100 Amazon Alexa Skill for Federated Media’s country music station in South Bend, Indiana.
Listeners can simply prompt their Amazon Echo by saying, “Alexa, enable B100,” to access the new skill. Once enabled, users can listen to the live stream, select from six on-demand music categories or access six different B100 podcasts. Each of the on-demand and podcast categories employs a unique XAPP technology that enables audio scanning of the topics, which greatly improves the user experience and facilitates the discovery of podcast content.
“Federated Media is excited to have our listeners access B100 content on whatever device is most convenient for them from wherever they reside. The Amazon Echo, with over ten million people in homes throughout the United States, provides a phenomenal platform for us to share our live radio stream, on-demand custom music channels and podcasts. XAPPmedia’s technology made this possible and easy for us to launch the skill. The XAPP team really understands radio and the new interactive voice platforms. We were proud to work with XAPP to become the first radio station offering an interactive listening experience for Alexa,” said James Derby, chief strategy officer at Federated Media.
“Alexa provides a new opportunity for broadcasters to bring radio back into the home and make radio an interactive listening experience for the first time. A few stations have created short Flash Briefings for the Amazon Echo, but Federated Media’s B100 is the first to provide a fully interactive radio experience that includes live stream, on-demand listening and podcasts. The Echo and Amazon’s Alexa voice assistant are putting audio back in the media spotlight. B100 is a great example of the future of radio and is available today,” said XAPPmedia CEO and co-founder Pat Higbie.
Analysts estimate that there will be over 25 million Amazon Echo devices in use serving 65 million Americans by the end of 2017. Another 15 million Ford vehicles and millions more from Hyundai, BMW and other manufacturers will also soon be online and using the same Alexa skills as the Echo. Radio broadcasters are moving quickly to the Echo and Alexa because that is increasingly where consumers are spending their audio listening time.
Users can enable the B100 Amazon Alexa skill in their Alexa app, online here, or simply by saying, “Alexa, enable B100.” Once enabled, listeners can say “Alexa, open B100,” to access the B100 live stream or any of the following on-demand music categories and podcasts:
On-Demand Music Categories
Listeners can simply prompt their Amazon Echo by saying, “Alexa, enable B100,” to access the new skill. Once enabled, users can listen to the live stream, select from six on-demand music categories or access six different B100 podcasts. Each of the on-demand and podcast categories employs a unique XAPP technology that enables audio scanning of the topics, which greatly improves the user experience and facilitates the discovery of podcast content.
“Federated Media is excited to have our listeners access B100 content on whatever device is most convenient for them from wherever they reside. The Amazon Echo, with over ten million people in homes throughout the United States, provides a phenomenal platform for us to share our live radio stream, on-demand custom music channels and podcasts. XAPPmedia’s technology made this possible and easy for us to launch the skill. The XAPP team really understands radio and the new interactive voice platforms. We were proud to work with XAPP to become the first radio station offering an interactive listening experience for Alexa,” said James Derby, chief strategy officer at Federated Media.
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| Pat Higbie |
Analysts estimate that there will be over 25 million Amazon Echo devices in use serving 65 million Americans by the end of 2017. Another 15 million Ford vehicles and millions more from Hyundai, BMW and other manufacturers will also soon be online and using the same Alexa skills as the Echo. Radio broadcasters are moving quickly to the Echo and Alexa because that is increasingly where consumers are spending their audio listening time.
Users can enable the B100 Amazon Alexa skill in their Alexa app, online here, or simply by saying, “Alexa, enable B100.” Once enabled, listeners can say “Alexa, open B100,” to access the B100 live stream or any of the following on-demand music categories and podcasts:
On-Demand Music Categories
- Variety My B100
- My B100 Nineties
- The Beach
- Legends of Country
- Alt Country
- Southern Rock
- Blue Gold Report
- Flavor 574
- Item Podcast
- Freakin Podcast
- Let Me Ask You a Question
- Sprinkles
Media Companies To Offer Alternative Audience Measurements
By Tim Baysinger | NEW YORK
(Reuters) -- Major U.S. media companies Time Warner Inc’s Turner, Viacom Inc and 21st Century Fox Inc’s Fox Networks Group will launch OpenAP, a program for advertisers to laser focus their commercials at specific audiences on television.
With the TV upfront season weeks away, advertisers are seeking audiences beyond the ones measured by Nielsen, which are based on age, gender and income, mimicking ad buying on the digital side.
Over the next two months, most major U.S. media companies will sell the bulk of their TV ad inventory for the next year in what is known as the upfront market.
Many media companies have come up with their own ways to allow ad buyers to target audience segments, such as an automaker that only wants to reach viewers looking to buy a new car.
Comcast Corp’s NBCUniversal unit recently said it would sell $1 billion of its ad inventory during this year’s upfront market using its in-house Audience Targeting Platform, rather than Nielsen.
Turner, Viacom and Fox say this type of media buying does not work if each company uses its own set of data on its own system. Advertisers are distrustful on the digital side because players such as Facebook Inc and Alphabet Inc's Google create their own measurements, akin to grading their own homework, they say.
Targeted advertising has mostly been deployed for smaller and one-time ad deals, but "each upfront we’ve been getting more interest and more negotiations on audience buying," said Donna Speciale, Turner’s president of advertising sales.
OpenAP's goal is to allow an advertiser or an agency to define an audience segment or work with the networks to create one, then target that segment across all three companies' TV networks.
“We still handle pricing, inventory, management and negotiations separately,” said Joe Marchese, president of Advanced Ad products at Fox Networks Group. “But we now have a standard definition (of a particular audience segment) so the client only has to do it once.”
A third-party auditor will measure how many times an advertiser’s commercial runs in front of the particular audience.
The three companies sent a letter about OpenAP to advertisers and agencies on Wednesday, and plan a formal event next month, where they will unveil specifics.
“Our hope is that it becomes widely adopted across the TV universe,” said Sean Moran, head of marketing and partner solutions at Viacom.
Nielsen, for its part, applauded the effort by the three media companies and said it plans to help provide some of the data. It said in a statement that verified and audited reporting of delivery "is an important part of what is needed to create openness and transparency in ad buying and selling."
(Reuters) -- Major U.S. media companies Time Warner Inc’s Turner, Viacom Inc and 21st Century Fox Inc’s Fox Networks Group will launch OpenAP, a program for advertisers to laser focus their commercials at specific audiences on television.
With the TV upfront season weeks away, advertisers are seeking audiences beyond the ones measured by Nielsen, which are based on age, gender and income, mimicking ad buying on the digital side.
Over the next two months, most major U.S. media companies will sell the bulk of their TV ad inventory for the next year in what is known as the upfront market.
Many media companies have come up with their own ways to allow ad buyers to target audience segments, such as an automaker that only wants to reach viewers looking to buy a new car.
Comcast Corp’s NBCUniversal unit recently said it would sell $1 billion of its ad inventory during this year’s upfront market using its in-house Audience Targeting Platform, rather than Nielsen.
Turner, Viacom and Fox say this type of media buying does not work if each company uses its own set of data on its own system. Advertisers are distrustful on the digital side because players such as Facebook Inc and Alphabet Inc's Google create their own measurements, akin to grading their own homework, they say.
Targeted advertising has mostly been deployed for smaller and one-time ad deals, but "each upfront we’ve been getting more interest and more negotiations on audience buying," said Donna Speciale, Turner’s president of advertising sales.
OpenAP's goal is to allow an advertiser or an agency to define an audience segment or work with the networks to create one, then target that segment across all three companies' TV networks.
“We still handle pricing, inventory, management and negotiations separately,” said Joe Marchese, president of Advanced Ad products at Fox Networks Group. “But we now have a standard definition (of a particular audience segment) so the client only has to do it once.”
A third-party auditor will measure how many times an advertiser’s commercial runs in front of the particular audience.
The three companies sent a letter about OpenAP to advertisers and agencies on Wednesday, and plan a formal event next month, where they will unveil specifics.
“Our hope is that it becomes widely adopted across the TV universe,” said Sean Moran, head of marketing and partner solutions at Viacom.
Nielsen, for its part, applauded the effort by the three media companies and said it plans to help provide some of the data. It said in a statement that verified and audited reporting of delivery "is an important part of what is needed to create openness and transparency in ad buying and selling."
News Flash: Millennials Watching CabeTV News
Millennials are getting more of their news on cable TV.
In the first quarter, Fox News attracted the highest number of millennials — famously addicted to their smartphones — with 67,700 of those aged between 18 and 34 tuning in.
That’s up 250 percent from the same period two years ago, when just 27,100 millennial viewers were glued to Fox News, according to Nielsen data obtained by The Post.
According to the NYPost, CNN isn’t far behind. It grew millennial viewership to 62,900 from 34,800 in 2015, while MSNBC just notched 35,900 in the first quarter versus 20,400 in the comparable period two years earlier.
To be sure, millennials are the first generation to grow up attached to their digital devices, and the latest cable-TV figures aren’t big numbers when compared with the hundreds of millions of log-ins that social networks like Facebook, Instagram and Snapchat notch each month.
Still, data show a surprising trend — namely, that all three news networks grew the number of young adults watching their broadcasts on both a one-year and two-year basis.
To be sure, millennials are the first generation to grow up attached to their digital devices, and the latest cable-TV figures aren’t big numbers when compared with the hundreds of millions of log-ins that social networks like Facebook, Instagram and Snapchat notch each month.
Nonstop chaos in Washington, an investigation into Russian interference in the elections, wiretapping claims and allegations of fake news have made watching the news a nonstop reality show of epic proportions.
Millennials are a sought-after demographic for advertisers, even though they’re more likely to still live with their parents than at any time since 1880, according to Pew Research.
There are now 75.4 million millennials, who overtook baby boomers last year as the biggest segment of the US population.
The news segment is on fire. Fox News, CNN and MSNBC have been hitting record ratings at a time when both general cable and broadcast networks are struggling to hold on to their viewers.
D/FW Radio: WBAP, KLIF News Win Major TAPB Awards
Cumulus Media has announced that its Dallas radio stations WBAP 820 AM and KLIF 570 AM have won multiple awards in the 2016 Texas Associated Press Broadcasters (TAPB) Contest.
WBAP captured 1st Place for Spot News by a Station for its coverage of the July 7th Police Ambush. WBAP also received an Honorable Mention for Continuing Coverage.
For the third consecutive year, KLIF’s Dave Williams and Amy Chodroff won 1st Place for News Anchor/Anchor Team. WBAP’s Brian Estridge received 1st Place for Sports Play-by-Play.
Forty-seven stations submitted 788 entries in the annual contest, which featured newscasts, sportscasts, features, weathercasts, spot news and video from 2016. The Associated Press is a not-for-profit news cooperative representing 1,400 newspapers and 5,000 broadcast stations in the United States.Dan Bennett, Regional Vice President, Dallas/Houston, Cumulus Media, said: “We are all extremely proud of our news team, News Director Freda Ross and Program Director Kevin Graham. These awards speak to them and the talent in our newsroom. The awards honor a team that brings their news “A” game every day.”
Click Here for the full list of winners.
AMI To Acquire US Weekly
American Media Inc, owner of National Enquirer and Star magazine, landed Us Weekly, paying what sources told the NYPost said was $100 million.
As recently as Monday, the expectation was that Tronc, the owner of the Chicago Tribune and LA Times was going to pay $110 million for the glossy celebrity gossip magazine, beating out not only AMI, but a variety of other tire kickers from Time Inc. to the Daily Mail.
American Media announced the deal Wednesday afternoon, confirming Media Ink’s exclusive report Tuesday that it was a “done deal.”
One insider said US Weekly staffers “were in tears” upon hearing the news Wednesday afternoon. When Tronc appeared to be the winning suitor, insiders were being assured there would be no staff cuts.
Now, according to one insider, “It feels like we are on death row now — just waiting for the firing squad to arrive.”
Tronc itself had looked the winning bidder only because the original $90 million deal to sell Us Weekly to AMI fell apart weeks earlier.
Michael Ferro, the executive chairman of Tronc, apparently ran into some stiff resistance from his board and suddenly the deal was off. Us Weekly has seen its newsstand sales plummet with the rest of the celebrilty category but still said to be making at least $17 million a year by mid-2016.
As recently as Monday, the expectation was that Tronc, the owner of the Chicago Tribune and LA Times was going to pay $110 million for the glossy celebrity gossip magazine, beating out not only AMI, but a variety of other tire kickers from Time Inc. to the Daily Mail.
American Media announced the deal Wednesday afternoon, confirming Media Ink’s exclusive report Tuesday that it was a “done deal.”
One insider said US Weekly staffers “were in tears” upon hearing the news Wednesday afternoon. When Tronc appeared to be the winning suitor, insiders were being assured there would be no staff cuts.
Now, according to one insider, “It feels like we are on death row now — just waiting for the firing squad to arrive.”
Tronc itself had looked the winning bidder only because the original $90 million deal to sell Us Weekly to AMI fell apart weeks earlier.
Michael Ferro, the executive chairman of Tronc, apparently ran into some stiff resistance from his board and suddenly the deal was off. Us Weekly has seen its newsstand sales plummet with the rest of the celebrilty category but still said to be making at least $17 million a year by mid-2016.
Nashville Radio: Bobby Bones Show Supports Air Force Captain
This week, listeners of the syndicated The Bobby Bones Show, which originates at iHM's WSIX 97.9 FM The Big98, joined efforts to honor wounded U-S Air Force Captain Nathan Nelson, who was paralyzed from the chest down during his third tour in Afghanistan and in need of a home to accommodate his needs.
After sharing his story on air, Bones and his on-air crew announced they would donate proceeds from the sale of camouflage #PimpinJoy T-shirts on TheShopForward.com.
In just a few days, listeners of The Bobby Bones Show purchased enough T-shirts to raise $100,000, doubling the original goal of $50,000.
Richmond Radio: New Docu Recalls Top40 WLEE 1480 AM
Randy Scott had worked in radio for a few years when he showed up at WLEE 1480 AM to become program director and on-air personality in 1967. What he found was like nothing he had experienced before, reports richmond.com.
“From the first day I was there, I was just totally amazed,” he said. “I had been at four other radio stations before I got here, but I could not believe the connection LEE had with the community. It just won the hearts and minds of the listeners. Of course, we were playing the hits, but beyond that people really related to the station’s community involvement: the contests, the beauty pageants, the upbeat personalities. It was a combination of those elements that led to its success.”
And led to Scott — all these years later — putting together a documentary on WLEE’s Top 40 heyday.
“Remembering WLEE 1480 AM” will air on WCVE-23 at 9 p.m. Thursday, March 23, and again at 9 p.m. Friday, March 24, on WCVW-57.
“It’s a story that I always wanted to tell,” Scott said in an interview. “I always felt out of all the broadcast stations I worked for, WLEE was unique. It helped change the landscape of radio, not only here in Richmond but nationwide as well. WLEE is still included in a lot of discussions about legendary AM stations in America.”
As Richmond Radio Hall of Famer Kirby Carmichael says in the documentary, “The music, the jocks, the jingles are what made WLEE cook.”
The documentary traces WLEE’s inauspicious start in the late 1940s. At the beginning, WLEE operated in a shared frequency deal with Grace Covenant Presbyterian Church, which actually owned the license to the 1480 frequency.
Among the station’s early hires was a young announcer named Harvey Hudson, who would become the heartbeat and mastermind of WLEE. But it wasn’t until 1958 when Hudson had an “epiphany” — as Scott puts in the documentary — that WLEE really began to take off. During a visit to Gary’s Records in Willow Lawn, Hudson was talking to a manager who pointed to a stack of 45s and told him that’s what his customers were buying and that Hudson ought to start spinning those on the air.
WLEE became the first Richmond station to play Top 40 music, and as it appealed to the 18-to-34-year-old demographic — and younger — it roared to the forefront of Richmond radio for the next two decades.
March 16 Radio History
In 1906...comedian Henny Youngman was born Henry Youngman in London. Famous for the line “Take my wife … please.” His big break came when he was booked on the popular Kate Smith radio show in 1937. Had his own TV show (with boxer Rocky Graziano)The Henny & Rocky Show in 1955. His career was revived via repeated appearances on Rowan & Martin’s Laugh-In in the 1960’s. He made 12 guest appearances on The Ed Sullivan Show. He died of pneumonia Feb 24, 1998 at age 91.
In 1916...actress Mercedes McCambridge was born in Joliet Ill.
Orson Welles dubbed her “the greatest radio actress” after she had lead roles in many of his Mercury Theatre broadcasts in the 1930’s while starring on Broadway. She guested on numerous radio dramas (Lights Out, Inner Sanctum, Studio One, Bulldog Drummond, Ford Theatre, Gang Busters, Abie’s Irish Rose, etc.) and had lead roles in both East and West Coast originations of I Love a Mystery. Later she had a healthy career in TV, and won a Best Supporting Actress Oscar for All the King’s Men.
She died March 2 2004, two weeks before her 88th birthday.
In 1922...WKY AM, Oklahoma City, Oklahoma went on-the-air.
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| 1944 Print Ad |
On November 1922, WKY announced a "silent night" policy, meaning the station would broadcast only four, and later three nights a week. This was so listeners could have a chance to tune into other stations in neighboring states.
Richards and Hull struggled to keep WKY on the air. In late 1925, Richards left the radio business, but Hull continued to keep WKY on the air by selling shares of the station to radio dealers in Oklahoma City. The dealers paid Hull a small salary to keep the station broadcasting; however they decided the financial drain had become too much. In 1928, WKY was purchased by the Oklahoma Publishing Company, publishers of the Daily Oklahoman for the hefty sum of $5,000 (over $63,000 in 2010 dollars).
The formal opening of the new WKY was set for November 11, 1928, but the station went on the air several days earlier to carry the presidential election returns as Herbert Hoover won in a Republican landslide.
By the following year, WKY was attempting to operate like the powerhouse stations in the east. Aside from the programming from NBC, everything broadcast by WKY originated locally.
In 1958, WKY became the second Top-40 formatted station in Oklahoma City, behind KOCY, (now KEBC). During the 1960s and 70's WKY fended off serious challenges from 50,000 watt rival KOMA 1520 AM.
Although KOMA was very famous outside Oklahoma City, due to its large nighttime signal (like WABC in New York), WKY was usually the ratings leader in the city itself (as WMCA won New York City ratings books from 1963–1966); WKY continued to top many Arbitron ratings sweeps into the 1970s.
Ironically, WKY mainstays during that time—Danny Williams, Ronnie Kaye and Fred Hendrickson—would go on to become "KOMA Good Guys" when the station flipped from a standards to an oldies format.
Today, WKY is owned by Cumulus and airs an Hispanic format.
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| Dick Beals |
In 1927...radio/voice actor Dick Beals was born in Detroit.
His career began doing child voices on all three of WXYZ radio’s juvenile dramas The Lone Ranger, The Green Hornet and Challenge of the Yukon. He may be best remembered as the voice of Speedy Alka Seltzer in TV commercials. Due to a glandular condition his voice never matured, and he went on to do young voices on scores of Warner Bros. and Hanna-Barbera TV cartoon series. A licensed pilot, in his later life he flew himself from his California home to faithfully attend Seattle OTR conventions.
He died May 29 2012 at age 85.
In 1929...WHP-AM, Harrisburg, Pennsylvania went on-the-air. The origin of WHP actually dates back to 1925, when a small radio station, known then as WHBG signed on at 1300 AM, with a tiny 20 watt transmitter (today it has 5Kw). The station was first owned by Skane Electrical Service, however, it was then sold in early 1927 to Mack’s Battery Service, who changed the name to WMBS, moved its location to Lemoyne, and changed it’s position on the dial to 1280AM.
The WHP name was crowned to the station in 1929, when the Harrisburg Telegraph Newspaper took over the station, and moved it’s dial position to 1430AM. The station later moved to 1460 AM, and eventually moved to its well known frequency of 580 AM in 1951.
Today, WHP is owned by iHeartMedia and airs a News/Talk format.
In 1947...U.S First Daughter Margaret Truman appeared on Radio in her professional radio debut, singing with the Detroit Symphony.
In 1956...WQXR 1560 AM boosted power to 50Kw, Today the call letters are WFME.
In 1963...The Peter, Paul & Mary single, "Puff The Magic Dragon," debuted on the Billboard Hot 100. It was banned by several radio stations whose management thought the song was about the joys of smoking marijuana. The group has always denied the allegation.
In 1964…Alan Freed was charged with tax evasion in a grand jury indictment stemming from the earlier payola investigation that ruined the career of the ex-disc jockey.
In 1983...Arthur Godfrey, WCBS Radio, Died of emphysema at the age of 80.
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| Arthur Godfrey |
On leaving the Coast Guard, Godfrey became a radio announcer for the Baltimore station WFBR (now WJZ (AM) and moved the short distance to Washington, D.C. to become a staff announcer for NBC-owned station WRC the same year and remained there until 1934.
Recovering from a near-fatal automobile accident en route to a flying lesson in 1931 (by which time he was already an avid flyer), he decided to listen closely to the radio and realized that the stiff, formal style then used by announcers could not connect with the average radio listener; the announcers spoke in stentorian tones, as if giving a formal speech to a crowd and not communicating on a personal level. Godfrey vowed that when he returned to the airwaves, he would affect a relaxed, informal style as if he were talking to just one person. He also used that style to do his own commercials and became a regional star.
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| Arthur Godfrey 1948 |
Godfrey became nationally known in April 1945 when, as CBS's morning-radio man in Washington, he took the microphone for a live, firsthand account of President Roosevelt's funeral procession. The entire CBS network picked up the broadcast, later preserved in the Edward R. Murrow and Fred W. Friendly record series, I Can Hear it Now. Unlike the tight-lipped news reporters and commentators of the day, who delivered breaking stories in an earnest, businesslike manner, Arthur Godfrey's tone was sympathetic and neighborly, lending immediacy and intimacy to his words. When describing new President Harry S. Truman's car in the procession, Godfrey fervently said, in a choked voice, "God bless him, President Truman." Godfrey broke down in tears and cued the listeners back to the studio. The entire nation was moved by his emotional outburst.
Godfrey made such an impression on the air that CBS gave him his own morning time slot on the nationwide network. Arthur Godfrey Time was a Monday-Friday show that featured his monologues, interviews with various stars, music from his own in-house combo and regular vocalists. Godfrey's monologues and discussions were usually unscripted, and went wherever he chose.
"Arthur Godfrey Time" remained a late morning staple on the CBS Radio Network schedule until 1972.
In 1983...NYC and L-A Air Personality B. Mitchel Reed, died at the age of 56.
He was born Burton Mitchel Goldberg in Brooklyn, New York.
After serving in the U.S. Air Force, he entered the world of radio while teaching political science at his alma mater.
Reed hosted the all-night Birdland Jazz Show at WOR (AM) in New York in 1956. A year later, he landed a job at KFWB in Los Angeles.
On January 2, 1958, KFWB became a Top 40 station known as "Coloradio Channel 98," and the DJ's were known as "The Seven Swinging Gentlemen." The lineup included Bruce Hayes, Al Jarvis, Joe Yocam, Elliot Field, Bill Ballance, and Ted Quillan. Reed held the 6-9 P.M time slot. Under Program Director Chuck Blore, KFWB became the number one radio station in LA.
He was known as "The Fastest Tongue in the West," for the speed in which he spoke to his audience. He left KFWB for WMCA in his home state of New York on February 7, 1963. He soon became part of a team of disc jockeys known as "The Good Guys," among them Jack Spector.
Reed went to London, England in pursuit of a band making headlines in hopes of breaking them in New York. The band was none other than The Beatles. His persistence paid off as it led to advance record pressings and exclusive interviews. This helped usher in "Beatlemania" in early 1964.
By 1965, Reed decided to return to Los Angeles. His last show at WMCA was on March 20. Thousands of his fans cheered him at the airport upon his departure. Many fans who were thrilled of his return greeted him when he arrived in LA. This ushered in his second stint at KFWB and The Wide Wide Weird World of BMR.
After attending the Monterey Pop Festival in June 1967, Reed realized he wanted to go in another direction music-wise. He met with San Francisco based DJ Tom Donahue over the frustrations of radio music restrictions. Donahue was a Program Director for underground station KMPX (FM). With no such music station in LA, Reed left KFWB and founded KPPC-FM in Pasadena. Both stations achieved more success than anticipated with the popularity of AOR programming.
Both stations ran into a conflict with their respective owners thus resulting in a strike. After the strike ended in June 1968, Donahue, got Metromedia to take on the AOR format at KMET (FM). Reed programmed what would become one of the first 24 hour automated music stations. It would go live in the summer of 1969. He left KMET for one year in 1971 to work at KRLA. He returned to KMET in 1972 where he stayed the next six years.
In 1978, Reed underwent coronary bypass surgery. He would leave KMET for KLOS (FM) in 1979. His lingering heart condition caught up with him on March 16, 1983. He died in his West Los Angeles home at the age of 56.
In 2012...Bell Canada, the country's biggest telecommunications company, announced it had agreed to buy Montreal-based Astral Media Inc. for $3.38 billion, giving the company more control over content for its cellphone, Internet and land-line services. The deal provided for the acquisition of Astral's 84 commercial radio stations, 22 English-language specialty television channels, and 13 French channels.
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